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

TitleThe provocation of intermediality in the tableaux vivants in Magic Mirror and Confessions To The Mirror
AuthorsPucill, S.
TypeConference paper
Abstract

I will give a presentation on intermediality in the tableaux vivant in both films: Magic Mirror (75min, 2013)and Confessions To The Mirror (68min, 2016). This will follow a full screening of Confessions To The Mirror on the conference day. The day before the film Magic Mirror will screen.

Short synopsis on the films:

Magic Mirror is the first part of a diptych of films that re-enact photographs by the Surrealist artist Claude Cahun (1894-1954) as tableaux vivants and are accompanied by spoken text from Cahun’s writing. The text in Magic Mirror is from Cahun’s major manuscript Aveux non avenus (1930). The re-enacted images focus mostly on her well known self portraits. These re-enactments run alongside stagings from Cahun’s writing, sometimes combining the artists writing, with her photographs. The addition of time given to the re-staging of stilled images enables a prolonging of image, which is opened to a voiced soundscape. Out of these intermedial interactions, media, authorship, and the question of when interpretation becomes a creative act are made uncertain.

KeywordsPhotofilm, the archive, photography as film, stilled movement in film, experimental film, Claude Cahun,
Year2017
ConferencePhotofilm: Sampling the Archive

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

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

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

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/q2xq0/the-provocation-of-intermediality-in-the-tableaux-vivants-in-magic-mirror-and-confessions-to-the-mirror


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