‘A Conversation with Haris’ by Sheila Sofian

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A young Bosnian immigrant recounts his experience with war, illustrated in painting-on-glass animation.

The Paint on glass technique used in this film is a great example of what this technique can do. We are visually drawn, pulled, pushed, washed and wiped through the memories of a young boy as he recounts his experience of war. His memories dissolve and reconstruct as we travel seamlessly through time and space in a seemingly endless wave of images, which commands our interest.

The Directors voice can be heard asking direct, probing questions, which results in some unsettling honest answers, accounts of brutality and murder of Haris’s family members, it’s hard listening coming from such a young boy and reminds us of the strength animated documentary can poses in giving voices to those that we dont always get to hear. This is an important film.

We were very lucky to collaborate with Sheila for the first Animateddocumentary.com award given at FAFF 2016

http://www.sheilasofian.com/

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‘Feeling My Way’ by Jonathan Hodgson

Annabelle Honess Roe recently released the cover image of her new book, ‘Animated Documentary’ (published by Palgrave), on her ‘Animating Documentary’ blog. The image features a still from the film ‘Feeling My Way’ by Jonathan Hodgson. Honness Roe indicates the personal significance of this film when she writes that it ‘…first got me thinking about how animation can function in documentary.’

Commissioned by Channel 4’s Animate Projects and Arts Council England in 1997, the director, Jonathan Hodgson, combines live action point-of-view shots filmed in 35mm and Digibeta, overlaid with hand painted and drawn animation.

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Hodgson has been able to observe and deconstruct the thought processes which occur passively when one is engaging with one’s surroundings. This is a phenomenon which takes place when no deliberate attempt is made to think clearly about a particular topic. Personally, I am impressed by the lucidity and universal sense of subjectivity this film evokes. Simina Pitur comments on the film’s Vimeo page ‘At last, I have found a piece of art that accurately translates what I feel 24/7.’

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Rather than beginning by storyboarding, I wonder whether Hodgson first filmed his journey then tried to deconstruct why his eye was drawn in a certain way, or for what reason he was not actively observing anything. I am fascinated by how he was able to capture what is often an abstract cognitive experience in a believable sequence.

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While I often expect I am viewing my surroundings with the crisp objectivity of a video image in fact it is more likely my attention is shifting between weighted content, be it appealing or repulsive. I sometimes observe in hindsight that while on auto-pilot my mind had been taken completely from my surroundings. This film tangibly depicts subjectivity with rare effectiveness. Such a feeling of recognition of one’s self in another person’s work is more commonly restricted to less subtle field of observational stand-up comedy!

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‘Feeling My Way’ is strangely reminiscent of a scene in James Cameron’s ‘The Terminator’.  In an introductory scene the audience is granted the point of view of the murderous robot in which a combination of audio-visual information is processed by recognition software and cross-referenced with a database. These relatively crude visualisations help the artificially intelligent machine to navigate and decode its surroundings. Google have recently produced ‘Glass’ a voice-command operated headset with a transparent eyeglass frame-mounted screen. This allows you to observe the world augmented by smart device abilities such as satellite navigation and Google search. As this sort of technology develops and becomes more prevalent our technological experiences might become tangibly close to some of the scenes depicted in ‘Feeling My Way’.