1,745,818 research outputs found
Confessions To The Mirror
No full textFunded by Arts Council of England, Financial Assistance University of Westminster
Distributed by LUX (London Film Festival Premiere)
Amidst a visual extravaganza of costumes and hand-made sets, Sarah Pucill's new film Confessions To The Mirror takes its title, from the French Surrealist artist, Claude Cahun’s (1894-1954) incomplete memoir (Confidences au miroir, 1945-1954). Following Cahun’s text, the film includes Cahun’s early and later life and work including her political propaganda activity and imprisonment in Jersey with her partner Suzanne Malherbe during the Nazi occupation of the island. The tracing of a life is made conscious through the projection of images of the couples home in Jersey into a domestic London setting.
As a sequel to Pucill's previous film, Magic Mirror (16mm, b/w, 75min, 2013), Confessions To The Mirror (16m, col, 68min) continues Pucill's experiment to bring cinematic life to the photographic and written archive of Claude Cahun. In her new film Pucill animates re-stagings of Cahun’s black and white self-portrait and still–life photographs with voices from Cahun's text Confidences au miror, collaging and transposing Cahun's black and white stills and words, into colour and soundscape
Labour as leisure - the Mirror dinghy and DIY sailors
No full textThe Mirror was conceived in 1962 by Barry Bucknell as a kit boat for amateur woodworkers. Bucknell was the first popular DIY expert, appearing on television programmes throughout the 1950s and 1960s. He played a major role in the popularization of home improvement as a leisure activity, particularly amongst men. In collaboration with Jack Holt, a yacht designer, he also managed to revolutionize the previously elite sport of sailing. This paper explores the place of the Mirror dinghy in the development of the post-war male’s role in the home. Working with frameworks drawn from social and cultural theory, it argues that DIY and the home workshop acted as means of integrating men into family life, whilst simultaneously preserving existing masculine role models. The paper concludes that the success of the Mirror dinghy can act as a representation of increased social and economic autonomy for large sections of the British population in the last half of the twentieth century
Jersey Premiere Screening of Confessions to the Mirror
No full textJersey Premiere Screening of Confessions to the Mirror as part of the 75 year Celebration of the Liberation of Jersey.
Jersey Film Festival, Jersey Arts Centre.
The screening will be introduced with a presentation by the filmmaker
Confessions to the Mirror Staged in an Exhibition
No full textThe film Confessions to the Mirror (2016) will be staged in an exhibition entitled Under the Skin, alongside work by the Surrealist artist Claude Cahun at Cobra Museum, Amstelveen, Netherlands. 13 Sep 2020 - 10 January 2021, Curated by Julia Steenhuisen
Bagdam Lesbian Festival, Toulouse, France, screening of Confessions to the Mirror
No full textScreening of Confessions to the Mirror. Presentation and Q+A. I was invited to present my film as part of a film series connected to the Bagdam Festival
Ottawa Art Gallery Screening: Confessions to the Mirror
No full textScreening of Confessions to the Mirror (16mm, 68min, 206) with a presentation by the filmmaker on both the film and the film installation concurrently in the gallery.
To take place in the cinema space at Ottawa Art Gallery, Ottawa. It is part of events running alongside the exhibition: Face à Claude Cahun et Marcel Moore, curated by Michelle Gewurtz (12 October 2019- 7 February 2020)
Dortmund / Cologne Women's International Film Festival Official Selection: Confessions to the Mirror
No full textOfficial Selection Confessions to the Mirror at Dortmund / Cologne Women's International Film Festival, Dortmund 2019. I was invited to present the film at the festival, after which the Festival Director Maxa Zoller did a Q+A with me
Review of Harriet Archer, Unperfect Histories: The Mirror for Magistrates, 1559-1610
Full text linkFirst paragraph: Until recently, the Mirror for Magistrates was one of those texts that early modern scholars frequently cited, but rather less often read. Highly influential and clearly popular in its own day, serving as a model and source for writers from Shakespeare and Spenser to Daniel and Drayton, the Mirror was one of those embarrassing scholarly secrets. Everyone knew that they should have read it—and certainly everyone knew that the early moderns read it, often with great enthusiasm—but few actually bothered. The dismissive attitudes of earlier generations of critics appeared to die hard: following E. M. W. Tillyard’s castigation of its ‘execrable verse’ and C. S. Lewis’s caustic observation that ‘[n]o one lays down the Mirror without a sense of relief’, critical attitudes were invariably dismissive or outright hostile.[1] The Mirror, it seemed, was one of that legion of once popular and significant texts fated to be misrepresented and misunderstood by later readers and subsequent eras.Output Type: Book Revie
Transgressive Art «Before the Mirror»
No full textThis article seeks to contrast and compare the function and effect of the aesthetic gaze in a group of ‘mirror’ poems, focusing upon issues of representation and the male gaze in Swinburne’s «Before the Mirror’ and three poems by Hardy, «The Cheval Glass», «I Look into My Mirror» and «Lament of the Looking Glass». The analysis is focused and theorised with reference not only to the Lacanian mirror-phase but also the notation of aesthetic and cultural transgression in Bataille and Blanchot. Discussion focuses particularly on the ‘ghostly’ sensuality of Swinburne’s ‘pleasures’ and ‘pains’ in terms of the aesthetics of decadence and the representation of the subject-in-process. It is argued that the symbolist ekphrasis of Swinburne’s poetics gives way, in Hardy, to a poetic language which echoes and transmutes the fading materiality of dialect and folk speech
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