16mm, black and white, 34 min
Genre: Documentary, Experimental
Keywords: Art & Artists, Biography & Autobiography
Includes 'portraits' of Marianne Faithfull, Thelonious Monk and 28 others, some known, some less so. --P. G.
"Nervous, serious faces become monstrous through the unnatural enclosure of the film frame. Through viewing this film we experience the horrific deformations which the film film frame creates." --Werner Kliess, Suddeutsche Zeitung, Munich, Feb. 1971
16mm Rental: $68.00
Room Film 1973
16mm, color, 54 min
"One of the best works that come out of the London school." --Jonas Mekas, Village Voice, October, 1973
"It is very good; I felt as if my father made it, as if it were made by a blind man. I liked the tentativeness... one had to work at it, that searching tentative quality, that quality of trying to see..." --Michael Snow
16mm Rental: $100.00
16mm, color, 40 min
"The possibility of contemplation offered by photographs is recouped and even radically undercut in FILM PRINT by the continually moving picture... When meaning does seem to emerge (it) is immediately displaced by denial of the space... The suppression of meaning-production as a cinematic process is a structuring feature of the film... The repetitions, the radical refusal of semioticity (denial of the codes of dominant cinema but also the codicity of structural film itself) and the unfixed nature of the space articulated by the film, all serve to operate against the kind of closure associated with a defined and homogeneous film space." --Annette Kohn, "Perspectives on British Avant-Garde Film"
16mm Rental: $80.00
Condition of Illusion
16mm, color, 32.5 min
Keywords: Films about Film, Media
"What I want to stop is the error of making everything into narrative, a definition of narrative in such a way that it becomes unhelpful. Maybe you can have narrativization without narrative. CONDITION OF ILLUSION plays on the identifying or shifting from the terms of identifying of the relations between the spectator and the photographic image. There is a constantly slipping horizon of identification at the level of the photographic that's being moved through that film and ROOM FILM 1973. There is the problem of identifying the relation between the object and the reflection of the object, the problem of reading the photographic image. You've got this problem watching the film, during the viewing. In CONDITION OF ILLUSION you are in relation to the photographic image, but that relation is a constant slipping of the identifying relation which is the basis of the classic film... what is not achieved is the kind of stabilization of reproduction into the terms of a representation...." --interview by Stephen Heath, Cambridge Tapes (March, 1977) & Wide Angle, Vol. 2 No. 3 (May, 1978).
16mm Rental: $65.00
16mm, color, 32 min
Keywords: Art & Artists, Films about Film, Media
"... the film as process works with the spectator in process. The narrative of action is rejected, or displayed as a set of impossible fragments (hints of human activity in SILENT PARTNER).... the questioning of legibility... and throughout the film the possibility that the siting of objects at screen edge yields another set of illegibilities... Partly an intensification of the subject, its ironic disintegration and dissolution forcing its contradictions fragment both text and artist-subject (present everywhere and nowhere: Beckett, Warhol, Duchamp).... a refusal of the ordering of space, the first rule of fictional/documentary cinema... nil return in producing the divided subject... constructed in an act of capture... an interrogation of that capture..." --Al Rees, Silent Partner, BFI Catalog 1977/78
16mm Rental: $70.00
16mm, color, 38.25 min
"Gidal's camera movements, are at one level predicated on the sensual lure and the visual pleasure which he derives from the objects looked at (already an aware sublimation of a sexual object onto another even before the film is shot). The camera slowly moves over the beautifully paterned bedspread (or rug, which Gidal chooses because he already finds it visually pleasurable), and even where it encounters objects with no intrinsic implications of beauty, their separation (framing) from their visual and more important, utility, contexts transforms them into 'to be looked at objects.'" --Malcolm LeGrice, Millenium Film Journal
16mm Rental: $80.00
16mm, color, 61 min
After three years this film attempts yet again to deal with the problematising of filmic representation in sound and image: the overt politically-polemical soundtrack from Nicaragua must not synchronise with nor must it find an entirely separable continuum of reality away from the image sequences. Without avoiding the interrogation of narrative/anti-narrative cinematic structures (the way the images and the sounds at times hold/do not hold, or the way they attempt to force a position contradictory to any (imaginary) represented homogeneity of constructed space, time, ego, language, film) an attempted materialist use of sound and image must at the same time be an anti-individualist work. Subjectivities of sound and image, sometimes producing contradiction (between the two, and within each) must be in constant process with/against the political polemic(s): the film can not allow for a final exclusion of either. What is intended is neither some pure formal dialectic. The viewer's attempts via her/his/the cultural context of meaningmaking(political/sexual/narrative) are worked against by this film's process (or should be). The work against the capitalist patriarchal position of narrative, in other words, is (still, and in specificity) the main interest. --P. G.
16mm Rental: $140.00
Coda I and Coda II
16mm Film on Digital File, color, 4 min
"Peter Gidal's starting point for his 16mm film is a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs. Gidal describes the film's 'so-called imagery' as 'a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible'." Frieze, London, 2013
Both films are codas for another film, not far at all, colour, sound, 15 minutes, which was shown at the BFI (strange name for what used to be properly called the NFT), London, in March 2014, and at Tate (London) in February 2014. not far at all's soundtrack, just for the record, is concrete/abstract without language.
DVD NTSC Sale: $1,000 (BluRay only -- both titles -- edition of 5)
not far at all
16mm, color, 15 min
"first film in 5 years, tempted to say different yet the same, but not." peter gidal/london/2014
16mm Rental: $100
No Night No Day
16mm, Color, 15 min
What darkness the film will have in No Night No Day will not be connected to nature's night, equally light will be unconnected to 'day' as a lived concept and reality. A distension from any nature, including the nature of film, or the viewer's natural 'seeing', is probably closest to what my concerns with this film are. Attempting to grasp, attempting to know, the usual problems. - P.G. 1998.
16mm Rental: $75.00
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