Stacy Bias is a Glasgow-based animator, activist and artist. A part of her animation studio, Your Story Studio, ‘Yoga For Larger Bodies’ is a 2016 animated documentary which tells the story of one woman’s experience as a plus-sized yoga instructor.
The story is told through a continuous line-drawn animation which visualises the experiences and emotions shared through the narration. The piece aims to put emphasis on all bodies and all kinds of health being of equal value. The continuous line of the animation represents meditation, union and connection, all of which are key elements of yoga practice. ‘Yoga For All Bodies’ is a beautiful and heartfelt short animated documentary which is definitely worth a watch.
Carrie Hawks‘ (they/them) is a gender non-conforming artist, designer, animator and filmmaker based in New York, US. They work with a wide span of media and methods of making such as performance, doll-making, drawing, animation, motion graphic design and multimedia design.
Hawks’ film titled ‘Black Enuf*’ explores expanding Black identity by interweaving personal stories from their great grandmother’s autobiography, interviews with friends and family, and hand-drawn visualisations of their own memories. The 22 minute film offers a mix of media and is experimental in style; it uses hand-drawn elements alongside scanned textures and digital artwork.
Hawks summaries the film as follows : ‘A queer oddball seeks approval from Black peers despite a serious lack of Hip-Hop credentials’ (via).
‘I am interested in the concept of skin and race, and what they imply; the ideas and theories sown into our flesh that change with the arc of time’ – Ng’endo Mukii (via)
Ng’endo Mukii holds a Master of Arts from the Royal College of Art (2012) in London, and a Bachelor of Arts from the Rhode Island School of Design (2006), USA. She is an award-winning filmmaker and is currently Professor of Practice at Tufts University, School of the Museum of Fine Arts. She is a writer on Netflix’s Mama K’s Team 4 series, and is one of 10 directors selected for the upcoming Disney+ and Triggerfish animated anthology, Kizazi Moto: Generation Fire.
Mukii describes ‘Yellow Fever’ as an exploration of the international fashion and beauty industry and it’s racist hierarchy. Her focus is the impact this has on the psyche of African women:
‘I believe skin and the body are often distorted into a topographical division between reality and illusion. The idea of beauty has become globalised, creating homogenous aspirations and distorting people’s self-image across the planet. In my film, I focus on African women’s self-image, through memories and interviews, using mixed media to describe this almost schizophrenic [sic] self-visualisation that I and many others have grown up with.’ (via)
‘Our earliest childhood memories, often episodic, are one of our most intimate experiences’ – Mary Martins (via)
Mary Martins is a London-based animator and filmmaker. She is experimental in her practice, attempting to push boundaries of animated documentary and explore innovative new ways to portray reality. Martins was the 2017 winner of the Procreate Project Mother Art Prize and her films have been screened at multiple festivals around the world.
Commissioned by BFI and BBC4, ‘Childhood Memories’ by Mary Martins is a multi-layered film which utilises stop-motion and 2D digital animation, as well as 16mm colour film footage from 1970s Lagos, Nigeria. This autobiographical short explores childhood memories and cultural backgrounds.
Martin’s reflected upon the starting point for the film, linking it to her earliest child hood memory: “… when I accompanied my mother to Lagos, Nigeria in 1987. I was 4 years old. I was too young to remain in London with my Father and my two older sisters.” (via)
Watch ‘Childhood Memories’ here. (Available only in the UK)
Ana Mouyis is an animator, illustrator, filmmaker and educator based in Louisiana, US. In 2020, animateddocumentary.com’s Alys Scott Hawkins interviewed Ana about her film ‘Cambia Tutto’ which takes the viewer through the small Italian village of Canieza and emphasises how the town has changed over time. ‘Cambia Tutto’ was screened at multiple film festivals in Europe, the US and Brazil, and won Fisheye Film Festival’s 2021 Audience Award for best short documentary, and The Americas Film Festivals 2020 award for best experimental short.
Read Alys’s interview with Ana Mouyis:
How did the film come about?
The film was created as part of a residency opportunity in Canieza, Italy – musician Fox Schwach and I applied as a collaborative. The residency asked for work that connected to the location; a small village in Northern Italy. In our proposal we pitched the idea of creating a short film that would act as a portrait of the town, I would direct the animation and Fox would create a score. When we arrived we were so struck by the scenery of it all and wanted to make a contemplative piece that would highlight the beauty in the details of this small town.
Can you tell us about the motivation for / meaning of the film?
A lot of it had to do with the circumstances – we wanted to make a film about this small village but we had never been there so part of the process was getting there and immersing ourselves in the environment. For this reason we decided to work with replacement animation and hyperlapse as that would require us to explore and spend hours walking around photographing the surrounding area. One thing that became clear to us conceptually as we worked on this piece was that we were interested in building a portrait of this town through small/often-overlooked details. Photography (rather than video footage) allowed us to zero in on all these tiny details. For example, taking hundreds of pictures of different flowers from all over the village, we can put them together into a longer mesmerizing sequence, which would be different than just filming some flowers swaying in the breeze. In a general sense, both Fox and I, in our work, are interested in the sort of life and vibrancy that come from imperfections of hand-made/manual processes. Embracing some of the shaky/jittery processes of this kind of animation appealed to us for this project, so the viewer could get a feel for the human element that went into making it.
One aspect that really helped to inform the shape of the final film was the interview with Wilma Andrighetto, the mother of Paola De Martin, who is one of the residency organizers (and owners of the house we stayed in). Wilma has lived in that town her whole life. Her view on how the town has evolved over the years became a central conceptual element to how we put the film together. It was important to us to have some local perspective to keep it from just being a kind of travelogue
Where will it be screened or distributed?
We initially released it on Vimeo because of the pandemic, especially with how badly it was affecting Italy. With everyone in lockdown we felt it was a good time to put it online and share it freely, rather than only showing it at film festivals or galleries as we had originally planned. It’s been gratifying to share it with our friends and family and broader networks and hear that it’s helped people’s cabin fever in some small way. More recently it has screened at a number of film festivals and online showcases in Europe and the US.
What are you working on next?
This summer I will be returning to Cyprus, where I grew up and will be an artist in residence at Animafest Cyprus animation film festival. During the residency I will work on the production of an experimental documentary animation about the culture of Cyprus. By highlighting the commonalities between the customs and traditions of its divided peoples I hope to foster a greater understanding and empathy between the segregated communities in the North and South of the island. Fox and I will collaborate again on this project with him assisting me with audio recordings and sound design as well as composing an original score.
Corrie Francis Parks, a Montana based animator and photographer, took part in the New Zealand based Fulbright academic exchange award. Her fellowship culminated in the creation of the 14-minute animated documentary ‘Conversing with Aotearoa’. (Aotearoa is the most widely know and accepted Māori name for New Zealand.)
Francis Parks writes about the film: ‘In an age of technological integration and urban life, people turn to the natural world for a wilderness experience. What draws us to the remote corners of land and sea when we realize something in our lives is missing? Conversing with Aotearoa/New Zealand uses unique visual imagery to take the viewer into the physical and mental wilderness encompassed in the diverse landscapes of New Zealand. In this animated documentary, New Zealanders attempt to fathom their deep, personal connection with their land. Among the interviewees are hunters, fishermen, farmers, trampers, mountaineers, adventurer-racers, conservationists, ecologists, artists, urban and rural dwellers, Pakeha, Māori and tourists, young, old and in between. The thread that ties them all together is a passion and love for the wild places in New Zealand.’
‘Conversing with Aotearoa’ is mostly compiled from photographic animation techniques interjected with partially fluid hand drawn scenes. These are characterised by a pastel colour palette and a feathered quality of line.
The film is speckled with bracing moments and cinematic experimentation. The time-lapse footage of starfish in a rock pool demonstrated the filmmaker’s fascination with the varied and wondrous environment. The title scene where the mountain range appears to breath is similarly striking.
There are however some less successful moments. A Māori spirit/mask spins around a struggling mountaineer, presumably to symbolise his relative powerlessness when confronted with the overwhelming power of nature. The crude rotational movement of the Māori design, when combined with a quaint woodwind instrumental score, felt visually disappointing and distracted from the absorbing account of mountainous peril.
Although only a trailer is available on Vimeo, the full 14-minute version is accessible through SnagFilms, an online documentary streaming service supported by advertising. It is free to sign-up but expect to receive a weekly email unless you unsubscribe.
Christoph Steger directs a mixed-media, live-action and animated documentary centred on the cinematic aspirations of Jeffery H. Marzi, an outsider science fiction screenwriter. Steger and Meghana Bisineer adopt the visual language of Marzi’s illustrations, bringing a selection of his fantasy scenes to life. The animated sequences are interwoven with an observational documentary style that dominates the film.
Jeffery was born with brain damage. Although he exceeded doctors predictions concerning his learning ability, the 42 year old recognises his limitations and harbours anxiety about ending up homeless. Despite his preference for reliable work, as a mailman or mechanic, consistent rejection in the job market has led Jeffery to write and illustrate concepts for Hollywood blockbusters. For the past 15 years these have been photocopied and mailed to movie producers all around the world.
Channel 4’s Animate Projects scheme funded this documentary in 2008. Christopher Steger offered his insight in a video interview which is hosted on their website. “In lack of a better term…” Steger places Jeffery’s practice in the field of Outsider Art. Paraphrasing the sentiments of Jean Dubuffet and Rodger Cardinal, Steger describes the raw authenticity of emotion in Jeffery’s work, which is lacking in the self-aware, contextualised practices of trained artists.
Steger continues: “I like life, and animation is almost the opposite, it’s all about fantasy. So I felt a relief to be able to have Jeffery take care of all that. He does all the imaginary work of the visuals and it’s down to me to bring them to life…. The real film for me and the artistic challenge is in the structure of the poetry, and trying to bring out those poetic moments of a story like Jeffery’s.”
Steger’s film ‘Mother’ was featured on the blog in January 2013. He as recently made much of his work available on Vimeo.
Alex Bland conjures the atmosphere of wartime Britain in this nostalgic exploration of the R.A.F.’s Bomber Command, a battalion charged with the treacherous task of attacking German targets at the dead of night. Set out in a roughly chronological narrative, archive recordings and contemporary interviews with ex-crew members narrate the early stages of excitement during enlisting, followed by the eventual reality of the mission.
A great strength of this film is its ability to adjust tone by changing medium. Alex Bland begins by adopting the aesthetic of wartime enrolment poster design. Using this style as a starting point he continues to masterfully employ a multitude of techniques; combining rotoscoped hand painted animation, laid over textured backgrounds and combined with elements of archive footage. CGI, 2D digital, collage and hand painted components support the diverse imagery in this accomplished animated documentary. Bland presents a particularly beautiful archive description of a raid that took place through a wall of searchlights. This stimulated a distinctively pleasing scene that is almost abstract in its formal arrangement barring the silhouette of the plane.
In another scene that is set to the visuals of a comic scrip, an American pilot gives an account of an effective raid over Berlin, which is almost flippant. His account is detached entirely from the deadly result of the mission, instead he includes phrases like; “I could see the bombs going down very nicely… I enjoyed it very much”. This film does not address the more contentious nature of the task these pilots were charged with. Essentially they were enforcing the British equivalent of the Blitz, dropping bombs that would inevitably cause civilian casualties. I was left speculating whether this issue was not dealt with because it was not a problem for the airmen interviewed. They may have felt it was their duty and possibly even a fair one in the context of war. However I also wondered if the filmmaker’s nostalgia for the subject matter pushed the narrative away from such controversy. Bland explains in concluding titles that the film is dedicated to his Grandfather along with the other men from the Bomber Command killed in the Second World War. An additional puzzling note states that none of the airmen set with this duty were ever commemorated with a medal for their bravery.
This film manages to capture effectively the naïve feeling of excitement at the beginning of the war, a sense of camaraderie felt between the airmen along with the drama and the formal beauty found in such destruction. The film addresses the tragedy associated with loss of life in the Bomber Command whilst maintaining a traditional lack of emotion associated with the British spirit’s stiff upper lip. As the narrative was constructed from half a dozen different accounts a sort of cross chattering effect distracts from an otherwise clear narrative. This is however an acceptable side effect when collating such a multitude of sources. ‘I Dreamt of Flying’ has collected an award from the Imperial War Museum and received the staff pick from Vimeo. Animated Documentary found this film on the vimeo channel Doco-anim.