From The Soho News (January 14, 1981). — J.R.
“When I came to New York in September,” English avant-garde filmmaker and film theorist Peter Gidal tells me, “I noticed that almost every film review that I read used food metaphors and digestion metaphors to talk about art and cinema. Because consumption, digestion and predigestion is the dominant mode in this country. It’s just one signifier of the attempt to break with materialism and process, and to anthropomorphize everything.”
An “English” label should be assigned to Gidal only after some qualification. Born in 1946, he grew up in Mount Vernon, N. Y., and Switzerland and attended Brandeis University before settling in London in the late 60s. Although his accent sounds more redolent of Manhattan than of London, he has spent only two of the past 21 years in the U.S.
Regarding his opposition to food metaphors (as well as narrative), he recalls a drinking cup that he used as a kid for drinking milk. “It had a house on the outside, and on the inside, as you gradually drank, you could see the words, ‘The End.'”
“Which ties up with the idea of closure,” I suggest pedantically, referring to a discussion we’ve been having about Action at a Distance, his latest film.… Read more »