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.

TitleThe question of the subject and the autobiographic in artists moving image practice
AuthorsPucill, S., Hatfield, J. and Reynolds, L.
JournalFilmwaves Magazine
Journal citation24 (2), pp. 5-9
Year2004
Publication dates
Published2004

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 - 20 Nov 2017

Whose History? Feminist Advocacy and Experimental Film and Video
Reynolds, L. 2017. Whose History? Feminist Advocacy and Experimental Film and Video. in: Clayton, S. and Mulvey, L. (ed.) Other Cinemas: Politics, culture and Experimental Film in the 1970s London I.B. Tauris. pp. 138-149

Ballet Black
Reynolds, L. 2016. Ballet Black. Screen. 57 (1), pp. 80-86.

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

Controlling Agent: Artist and Spectator in the Film Actions of Gill Eatherley and Annabel Nicolson
Reynolds, L. 2015. Controlling Agent: Artist and Spectator in the Film Actions of Gill Eatherley and Annabel Nicolson. in: Bovier, F. and Mey, A. (ed.) Cinéma Exposé/Exhibited Cinema Lausanne, Dijon ECAL.

"Non-institution": finding expanded cinema in the terrains vagues of 1960s London
Reynolds, L. 2015. "Non-institution": finding expanded cinema in the terrains vagues of 1960s London. in: Bovier, F. and Mey, A. (ed.) Cinema in the Expanded Field Zurich JRP/Ringier.

A collective response: Feminism, film, performance and Greenham Common
Reynolds, L. 2015. A collective response: Feminism, film, performance and Greenham Common. Moving Image Review and Art Journal. 4 (1 & 2), pp. 90-101.

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

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

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

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