Bibliographic record
Abstract
16mm film which tracks a dialogue between the artist and her mother, exploring the pleasures of maternal embodiment as a model for a different kind of imagined spectatorship. Directed, written, produced, performed, shot and edited by Pucill. Won Marion MacMahon Award for best women's autobiographic experimental film at Toronto (April 2007). ‘Taking My Skin’ tracks a dialogue between Pucill and her mother. Their exchange ranges from narrating the filming process ‘in\n\nthe moment’ to relations in an earlier time – ‘how long do you think it takes for a child to become separate?’ Throughout the\n\njourney film spaces continuously dissolve and collapse only to separate again. Sometimes the artist is behind the camera,\n\nsometimes the mother, sometimes both simultaneously behind and in front, or neither. Both perform, film, and alternately\n\ninstruct, position and direct the other. Formally and thematically, the film is an exploration of closeness, of synching, and the\n\nthreat this poses to the self. The film touches lightly upon the pleasures of maternal embodiment as a model for a different kind\n\nof imagined spectatorship, presenting a carefully staged experiment in the physical and ethical relationship between camera\n\nand subject.\n\nThe filming process was integral to the film, eliding distinctions between filming and performing. Pucill and her mother, who had\n\nnever used a camera before, arranged the filming themselves. The use of synch sound and dialogue marked a significant\n\ndevelopment in Pucill’s filmmaking process.\n\nThe film won the Marion MacMahon Award for best women's autobiographic experimental film at Images Festival of Film and\n\nVideo, Toronto (April 2007). Other festival screenings include Cork (2006), European Media Art Festival, Osnabruck, (28.04.07).\n\nGallery screenings include ‘Intervention’, Fieldgate Gallery, London (14.09.07 – 15.10.07); Millenium Film Workshop, New York,\n\n(November 2006); 'Mother Cut', New Jersey University Gallery (forthcoming 2008, co-exhibitors include Mary Kelly and Mona\n\nHatoum); Greenwich Picture House (2007) as part of Pucill’s ‘Subjective Camera’ curation. The project won funding from ACE\n\n(£10,000) and AHRC (£17,000). It is distributed by Lux, BFI, and distributors in Paris, Toronto and USA. Reviews include\n\nVertigo (Spring 07).
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.001 |
| Research integrity | 0.001 | 0.000 |
| Insufficient payload (model declined to judge) | 0.018 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".