Coda Ii

Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’

Peter Gidal’s starting point for his 16mm film was a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs. Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’.

In the midst of trying to legitimize his business dealings in 1979 New York and Italy, aging mafia don, Michael Corleone seeks forgiveness for his sins while taking a young protege under his wing.

The second part: Brakhage’s layering of images spends less time with images of war, and begins filtering in scenes of Vienna and his home in Colorado. He sets up a comparison between “Kubelka’s Vienna” and his own.