{"id":5559,"date":"2016-05-20T19:30:15","date_gmt":"2016-05-20T18:30:15","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=5559"},"modified":"2020-01-17T23:56:13","modified_gmt":"2020-01-17T23:56:13","slug":"peter-gidal-close-up","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2016\/05\/20\/peter-gidal-close-up\/","title":{"rendered":"Peter Gidal: Close Up at 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> Friday 20 May 2016, at 7:30pm<\/strong><br \/>\n<strong> London Close-Up Film Centre<br \/>\n<\/strong><\/p>\n<p>Peter Gidal and Mark Webber will introduce a screening of Gidal\u2019s \u2018feature length\u2019 film <em>Close Up<\/em> (1983) to coincide with 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 and made some its most radical works. His cinema is anti-narrative, against representation, and fiercely materialist.<\/p>\n<blockquote><p>\u201c<em>Close Up<\/em> is crystal hard, intransigent, and film <em>in extremis<\/em>. In short, one of the best \u2018political\u2019 films made in this country.\u201d \u2014<em>Michael O\u2019Pray, Monthly Film Bulletin<\/em><\/p><\/blockquote>\n<p>In <em>Close Up<\/em>, Peter Gidal\u2019s political, ultra-leftist practice is augmented by the disembodied voices of two Nicaraguan revolutionaries heard of the soundtrack. These voices punctuate a film whose representation of a room, an inhabited space, is one in which the viewer must consciously search for recognition, for meaning-making. The image-content is muted and abstract, but fascinating, with moments of (no-doubt) inadvertent beauty.<\/p>\n<p>Presented in association with LUX.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>PETER GIDAL: CLOSE UP Friday 20 May 2016, at 7:30pm London Close-Up Film Centre Peter Gidal and Mark Webber will introduce a screening of Gidal\u2019s \u2018feature length\u2019 film Close Up (1983) to coincide with the publication of Flare Out: Aesthetics 1966\u20132016, a collection of essays by one of film\u2019s great polemicists. Gidal was a central [&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-5559","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\/5559","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=5559"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5559\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5559"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}