Peter Gidal b. 1946
Upside Down Feature (1967-1972)
16mm
76 mins, Colour and B&W, Sound (Magnetic)
(Also called: Upside Down Backward Negative Out-take feature, Mainly) Clarification attempt. Bending time + space, reconceptualization, unbending, dissociativeness of word and image, disconnection, interruption. Hopefully transformative 'use' of Proust, Duchamp, Beckett, Cage.
How it is what it is. (1972).
""UDF explored the problem of simultaneous function of two distinct language forms which draws attention to the fallacy of assuming that communication occurs during the process of sympathetic involvement common to the technique of the commercial movie. It does this by keeping before the viewer what is being communicated and how, rarely if ever allowing a "standard" representation or reference to reality." Malcolm Le Grice - After-Image 4 (1973).
""I would love this film to be seen more now. The questions it raises and provokes, and the viewing it demands, is relevant to much current aesthetic practice." Peter Gidal (1987). "Now in 2009 this film which was shot on reversal so there is no negative, exists again for which I am grateful". Peter Gidal, London.
RESOURCES:
Thanks to Peter Gidal for giving us permission to host his films.
This UbuWeb resource is presented in collaboration with Lux
76 mins, Colour and B&W, Sound (Magnetic)
(Also called: Upside Down Backward Negative Out-take feature, Mainly) Clarification attempt. Bending time + space, reconceptualization, unbending, dissociativeness of word and image, disconnection, interruption. Hopefully transformative 'use' of Proust, Duchamp, Beckett, Cage.
How it is what it is. (1972).
""UDF explored the problem of simultaneous function of two distinct language forms which draws attention to the fallacy of assuming that communication occurs during the process of sympathetic involvement common to the technique of the commercial movie. It does this by keeping before the viewer what is being communicated and how, rarely if ever allowing a "standard" representation or reference to reality." Malcolm Le Grice - After-Image 4 (1973).
""I would love this film to be seen more now. The questions it raises and provokes, and the viewing it demands, is relevant to much current aesthetic practice." Peter Gidal (1987). "Now in 2009 this film which was shot on reversal so there is no negative, exists again for which I am grateful". Peter Gidal, London.
RESOURCES:
Thanks to Peter Gidal for giving us permission to host his films.
This UbuWeb resource is presented in collaboration with Lux