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.
Helen Mason, founder of Animation Therapy, has been running Animation on Prescription conferences biannually at Encounters Festival since 2010. This year she organised a free public screening and a workshop for medical, dental and veterinary professionals designed to help them confront their own compassion fatigue. Helen explained that compassion fatigue was brought sharply to her attention when an occupational therapist colleague committed suicide. Further research revealed that both the dental and veterinary industries had very high suicide rates. Mason suggested that the same must be true for medical professionals, though the National Health Service here in the UK (NHS) does not keep records of staff suicides. She pointed out the irony that NHS staff absences due to illness or fatigue, are documented rigorously.
Lord Stone of Blackheath, an active political advocate for issues relating to mental health, started the morning session by sharing his personal perspective on compassion fatigue. He also discussed the awareness campaign he’s helping Helen Mason to launch.
Unfortunately I missed Lord Stone’s group discussion, but waiting for the next natural interval afforded me time to sketch the beautiful workshop setting. Floating Harbour Films is a Dutch barge moored to the Welshback stretch of the river Avon in the centre of Bristol. This venue, along with the workshop facilitators, donated their time and resources without charging in order to raise money for the Bluebell Charity fund. Bluebell supports people struggling with pre and post-natal depression and anxiety.
After some brief introductions the group began the first set of exercises. The majority of participants were occupational therapists (O.T.’s) looking to learn Helen’s techniques to use in their own practice. Each participant was given a few sheets of uniformly sized card and instructed to draw in landscape format. The first image could be whatever we liked, presumably to warm us up. For the second we were asked to express the concept of compassion (see example drawing above).
Maria Hopkinson-Hassell, the animation facilitator, encouraged us to place our drawings carefully within the defined brackets on a well-lit board. One by one we photographed our images, importing them straight onto a laptop which was running stop-motion software. When looped, the end result was a chaotic flickering montage, held together visually by the consistent paper size and positioning.
Our next task was to recall a moment of resilience from the past, a time when we had to keep going despite fatigue or distress. We were asked to express these feelings on a piece of paper, cut to the shape of our hand. An unexpected intimate moment was subtly orchestrated by Helen as she encouraged each participant to have their hand traced by someone else from the class.
This activity resulted in an explosion of colour. A herd of occupational therapists gathered around the art supplies table, gradually spreading them in disarray across the workshop. Time restraints prohibited us from attempting an animation with our kaleidoscopic hands; instead Helen insisted we write our names diligently on the back with the promise that they’d be animated in our absence and safely posted back to us.
After drawing Simon Critchley colouring in his paper-hand, we had a quick chat. In a few words he articulated why animation seems to lend itself so well to art therapy: for a lot of his clients, control is not something they have experienced much in their recent history: animation offers a chance to play with extraordinary levels of control, if only for the duration of these short improvised productions.
Nigel Smith, a retired-doctor-turned-animation-workshop-leader, volunteered his face to co-star in the next pixillation exercise. A rostrum-mounted camera photographed his expressions from above as a second workshop participant moved figures, cut from magazines, across a glass table which intersected the photographic field. This method sparked a conversation about Peter Gabriel’s Sledgehammer music video, produced in 1986 by Bristol- based Aardman Animation.
Following a sunny lunch on the deck of the barge, Helen gathered us in a circle to facilitate a group discussion about compassion fatigue.
Helen (above, identifiable by the black dress) concluded the group discussion by asking us to write a postcard to our future selves. In two weeks this will be sent back to us, along with our illustrated hands. We all wrote supportive advice that should remind us how to be kind to ourselves and help us prioritise our well-being.
The final animation activity was facilitated by Tim Webb, Royal College of Art, and the director of ‘A is for Autism’ (1992), a seminal animated documentary which emerged from a collaboration with several young people with autistic spectrum disorder (ASD).
Each workshop participant was instructed to make a miniature version of themselves out of colourful lumps of Newplast Modelling Material. The 11 tiny figures shared the limelight in a claymation ensemble within the short film which gradually emerged. In between frames we participants huddled around the set, incrementally adjusting our respective putty avatars.
At 3pm we dispersed across Bristol city centre, congregating a few hours later at the Watershed, Encounters Festival base camp. Helen presented two programmes of films; the first consisted of animations created in collaboration with service users. The aforementioned ‘A is for Autism’, kicked off the programme as an example of best practice.
The screening also included films produced by Animation Therapy such as ‘The Haldon’, a film made by staff and service uses at a ward for people struggling with eating disorders in Exeter.
The second programme included films by professional animators, many of whom are well known for their animated documentary work. Helen emphasised the value of collaborative work with animators when exploring therapeutic topics. Andy Glynne’s production company, Mosaic Films, featured heavily; several shorts from their British Animation Award winning series ‘Animated Minds: Stories of Post Natal Depression’ were included. ‘Mike’s Story‘ stood out to me, as particularly touching.
Follow this link if you wish to donate to the Bluebell Charity fund for people struggling with pre and post-natal depression and anxiety. We look forward to many more years of Helen Mason hosting Animation on Prescription events at Encounters Short Film and Animation Festival.
AnimatedDocumentary.com is getting ready to cover the Encounters Short film and Animation Festival. The festival runs from the 20th to 25th September across a number of Bristol’s cultural venues. Friday 23rd September looks to be an exciting day for Documentary Animation fans:
At 12 noon the 5th Animation programme, A Look Inside, will be screened at the Watershed, focusing on the aspects of medicine, emotional and psychological conditions. The programme explores topics like memory, ageing and perception. It features recent films from Samantha Moore and George Sander-Jackson, familiar names in UK the UK ahi-doc scene.
On the same day Animation Therapy will also be running a workshop from 10am-4pm under the ‘Animation on Prescription’ banner. The workshop is focused on the theme of compassion and is aimed at health professionals, dentists and vets. Documentary animation directors, Tim Webb and Em Cooper, will be teaching along side the occupational therapist and director of Animation Therapy, Helen Mason.
Later that day at 4.30pm there will be an Animation on Prescription screening and networking event featuring examples of films created in a therapeutic context. Great Ormond Street Hospital, Aardman Animations and TPO Uganda are just some of the institutions featured.
Alex Widdowson from the blog team here at AnimatedDocumentary.com will be attending the entire festival looking for other ani-doc snippets. Click on the event links for details about booking tickets.
“Silent Signal is an ambitious project that brings together six artists working with animation together with six leading biomedical scientists to create experimental animated artworks exploring new ways of thinking about the human body”
Image copyright Samantha Moore ‘Loop’ 2015
Image copyright Ellie Land ‘Sleepless’ 2015
The six animations are currently on a year long tour, with the latest exhibition at Wellcome Genome Campus, Cambridge until September 2016.
You can watch all of the films online on the silent signal website, alongside artist interviews and a useful science guide. Check out the every expanding events section to find out about screenings, public talks and workshops that support the tour.
Check out the trailer for Signe Baumane’s first feature expiring mental illness through the stories of five women in her family – ‘a funny film about depression’.
Upcoming screenings around the world in Sept & Oct 2014 listed here:
And a series of ‘making of’ shorts here: http://www.rocksinmypocketsmovie.com/Process.html
Signe’s portfolio site here: http://www.signebaumane.com
Over on the Society for Animation studies blog, ‘Animationstudies 2.0’, there are a number of articles written on the theme of animation and health, two of which feature writing about animated documentary.
Samantha Moore’s piece called “Secret Architecture – the construction of Loop” is about her recent work on the Silent Signal project with Animate! and Wellcome Trust, for which she paired up with scientist Dr Serge Mostowy. The r&d work they produced explored Mostowy’s work with zebrafish models in microbiology. In this article Moore discusses her exploration of the gap between theory and methods in the scientific process and her response to this through animated documentary. We featured the Silent Signal project here on the blog a few months back.
Dr Nichola Dobson in her article ‘From one extreme to another’ writes about two animations which explore genital cutting in women and questions the practice of female genital mutilation. Both of these animations have featured on this blog, ‘Everything was Life’ and ‘Centrefold’ and were directed by me – Ellie Land.
A quick search for animated documentary on the animatiomnstudies blog, brings up many relevant posts about the topic and the blog covers many more areas of animation. Well worth exploring:
Released over a year ago this animated docmentary looks at the current UK trend for labia surgery, a procedure which trims and tidies a woman’s labia.
Directed and designed by animateddocumentary.com’s co founder Ellie Land.
A whistle-blowing story, which lends itself to the animated documentary genre, mostly because of the ethical considerations in protecting peoples’ identity. The following synopsis is taken from the films entry on YouTube:
“In August 2006, caregivers at the Sonoma Developmental Center found dark blue bruises shaped like handprints covering the breasts of a patient named Jennifer. She accused a staff member of molestation, court records show. Jennifer’s injuries appeared to be evidence of sexual abuse, indicating that someone had violently grabbed her.
The Office of Protective Services opened an investigation. But detectives took no action because the case relied heavily on the word of a woman with severe intellectual disabilities. A few months later, court records show, officials at the center had indisputable evidence that a crime had occurred.
‘In Jennifer’s Room’ is part of a reporting package that recently won a George Polk and an IRE award, and was named a finalist in the Pulitzer Prize’s Public Service category.”
It is not often one comes across a CGI film with such a consistently rich sense of artistry. With his film ‘Caldera’, Evan Viera and a substantial team of supporting artists demonstrate a brilliant sense of composition, lighting design and mastery of the 3D medium.
This animated short attempts to represent a series of visual hallucinations that take place during a psychotic episode experienced by the female protagonist. Viera is not interpreting his own experiences, but those of his father, a long-term sufferer of schizoaffective disorder. The title refers to the self-destructive process of collapse when a volcanic crater is formed after a major eruption.
As there is no attempt by the film-maker to claim this to be a documentary it may be unfair to criticise this short on the grounds of accuracy when depicting an unstable mental state. The psychological phenomenon is by its very nature subjective, however the lack of discord present in the character’s demeanour was striking. The protagonist spends most of ‘Caldera’ looking calm and concentrated in the context of the fantastical happenings she experiences. When depicting a gross thought disorder such as this it might be be fair to suggest that the subject would likely be considerably less composed during such events.
Evan Viera writes that his father has “danced on the rings of Saturn, spoken with angels, and fled from his demons”. The traces of these delusions are quite literally interpreted in ‘Caldera’ yet the feeling is very much second hand in tone. Watching this glistening film gives one the impression of a challenging CGI exercise more than that of a depiction of pathological imbalance.
When viewing this film on Vimeo we are confronted in the blurb by Viera’s statement about his father. The film-maker wants us to be aware of the direct link between the protagonist’s vision and his father’s experiences of mental illness. For that reason I propose this is a documentary of sorts. Although it is based on second-hand observations, the film makes an effort to interpret a subjective experience that most of us could never fathom. Viera repackages it as a digestible image sequence granting the audience insight into a fascinating and difficult topic.
However, the story telling is carried on the back of the film’s aesthetic. The synopsis, for instance, is minimal. In essence a sad-looking woman decides to not comply with her medication (an enormously contentious point in its own right which is not really addressed), leaves the city and goes for a swim. Within the ensuing visualisations good and evil are represented through the colours blue and red, as well as by an animal sprit guide and a telekinetic daemon. Such simplistic symbols are surprisingly successful as narrative features and indicators of tonal change. The absence of dialogue inhibits our expectation of further explanation leaving the imagery to speak for itself. (Spoiler Alert) A lack of resolution is apparent at the end of the film; the screen fades to white during an unjustified moment of mortality. This sequence is treated with such casual romantic vagueness one can only hope, for the protagonist’s sake, that drowning is an extension of her delusion; if not then we are left with a quizzically cynical finale.
‘Caldera’ left me nourished visually but a little under-fed intellectually. A sumptuous film with an elegant air of visual poetry which sadly was not complimented by the reductive narrative.
Animated public information film ‘The Story of Cholera’ explicitly depicts methods of transmission, prevention and treatment of the bacterial disease in a simple and informative manner. The commissioning body, Global Health Media, explains the film ‘follows evidence-based guidelines, has been field-tested, and reviewed for accuracy and content’.
The entire sequence is strikingly utilitarian, breaking the conventional codes of pace found in mainstream film and television in order to emphasise the crucial learning points; for instance twice the viewer is left lingering on an image of a someone washing their hands properly. This film does not pull any punches; diarrhoea and vomiting is frequently depicted and explained in plain descriptive language.
Largely in black and white, colour is used to illustrate the presence of the invisible bacteria. As Western viewers we might take for granted how public health campaigns and detergent advertisements have helped us visualise how disease is spread. At the film’s resolution colour seeps into the black and white palette. This visual metaphor, despite it’s incredibly simplistic symbolism, is suitably optimistic.
The absence of lip-sync indicates one of the crucial functions of this film. Already it has been dubbed into nine languages and there are more in the pipeline. Global Health Media claim the film has been screened in 175 countries around the world. Animated Documentary wishes the campaign further success.