Peter Gidal

writing about the artist

“Peter Gidal”, Steve Dwoskin, Independent Film, n.1, UK, 1970.

“Bedroom - Peter Gidal”, Roger Hammond, English Independent Cinema, NFT programme note, UK, 1971.

“Filmmakers Co-Op - 8 mm Notes on 16 mm”, Roger Hammond, Time Out, 43770, UK, 1971.

“Focus on 16mm”, Gordon Gow, Films & Filming, August, UK, 1971.

Birgit Hein, Film Im Undergrund, Ullstein, Frankfurt, 1971.

”Heads”, Werner Klies, Suddeutsche Zeitung, Germany, 1971.

”8mm Film notes on 16mm”, Roger Hammond, programme note, London Filmmakers Co-op, 1971.
“Peter Gidal”, Tony Rayns, in ‘A Directory of UK Independent Filmmakers’, Cinema Rising n.1, UK, 1972.

“Upside Down Feature”, John Du Cane, Time Out, Dec 1-6, UK, 1972.

“Hall, Takes, Bedroom”, John Du Cane, Time Out, UK, 1972.

“Movie No 1”, John Du Cane, A Survey of the Avant Garde in Britain, Gallery House, UK, 1972.

“Upside Down Feature”, Malcolm Le Grice, Afterimage, n.4, UK, 1972.

"Movie Journal" (Room Film), Jonas Mekas, VillageVoice, Oct-25, USA, 1973.

“New British Avant-garde Films”, Edinburgh Film Festival, August, 1975.

Stephen Dwoskin, Film Is, Peter Owen, 1975, ISBN: 0879510722.

“Gidal’s Two Silent Films Explore Light, Shapes”, Lawrence Van Gelder, New York Times, 42736, 1975.

“The Film Image as a Mirror Image”, Lucy Fischer, Soho Weekly News, Jan-16, 1975.

"On Peter Gidal’s Theory and Definition of Structural/Materialist Film”, Afterimage, n.6, UK, 1976, pp.86-95.

“The Ascetic Task: Peter Gidal’s Room Film 1973”, Deke Dusinberre, Structural Film Anthology, BFI, 1976.

Hans Scheugl; Ernst Schmidt, Eine Subgeschichte des Films, Suhrkamp, Germany, 1976.

“Film Print”, Annette Kuhn, A Perspective of British Avant-garde Film, Hayward Gallery, London, 1977.

“Conditions of Illusionism”, A.L.Rees, Screen, Autumn, 1977.

“Consistent Oxymoron: Peter Gidal’s Theoretical Strategy”, Deke Dusinberre, Screen, Summer, 1977.

Malcolm Le Grice, Abstract Film and Beyond, Studio Vista, 1977.

"Two New Films by Peter Gidal - Silent Partner and Kopenhagen/ 1930", John Ellis, Independent Cinema Documentation File No 1 Peter Gidal, BFI, 1977.

“Repetition Time”, Stephen Heath, Wide Angle, n.2/3, USA, 1978.

“Silent Partner”, A.L.Rees , Catalogue BFI Productions 1977-8, BFI, 1978.

"Silent Partner", Ian Christie, Monthly Film Bulletin, BFI, May, 1978.

Roy Armes, Critical History of British Cinema , Oxford University Press, 1978.

“Afterword” (to 'The Anti-Narrative'), Stephen Heath, Screen, BFI, Vol 20 n.2, 1979.

“Some Introductory Thoughts on Gidal’s Films and Theory”, Malcolm Le Grice, Independent Cinema Documentation File No 1 Peter Gidal, BFI, 1979.

“State of Siege”, Chris Auty, Time Out, Jan, UK, 1980.

Stephen Heath, Questions of Cinema, Macmillan & Indiana University Press, 1980.

Alain Sudre, British Avant Garde Film 1960-1980 starting from the work of Peter Gidal and Malcolm Le Grice, Doctorate, Sorbonne, 1981.

Peter Wollen, Readings and Writings, NLB/Schocken, 1983.

Jonathan Rosenbaum, Film: The Front Line , Arden Press, 1983.

“Close Up”, Michael O’Pray, Monthly Film Bulletin, vol. 51 Jan, BFI, 1984.

Dudley Andrew, Concepts in Film Theory, Oxford University Press, 1984.

“Action at a Distance”, Michael O’Pray, Monthly Film Bulletin, BFI, 1985.

“Anti-narrative. Or the Ascetic ideal in The Crisis of Political Modernism”, David N. Rodowick, The Crisis of Political Modernism, Illinois University Press, 1985.

“Close-Up”, Jo Comino, Time Out, May, UK, 1985.

“An Interview with Peter Gidal”, Yann Beauvais, Rose Lowder, Scratch, n.6, Paris, 1985.

Jacqueline Rose, Sexuality in the Field of Vision, NLB/Pantheon, 1986.

You Zheng Li, Western Film Theory and Films , Beijing, 1987.

“Denials”, Michael O’Pray, The Elusive Sign, Arts Council of Great Britain/British Council, 1988, ISBN 0 86355 062 2.

“From Structuralism to Imagism” (Peter Gidal and his influence in the 80s), Nicky Hamlyn, Undercut n.19, London Filmmakers Co-op, 1990, 0267 8497.

Angela Moorjani, The Aesthetics of Loss and Lessness, St.Martins Press, NY / Macmillan, London, 1992.

Sean Cubitt, Videography Video Media as Art and Culture, Macmillan, 1993, 0 333 55556 2.

“Peter Gidal and Anarchic Criticism”, Darren Tofts, Journal of Beckett Studies, vol 2, no 2, Spring, 1993, pp85-93.

“Peter Gidal”, Michael O’Pray, A Directory of British Film & Video Artists, Arts Council/University of Luton Press, 1996, 1‑86020‑003‑6.

“Peter Gidal”, leaflet, Centre Georges Pompidou, April, 1996.

Michael O'Pray (ed), The British Avant-Garde Film 1926 to 1995, Arts Council/University of Luton Press, 1996, 1‑86020‑004~4, pp 5, 6, 12-14, 17, 18, 19-20, 106, 107-8, 110, 111, 113-15, 118, 124, 137, 140, 144, 145-70, 171, 173-4, 175-77, 183, 185, 188,213,220-2,224, 226,228,231,233-4, 261-2, 268-9.

“Not Always All Ready”, Cerith Wyn Evans, Arts Council of England/Tate Britain, 1998.

A.L. Rees, “A History of Experimental Film and Video. From the canonical avant-garde to contemporary British Practice”, BFI, 1999, 0851706819, pp, 82-3, 85, 86, 90, 95.
“An Overview of Shoot Shoot, Shoot”, George Clark, Senses Of Cinema (Brisbane Film Festival), http://www.sensesofcinema.com/contents/02/21/shoot_shoot_shoot.html, 2002.

Mike Maziere; Nina Danino (eds), The Undercut Reader, Wallflower Press, 2002, ISBN 1-903364-47-7.

Nicky Hamlyn, Film Art Phenomena, 2003, BFI, 0851709729.

writing by the artist

"Peter asks Gidal", Peter Gidal, programme note, IRAT Robert St, London, April, 1970.

"Talking Head", Peter Gidal, Time Out (cinema supplement), UK, 1970.

“Filmmakers Co-op - Back and Forth”, Peter Gidal, Time Out, Nov-19, UK, 1971.

“The London Film-Makers Co-Operative”, Peter Gidal, Time Out, Sep-24, UK, 1971.

“Heinrich Viel by Adolf Winkelman”, Peter Gidal, Time Out, Mar-03, UK, 1972.

“Hollis Frampton's Zorn's Lemma”, Peter Gidal, Time Out, Jun-06, UK, 1972.

[On Frampton], Peter Gidal, Pseuds Corner, Private Eye, June, UK, 1972.

“London Film-Makers Co-Op - Chomont, Mekas, Dwoskin”, Peter Gidal, Time Out, Feb-11, UK, 1972.

“Valie Export - Viennese Action Artist”, Peter Gidal, Time Out, Oct, UK, 1972.

“On Warhol’s Time”, Peter Gidal, Rules and Meanings: The Anthropology of Everyday Knowledge, Penguin Books, 1973.

“On Photography”, Peter Gidal, Studio International, September, UK, 1973.

“Theory and Definition of Structural/Materialist Film” (original version), Peter Gidal, Studio International, Film Issue (reprinted in Mike O'Pray The English Avant Garde Film, Luton Univ Press/Arts Council, London 1997), 1975.

“Beckett & Others & Art: A System”, Peter Gidal, Studio International, November, UK, 1975.

“Theory and Definition of Structural/Materialist Film”, Peter Gidal, Structural Film Anthology (ed. Peter Gidal), BFI, 1976, ISBN: 0 851 700535.

“Letter on Ontology”, Peter Gidal, Screen, Summer, 1976.

"Film Print", Peter Gidal, Arte Inglege Oggi, British Council 1976.

“Andy Warhol's Kitchen”, Peter Gidal, Perspectives on Brit Avant-garde Film, Hayward Gallery, London, 1977.

“Some Problems Relating to Warhols Still Life”, Peter Gidal, Artforum, May, USA, 1978.

“Exchange on Theory and Definition..”, Peter Gidal, After Image, n.7, UK, 1978.

[Talk at Millennium], Peter Gidal, Millenium Film Journal, issue.2, USA,1978.

“Beckett’s TV play Ghost Trio”, Peter Gidal, Artforum, May, USA, 1979.

“The Anti-Narrative”, Peter Gidal, Screen, Summer, 1979.

[Interview with PG on Aesthetics], Time Out, Jan-18, UK, 1980.

[Letter response ], Peter Gidal, Time Out, Jan-25, UK, 1980.

“13 Most Beautiful Women And Kitchen”, Peter Gidal, Undercut n.1 London Filmmakers Co-op, 1981.

“'The Current British Avant-Garde Film: Some Problems In Context”, Peter Gidal, Undercut, n.2, London Filmmakers Co-op, 1981.

“Politics, History, and the Avant Garde”, Peter Gidal, Wide Angle, March, USA, 1983.

“British Avant-garde Film”, Peter Gidal, notes for Collective for Living Cinema, April, USA, 1983.

“British Avant-garde Film”, Peter Gidal, Millennium Film Journal, n.13, USA, 1983.

“Film as Film” , Peter Gidal, Art and Artists, April, UK, 1983.

“Against Sexual Representation in Film”, Peter Gidal, Screen, November, 1984.

“On Julia Kristeva”, Peter Gidal, Undercut n.10, London Filmmakers Co-op, 1984.

“Fugitive Theses re: Therese Oulton’s Paintings”, Peter Gidal, Therese Oulton (catalogue), Gimpel Fils, London, 1984.

“On Beckett’s Ghost Trio Video Play”, Peter Gidal, Transmissions, ed. by P. d’Agostino, Tanam Press, NY, 1985.

“On Malcolm Le Gnce's Finnegan's Chin”, Peter Gidal, Undercut, n.5, 1985.

Peter Gidal, “Understanding Beckett: A Study of Monologue and Gesture in the Work of Samuel Beckett, Macmillan, London; St. Martins Press, NY, 1986.

“Technology and Ideology in Avant-Garde Film: An Instance”, Peter Gidal, The Cinematic Apparatus, ed. by Teresa de Lauretis and Stephen Heath, Macmillan, London; St. Martins Press, NY, 1986.

“The Anti-Zoom (A Little Polemic against Metaphor)”, Peter Gidal, Review of Contemporary Fiction, Summer, USA, 1987.

“Dialogue and Dialectic in Godot”, Peter Gidal, Casebook: Beckett¹s Waiting for Godot, ed. Ruby Cohn , Macmillan, London, 1988.
“Aesthetic And Politics: Working On Two Fronts?”, Martina Attille, Peter Gidal, Isaac Julien, Mandy Merck, Undercut n.17, London Filmmakers Co-op, 1988.

“Against Metaphor”, Peter Gidal, Fascicle Books, London, 1988.

“Metastasis By The Aleinikov Brothers, Moscow: A Review”, Peter Gidal, Undercut n.18, 1988.

Peter Gidal, Materialist Film, Routledge, London, 1989, ISBN: 0 415 00382-2.

“Warhol’s Early Films”, Peter Gidal, Warhol Film Factory, ed. Michael O’Pray, BFI, 1989.

“Beckett and Sexuality”, Peter Gidal, Women in Beckett, ed. Linda Ben Zvi, University of Illinois Press, 1991.

Peter Gidal, Andy Warhol, Films and Paintings: The Factory Years, Studio Vista 1971, Reprint Da Capo Press Inc. New York, 1992, 0-306-80456-5.

“Gegen Metapher”, Peter Gidal, Neue Filmtheorie , Löcker Verlag, Vienna, 1992.

“Endless Finalities/Endlose Endlichkeit (Gerhard Richter's Painting)”, Peter Gidal, Parkett, March, 1993.

“No Eye: Theoretical Reflections on the Eye, Metaphor, Film and Video”, Peter Gidal, The Savage Eye, ed. Catharina Wulf & Jean-Michel Rabate , Rodopi, Amsterdam, 1995.

"The Polemics of Paint, Richter in the 1990’s", Peter Gidal, Gerhard Richter, Anthony d’Offay Gallery, London, 1995.

“Different and the Same” (Richter, Oulton, Warhol), Peter Gidal, ACT (Art, Criticism, Theory), Pluto Press, n.3, UK, 1997.

“Flashbacks: Peter Gidal”, Peter Gidal, Filmwaves, n.7, UK, 1999.

“Once is Never: Warhol’s Saturday Disaster and Blowjob”, Peter Gidal, Andy Warhol: Series and Singles, Yale University Press, 2001.

"There Is No Other" (response to Cate Elwes), Peter Gidal, Filmwaves, N.14, UK, 2001.

“Speaking of these Paintings” (Discussion with Therese Oulton), Therese Oulton: Clair/Obscure, Marlborough Fine Art, 2003.

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