{"id":5553,"date":"2016-03-16T19:00:15","date_gmt":"2016-03-16T19:00:15","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=5553"},"modified":"2020-01-17T23:56:13","modified_gmt":"2020-01-17T23:56:13","slug":"peter-gidal-av-festival","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2016\/03\/16\/peter-gidal-av-festival\/","title":{"rendered":"Peter Gidal: Close Up"},"content":{"rendered":"<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><strong>PETER GIDAL: CLOSE UP<\/strong><br \/>\n<strong> Wednesday 16 March 2016, at 7pm<\/strong><br \/>\n<strong> Newcastle AV Festival at Northern Carter<br \/>\n<\/strong><\/p>\n<p>This rare screening of Peter Gidal\u2019s \u2018feature length\u2019 film <em>Close Up<\/em> (1983) anticipates the publication of <em><a href=\"https:\/\/lux---registered-charity-1094936.square.site\/product\/shoot-shoot-shoot-the-first-decade-of-the-london-film-makers-co-operative-1966-76\/216?\" target=\"_blank\" rel=\"noopener noreferrer\">Flare Out: Aesthetics 1966\u20132016<\/a><\/em>, a collection of essays by one of film\u2019s great polemicists. Gidal was a central figure during the formative years of the London Film-Makers\u2019 Co-operative, whose 50th anniversary is being celebrated throughout 2016, and made some its most radical works. His cinema is anti-narrative, against representation and fiercely materialist. In <em>Close Up<\/em>, Gidal\u2019s political, ultra-leftist practice is augmented by the disembodied voices of Nicaraguan revolutionaries heard of the soundtrack.<\/p>\n<p><b>Peter Gidal,&nbsp;<\/b><strong>Close Up,&nbsp;1983, 70 min<\/strong><\/p>\n<p>The programme will be introduced by Mark Webber.<\/p>\n<a onclick=\"wpex_toggle(105844322, 'PROGRAMME NOTES', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink105844322\" href=\"#\">PROGRAMME NOTES<\/a><div class=\"wpex_div\" id=\"wpex105844322\" style=\"display: none;\"><\/p>\n<p><b><strong>PETER GIDAL: CLOSE UP<\/strong><br \/>\n<\/b> Wednesday 16 March 2016, at 7pm<br \/>\nNewcastle AV Festival at Northern Carter<\/p>\n<p><b>CLOSE UP<br \/>\nPeter Gidal, <\/b><strong>1983, 16mm, colour, sound, 70 min<br \/>\n<\/strong><\/p>\n<p>\u201cAfter three years this film, attempting yet again to deal with the problematizing of filmic representation in sound and image: the overtly politically-polemical soundtrack from Nicaragua must not synchronise with, nor must it find a separate continuum of reality away from, the image sequences.<\/p>\n<p>\u201cWithout avoiding the interrogation of narrative\/anti narrative cinematic structures (the way the images, and the sounds, at times hold\/do not hold \u2026 or the way they attempt to force a position contradictory to any representational imaginary or homogeneity, of constructed space, time, ego, language, film) an attempted materialist use of sound and image must be at the same time an anti-individualist work.<\/p>\n<p>\u201cBoth the sound-contradictions, and the image-contradictions, of subjectivity in this film (and of this film) must be in constant process with\/against the political polemic: the film can not allow for a final exclusion of either (neither some pure documentary reality nor some pure formal dialectic). The viewer\u2019s attempts, via her\/his\/the cultural context of meaning making (political\/sexual, narrative) are worked against by the film\u2019s process. The work against the capitalist patriarchal position of narrative, in other words, is (still, and in specificity) the main interest.&#8221;<\/p>\n<p>\u2014Peter Gidal, August 1983<\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n<p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>PETER GIDAL: CLOSE UP Wednesday 16 March 2016, at 7pm Newcastle AV Festival at Northern Carter This rare screening of Peter Gidal\u2019s \u2018feature length\u2019 film Close Up (1983) anticipates the publication of Flare Out: Aesthetics 1966\u20132016, a collection of essays by one of film\u2019s great polemicists. Gidal was a central figure during the formative years [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[157],"tags":[],"class_list":["post-5553","post","type-post","status-publish","format-standard","hentry","category-peter-gidal-flare-out"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5553","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=5553"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5553\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5553"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5553"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}