{"id":5972,"date":"2016-10-08T15:00:15","date_gmt":"2016-10-08T14:00:15","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=5972"},"modified":"2018-01-15T21:25:49","modified_gmt":"2018-01-15T21:25:49","slug":"peter-gidal-cinematek-2","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2016\/10\/08\/peter-gidal-cinematek-2\/","title":{"rendered":"Introduction to Peter Gidal 2"},"content":{"rendered":"<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><strong>INTRODUCTION TO PETER GIDAL 2<br \/>\n<\/strong><strong>Saturday 8 October 2016, at 3pm<\/strong><br \/>\n<strong> Brussels Cinematek<br \/>\n<\/strong><\/p>\n<p>Introduced by Peter Gidal and Mark Webber<\/p>\n<p>Two short and one medium length film from Peter Gidal\u2019s first period. A very famous folk singer of the time is invoked, incognito (<em>Key<\/em>) but \u2013 above all \u2013 many elements of the film language (editing and jump-cut, repetition, duration, zoom, focus, blur, etc.) are used to question film, and our gaze. Jonas Mekas was an admirer of&nbsp;<em>Room Film 1973<\/em>: \u201cI was particularly impressed with Gidal\u2019s film, which from what I\u2019ve seen may be his best to date. Very subtly and very plastically it deals with light. The film is uncompromisingly rigid in its minimality of action. A very beautifully realised piece of work [\u2026] It is denitely contemporary in feeling and substance. It is one of the best lms to come out of the London School.\u201d \u2014Olivier Dekegel<\/p>\n<p><strong>Peter Gidal, Hall, 1968-69, 10 min<\/strong><br \/>\n<strong>Peter Gidal, Key, 1968-69, 10 min<\/strong><br \/>\n<strong>Peter Gidal, Room Film 1973, 1973, 46 min (at 18fps)<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>INTRODUCTION TO PETER GIDAL 2 Saturday 8 October 2016, at 3pm Brussels Cinematek Introduced by Peter Gidal and Mark Webber Two short and one medium length film from Peter Gidal\u2019s first period. A very famous folk singer of the time is invoked, incognito (Key) but \u2013 above all \u2013 many elements of the film language [&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-5972","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\/5972","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=5972"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5972\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5972"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5972"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5972"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}