This is an Animated Documentary and wrap around campaign to raise awareness and talk about some of the mental health wellbeing difficulties parents may face during pregnancy, birth and after. The aim is to emotionally support parents and enable them to find support. First hand testimonies along with animated characters and storylines open up conversations and experiences that are often difficult to start or hear. This film is directed by Emma Lazenby through ForMed Films, a not-for-profit Community Interest Company.
London’s fifth annual Factual Animation Film Festival was hosted at the Cinema Museum on 8th December 2019. 21 short animated documentaries were screened across two programmes. Between the screenings there was a discussion panel featuring Rory Waubly-Tolley, director of There’s Something In The Water, Diana Gradinaru, director of What Is Consciousness?, Simon Ball, director of Do I See What You See?, and Haemin Ko, director of No Body.
The AnimatedDocumentary.com team are delighted to announce that the FAFF best animated documentary of 2019 has been awarded to Rosa Fisher director of Sent Away.
Sent Away explores the psychological impact that attending boarding school had on Rosa’s father, Tom. The film addresses the atmosphere of punishment, obedience and isolation that led each pupil to develop a hardened exterior. The film concludes by speculating how this emotionally traumatic cultural practice, common among Britain’s political elite, has shaped the UK. Sent Away, despite focusing on the childhood of a middle-aged man, is prescient in the lead up to the UK’s general election. One of the candidates for prime minister forged his identity in the competitive toxicity of Eton, the UK’s most elite boarding school. The other did not.
|FAFF 2019 Programme|
|Programme 1, 12pm|
|1||There’s Something In The Water||7||Dinosaur Blues|
|dir Rory Waudby-Tolley||2019||UK||dir Oleon Lin||2019||China|
|There are two types of lakes in the South: them that’s got giant salvinia, and them that’s about to.||In urban China, a man makes plasticine figures of popular characters.|
|2||No Body||8||What Is Consciousness?|
|dir Haemin Ko||2019||UK||dir Diana Gradinaru||2019||UK, Romania|
|An autobiographical experimental animated poem on the director’s immigrant experience.||Classic cartoon tropes are manipulated in this nightmarish story about memory.|
|3||Passage||9||Do I See What You See?|
|dir Asavari Kumar||2019||USA, India||dir Simon Ball||2018||UK|
|An Indian woman revisits her immigration journey through the illusion of the American Dream.||How do changes in the brain cause us to see differently?|
|4||A Letter To Myself At 16||10||Patchwork|
|dir Claire Tankersley||2019||USA||dir Maria Manero||2018||Spain|
|Five years after her sexual assault, there is so much that she wishes she’d known when she woke up the next morning.||The story of a 60 year-old woman’s liver transplant, as told by her donor.|
|5||Embraces & The Touch of Skin||11||Solos|
|dir Sara Koppel||2019||Denmark||dir Gabriella Marsh||2019||UK|
|An animated poem about the vital need for embraces and contact with other beings.||A portrait of a day in a single square in Barcelona.|
|6||My Dad’s Name Was Huw|
|dir Freddie Griffiths||2019||UK|
|Freddie’s late alcoholic father left behind a number of poems through which we might understand his experience.|
|FAFF 2019 Programme|
|Programme 2, 2pm|
|dir Samantha Moore||2019||UK||dir Michaela Režová, Ivan Studený||2018||Czechia|
|Animated fabric brings the story of a lingerie factory in Manchester to life.||In urban China, a man makes plasticine figures of popular characters.|
|2||Sent Away||7||The Elephant’s Song|
|dir Rosa Fisher||2019||UK||dir Lynn Tomlinson||2019||USA|
|A child sent to boarding school must contend with the trauma of abandonment.||The sad but true story of Old Bet, the first circus elephant in America.|
|3||Fifteen-Two||8||The Children of Concrete|
|dir John Summerson||2019||UK||dir Jonathan Phanhsay-Chamson||2017||France|
|The filmmaker’s mother recalls her parents’ indomitable relationship, strengthened by their love of games.||An immigrant child’s conflict with ethnic and national identity.|
|4||O Hunter Heart||9||Eadem Cutis|
|dir Carla MacKinnon||2019||UK||dir Nina Hopf||2019||Germany|
|Nature and domesticity collide in a dark take of love and loss.||A person’s attempt to frame their conflict with dysphoria.|
|5||The Drip||10||1 Minute History of Image Distortion|
|dir Leonie Ketteler||2019||Netherlands||dir Betina Kuntzsch||2017||Germany|
|You’ve never seen Chlamydia in quite this way before.||Material resistance in film history.|
Directed by Anja Kofmel and screened during Cannes International Critics Week in 2018, this feature length documentary ,which fuses a mix of live action, archive and animation, is a remarkable investigation into the death of war journalist Chris, Kofmel’s late cousin.
This personal story, rich with emotion explains how the death of Kofmel’s cousin has impacted her entire life. Chris travelled to the Croatian War of Independence in the 90’s, and much of the film is set in and around Zagreb. Kofmel appears herself in the film both as a child in animated form and as an adult in live action. We see her visit the places Chris had been, such as hotels and battle grounds and talk to the people he met, such as fellow journalists and ‘soldiers’, in an attempt to discover why and how he died. I thought the inclusion of the animation production process as part of the film was a nice touch, the storyboarding and concept sketches forming part of her search.
The animation is spellbinding, black and white 2D and created in TV Paint, there is the feeling of movement and texture in the drawings as the ink bleeds into the ‘paper’ whilst images are formed and animated. The depiction of Chris and other characters is very clear, the characterisation of them and Kofmel’s direction holding up well against any photos or live action of those people. In particular the key characters, not alive today to give testimony, the animation is adding and ‘filling in’ for the missing live action that we require in order to tell Chris’s story. But the animation is not merely a device for the live action. It brings a new level of understanding to the documentary in the way in which it morphs, transcends time and geographical boundaries. There are symbolic themes in the animation, such as that of the animated lines that denote the lines in Chris scarf, or the black painterly marks that follow Chris, which instantly make me think of death. These devices guide us through the narrative, and act as signifiers of important events. The animation explores memory, loss and emotion and through it’s movement is evocative of all these states.
A wonderful film, truly deserving of its critical acclaim. In my opinion, this is a fine addition to the animated documentary genre.
An important Animated Doc featuring the voices of Asylum Seekers detained on Manus Island, whilst en route to Australia. This animated doc is available on 99.media, a free platform broadcasting documentaries in 6 different languages.
“In July 2013, the Australian Government introduced a controversial immigration policy, transferring asylum seekers arriving by boat to remote offshore detention centres on foreign Pacific islands.
Seven months later, the Manus Island centre erupted in violence when police and guards put down protests with sticks, machetes and guns, and 23 year-old asylum seeker Reza Barati was killed.
We spoke to Behrouz and Omar, who are currently detained on Manus Island.
A wonderful longer form short animated documentary featuring the drawn diaries of Irina Pilke. Starting in 1942, many of her drawings are brought to life through animation Irina talks us through her diary, with wit and laughter.
Image credit: DOOZY by Richard Squires
Coming up from the 10th – 21st October is the London BFI Film Festival, featuring a brilliant selection of feature films, amongst which you can see two films of note; ‘DOOZY’ by Richard Squires and ‘Irene’s Ghost’ by Iain Cunningham. We will feature a review of the festival on animateddocumentary.com
DOOZY (UK, 2018), the debut feature from UK artist-filmmaker Richard Squires, is a creative documentary that employs ‘Clovis’, an animated antihero, as a means to explore the particular “voice” casting of cartoon villains in the late 1960s. Through the lens of one of Hollywood’s hidden queer histories, DOOZY contemplates the psycho-social relationship between villainy and hysterical male laughter; the use of voice as a signifier of ‘otherness’ and the frequently uneasy symbiosis of character and actor.
Image credit: Irene’s Ghost by Iain Cunningham, animation by Ellie Land
A few years ago now, but none the less, a fantastic lecture by academic Lawrence Thomas Martinelli, Uri Kranot and Soetkin Verstegen.
Martinelli introduces us to the various motivations for making animated documentary, through a series of case studies, whilst Kranot and Verstegen round up the lecture with some insights into the practicalities of making such animated films.
Martinelli investigates the “re – creating and re -constructing” of animated documentary, he talks about filmic hybrids and the need to complete in complete material, which is one of the motivations for using animated documentary.
Martinelli is also the founder of DOCartoon, Animation and Non Fiction Comics festival, Italy. http://www.docartoon.it/
A brilliant watch, rich with content – I know I will be sharing this with my students in their studies of animated documentary.
‘Ungvar’ is the name of the ship on which Aprily’s Grandfather, worked. The ship’s story is told while it is on loan from Hungary to the Nazi’s in the 2nd World War. This is a beautifully told story, with well crafted 2D drawn animation. The film does not feature a voice over – the indexical link to reality. However it does a very good job of providing historical and social re – enactment of a story that needs to be told. It utilises Animations ability to transcend fantasy and build on metaphor to relate to a real life event.
We featured this Short as part of our write up for Encounters Festival and Thank you to Ádám Harangozó for pointing us in the direction of this short.
A series of animated shorts illustrating young people’s perspectives of living as refugees and asylum seekers. Part of the BBC Two Learning Zone, this series won a Children’s BAFTA in 2012.
Produced by Mosaic Films in London, UK.
Director: Andy Glynne
Animation Directors: Salvador Maldonado, Karl Hammond, Tom Senior and Jonathan Topf
Alex Widdowson: Your film, Pep Mask, was released a couple of months ago, can you describe the response you’ve had so far?
William Marler: The film kicked off at a small student-lead screening which was nice, because it allowed me to address the audience directly beforehand, and was an ideal opportunity for my close friends to see it for the first time. The first festival screening it had was at Flatpack Film Festival in April and I had lots of nice comments from various people. Some people focused on the animation itself, looking at the film artistically (such as my use of colour, which is purposefully limited), and others took the story as their main “souvenir”. Both types of response have fortunately been overwhelmingly positive.
AW: How does it feel coming out so publicly as someone with cystic fibrosis?
WM: For me, Pep Mask isn’t some type of “coming out” moment for me, as most people know I have it, and those who don’t, don’t know because it’s an invisible illness. I’ve never tried to hide my CF and I’ve always been a very open person when it comes to my health. For example in 2015, I ran the London Marathon for the CF Trust, and promoted my doing so as a “CF patient running for CF”. It has been interesting to hear people’s responses who didn’t otherwise know I had it, or who had an incorrect view on certain aspects of it – but overall it’s not designed to be a revelation to people as such.
AW: Have you heard any feedback from people who suffer from the same condition?
WM: One aspect of CF is that patients can’t mix due to cross-infection, so I don’t personally know many people at all with it. I specifically tweeted it out to a guy who I follow on Twitter so he could share it on, and he really enjoyed it. I’ve had very kind responses from people associated with it however, such as CF parents. I’d say the film is still in its larval stage of promotion at the moment, but my aim is to get as many interested parties seeing it as possible.
AW: Do you think the film will contribute to raising awareness of the issue of people living and dealing with cystic fibrosis? Have you had any experience of this yet?
WM: The film is yet to reach its full audience potential, but I have great hopes that it can at least introduce people to the existence of the condition and the routine it entails for some people. However, I had always set out to create a film about my CF in particular; it wasn’t designed to be a charity film, nor about CF in general. I’ve been a bit more relaxed when it comes to those potential aspects of the film, but really, this is just one single case of the condition, and it’s more about how I have personally dealt with it and how my parents kept me well through my childhood.
AW: Are you comfortable with the advocate/poster boy role?
WM: Absolutely. As I said, I’ve never had a problem with people knowing I have CF, and I’ve always been very open about it. Specifically though, I’d really like to be an advocate for what exercise, regular, strict treatment, and a focused attitude to the condition can achieve, I want people to know that a CF diagnosis is not the end of a fruitful life, but merely the beginning.
AW: Do you feel your film has helped you come to terms with your condition?
WM: I’ve never had any need to come to terms with my CF, that’s something I’ve done naturally as I’ve grown older. However, the film revisits a specific memory I have with my parents, and it’s helped me come to terms with that. It’s a memory I still find upsetting now, but I’ve realised that I should focus not on what I did to upset them in that moment, but what they did by not giving up on me.
AW: Could you go into a little detail about the influences regarding your visual style and approach to storytelling?
WM: I was inspired to use the white stroke on black style by an animator I met in 2014 called Viviane Vollack. She joined my class at Uni and delivered a presentation in that style, and ever since I found it much more captivating than the standard black stroke on white background. The white really pierces your eyes and stands out more than black in my opinion. The colour and also the animation concept of breathing text in and out came from a drawing I did not long before production of the film began. I liked the link between breathing in and out, and receiving and giving speech. There’s a delivery-and-response aspect to both. The colour was designed to be a real contrast from the rest of the piece, particularly defining important foreground and background elements. For example, the red and white of the Michael Jackson BAD poster helped capture its constant presence on my left wall as I do physio every day. I often watch or listen to MJ during that time.
AW: Do you consider this film a documentary?
WM: Certainly, I’m documenting both a specific time (the memory I revisit) and also document a general, repeated routine. I wouldn’t necessarily describe it as a documentary in the sense that I am teaching the audience or delivering information, however it fits that genre in that it captures a very important, and real, part of my life.
AW: When I was making a film about my own mental health experiences I felt like a bit of a fraud as an artist, as if transcribing events that I’d experienced was not a creative process. Do you relate to that at all?
WM: If anything, I am so much more inclined to enjoy stories with a real human element to them. If a narrative is picked out of thin air then I don’t feel as strong a connection with the artist, whereas if there is something real about the story, even if it’s more visceral, my attention is captured more strongly. Not having to construct a narrative allowed me to focus on how to tell the story, both visually and chronologically.
AW: Can you compare your experiences of dealing with documentary and fiction in animation?
WM: Actually I wrote a whole dissertation about the blurred boundaries of animated documentary. Focusing on Ryan by Chris Landreth, I explored how both fictional and non-fictional elements can be merged within the genre. As I said, I tend towards non-fiction animation as my favourite, but what I loved so much about Ryan is how fiction, or more accurately, exaggerated elements of real life, can bring a whole new experience to the art form. Everyone reading this now open a new tab and watch that film, because it is absolutely superb.
AW: Do you wish to continue as an animated documentary director?
WM: No, or at least not just as an animated documentary director. I’ve never liked the idea of defining myself, even as an animator really. Whenever I think I’ve found my niche, I end up branching into more different areas and interests. For example, I’m currently exploring projects concerning dance film, infographics, documentary, and so on. I just create, a lot of it is animation, but not always.
AW: My apologies for asking such a clichéd question for a recent graduate; what have you got planned next?
WM: Not long ago I started my new job at Ember Television in Birmingham as their in-house Motion Graphic Designer which has been really exciting because I’ve had different types of projects to work with and recently allowed myself the opportunity to challenge both my work, and that of the company. I’ve also recently set up a dance film collective with fellow filmmaker Dilek Osman called Figure + Phrase which will hopefully begin operating soon. I’m also planning another project surrounding my CF, which is really exciting, but I’m keeping somewhat under wraps…