ngg_shortcode_0_placeholder<\/p>\n
PETER GIDAL: FLARE OUT<\/strong> \u201cHe draws out singularities. He allows the camera only a fenced in area, piecemeal. He lets the gaze hold on objects and constantly repeats \u2026 this permits the possibilities of the discrepancies between one\u2019s own seeing and seeing with the camera to become distinct, and this in turn allows for a completely different experience of the surroundings.\u201d (Birgit Hein)<\/p>\n For five decades, Peter Gidal has sought to problematize the film-viewing process by creating works that resist recognition and identification. His practice posits film as a durational experience and negates analysis on psychological grounds. These two programs survey his radical approach, ranging from the seminal early works Hall<\/em> and Clouds<\/em> (1969) to the recent Coda I<\/em>, Coda II<\/em> and not far at all<\/em> (2013).<\/p>\n Gidal has lived in the UK since the late 1960s and was a central figure during the formative years of the London Film-Makers\u2019 Co-operative. He is a noted writer and polemicist, whose \u201cTheory and Definition of Structural\/Materialist Film\u201d is a key text of avant-garde cinema.<\/p>\n Following the recent publication of a collection of Gidal\u2019s essays, Jonathan Rosenbaum commented: \u201cThe singular way that Peter Gidal wrestles with language is a continual lesson in philosophy, aesthetics, ideology, and politics. Flare Out: Aesthetics 1966\u20132016<\/em> charts his ongoing struggles with wit, lucidity, and genuine brio.\u201d<\/p>\n Flare Out: Aesthetics 1966\u20132016<\/em><\/a>, edited by Mark Webber and Peter Gidal, is published by The Visible Press<\/a>. In addition to many texts relating to film, it also includes essays on the work of Samuel Beckett, Th\u00e9r\u00e8se Oulton, Gerhard Richter and Andy Warhol.<\/p>\n","protected":false},"excerpt":{"rendered":" PETER GIDAL: FLARE OUT 23\u201424 October 2016 New York Anthology Film Archives \u201cHe draws out singularities. He allows the camera only a fenced in area, piecemeal. He lets the gaze hold on objects and constantly repeats \u2026 this permits the possibilities of the discrepancies between one\u2019s own seeing and seeing with the camera to become […]<\/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-5566","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\/5566","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=5566"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5566\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n 23\u201424 October 2016<\/strong>
\n New York Anthology Film Archives
\n<\/strong><\/p>\n