Blind light (2007)

Pucill, S. 2007. Blind light (2007). 66 East 4th Street, New York, NY 10003

TitleBlind light (2007)
CreatorsPucill, S.
Description

A 20 minute 16mm film which explores the materiality of film and the body. ‘Blind Light’ is a film exploring the materiality of film and the body. The film experiments with light and narration, bringing voice to

our relationship with light, film and spectatorship. It is an example of Pucill’s longstanding – and ongoing - engagement with the

relationship between the subjective, the autobiographic, and the form, process and materiality of the medium of film.

It is filmed in the artist’s London loft studio. From within this space Pucill produces images by controlling the light she allows into

the frame. She lifts the blinds or pulls them shut, applies filters to the lens or removes them, opens wide the aperture or closes

it. Each performance, each action threatens the image as it shifts in and out of ‘proper’ exposure until it disappears completely.

The camera throughout is set to face a window, focusing either on it or on the sky. The artist narrates her camera operation

while referencing a state of being, or describing what it is like to see what she and the viewer are seeing. ‘I can’t look’, she says

‘the clouds are coming in’, ‘there’s been no rain for weeks’, ‘the eye burns, swells, looses focus and disappears in a stream’.

Blind Light is a single screen film for cinema and gallery, shown from a projector or DVD.

Funded by AHRC (£20,000) and ACE (£5000). It is distributed by Lux, BFI, and distributors in Paris, Toronto and USA.

Date2007
EventMillenium Film Workshop

Related outputs

Collaborating with Claude Cahun: Between Photography and Film
Pucill, S. 2020. Collaborating with Claude Cahun: Between Photography and Film. in: Schmid, M. and Knowles, K. (ed.) Cinematic Intermedialities Edinburgh Edinburgh University Press.

"Coming To Life" and Intermediality in the Tableaux Vivants of Magic Mirror and Confessions To The Mirror
Pucill, S. 2018. "Coming To Life" and Intermediality in the Tableaux Vivants of Magic Mirror and Confessions To The Mirror. in: Smith, V. and Hamlyn, N. (ed.) Experimental and Expanded Animation: New Perspectives and Practices Switzerland Palgrave Macmillan. pp. 231-255

The provocation of intermediality in the tableaux vivants in Magic Mirror and Confessions To The Mirror
Pucill, S. 2017. The provocation of intermediality in the tableaux vivants in Magic Mirror and Confessions To The Mirror . Photofilm: Sampling the Archive. GUGA (Centre of Architecture), in co-operation with the Metropolitan University, Budapest, Hungary. 19 Sep - 19 Nov 2017

Confessions To The Mirror
Pucill, S. 2016. Confessions To The Mirror. London Film Festival

Magic Mirror
Pucill, S. 2015. Magic Mirror. The Nunnery Gallery, London

Magic mirror
Pucill, S. 2013. Magic mirror.

Phantom rhapsody
Pucill, S. 2010. Phantom rhapsody.

Fall in frame
Pucill, S. 2009. Fall in frame.

Taking my skin
Pucill, S. 2007. Taking my skin. Toronto, Canada

The 'autoethnographic' in Chantal Akerman's news from home, and an analysis of almost out and stages of mourning
Pucill, S. 2006. The 'autoethnographic' in Chantal Akerman's news from home, and an analysis of almost out and stages of mourning. in: Hatfield, J. (ed.) Experimental film and video: an anthology Eastleigh, UK John Libbey. pp. 83-92

Stages of mourning
Pucill, S. 2006. Stages of mourning. 66 East 4th Street, New York, NY 10003

The question of the subject and the autobiographic in artists moving image practice
Pucill, S., Hatfield, J. and Reynolds, L. 2004. The question of the subject and the autobiographic in artists moving image practice. Filmwaves Magazine. 24 (2), pp. 5-9.

Permalink - https://westminsterresearch.westminster.ac.uk/item/91zv6/blind-light-2007


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