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PETER GIDAL: FLARE OUT PROGRAM 2<\/strong> \u201cMental activation toward material analysis is the process that is relevant, whether or not actual structure is \u2018revealed\u2019.\u201d (Peter Gidal, 1969)<\/p>\n Clouds<\/em> was the first real manifestation of Gidal\u2019s anti-illusionist project, a film in which \u201cThere is virtually nothing on screen, in the sense of in screen. Obsessive repetition as materialist practice not psychoanalytical indulgence.\u201d Assumption<\/em> is, by stark contrast, exhilarating viewing. One of the densest minutes of all cinema, the screen bristles with recognizable images, fleeting texts and snatches of dialogue in tribute to filmmaker\/activist Mary Pat Leece. Silent Partner <\/em>and Epilogue <\/em>return to the more familiar territory of domestic interiors, inhabited spaces interrogated by a restless camera. Anti-narrative, against representation, militant and uncompromising, yet despite themselves, strangely compelling. After a hiatus from filmmaking, Gidal returned in 2013 with not far at all<\/em>: \u201ctempted to say different yet the same, but not.\u201d The film was awarded the L\u2019age d\u2019or Prize at the Brussels Cinematek in 2015.<\/p>\n Peter Gidal, Assumption, 1997, 16mm, color, sound, 1 min<\/strong> PETER GIDAL: FLARE OUT PROGRAM 2 Monday 24 October 2016, at 7pm New York Anthology Film Archives \u201cMental activation toward material analysis is the process that is relevant, whether or not actual structure is \u2018revealed\u2019.\u201d (Peter Gidal, 1969) Clouds was the first real manifestation of Gidal\u2019s anti-illusionist project, a film in which \u201cThere is virtually […]<\/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-5577","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\/5577","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=5577"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5577\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5577"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5577"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5577"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n Monday 24 October 2016, at 7pm<\/strong>
\n New York Anthology Film Archives
\n<\/strong><\/p>\n
\n Peter Gidal, Clouds, 1969, 16mm, color, sound, 10 min<\/strong>
\n Peter Gidal, Silent Partner, 1977, 16mm, color, sound, 35 min<\/strong>
\n Peter Gidal, Epilogue, 1978, 16mm, color, silent, 7 min<\/strong>
\n Peter Gidal, not far at all, 2013, 16mm, color, sound, 15 min<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"