22 October 2020
Online
Developing work begun last year with Open School East, Rosie Carr and Jemma Cullen have been working with artists from the East Kent Mencap GOLD group and the Adult Education Centre in Margate to produce short films for the #almanaccare programme.
These films have emerged from a series of online conversations that took place during the lockdown period, where the group discussed their experiences of being neurodivergent. A recurring theme – and shared frustration – arose: that there is a general lack of understanding and discourse surrounding neurodiversity, ultimately leading to those with neurodiverse conditions to feel stigmatised and alienated from public life.
Using this as their focus, Cullen and Carr worked with the group to learn about what it means to experience the world from particular points along the spectrum of neurodiversity. Prompted by the question of a time when they felt misunderstood, the group began developing stories that explored both inner and outer worlds. That is, thinking about how the way we feel inside can be quite different to how we may act in public, or express ourselves externally to others.
Employing filmmaking skills learned last year to create a scenario, script, storyboard and treatment per short film, as well as being inspired by the innovative, yet DIY, format of TikTok, the group then tried to find ways to merge these inner and outer worlds together. Working with the limitations of social distancing, approaches to film-making have required creative workarounds, such as the use of a green screen or filming on hand-held mobile devices. The outcome makes for psychedelic viewing. Riffing off well-known TV tropes such as the chat show or sit-com, we become quickly immersed into the worlds of Essie, Lisa and Ben.
We begin by watching Lisa as a quasi- 'Good Morning TV' chat show host interviewing her best friend Essie about how their friendship began. What starts as a formal interview quickly becomes a kind of couples therapy session, where the pair intimately discuss their insecurities and fears, whilst simultaneously reassuring one another with affirmations of love and support. In the next film, again we see Lisa, but this time transformed into Elvis Presley as she takes us on an abridged journey of his life, filling us in on some lesser-known facts about The King of Rock and Roll. And in another short vignette Essie is the central focus, as she discusses some painful memories relating to her Borderline Personality Disorder, whilst Elvis reappears singing ‘Unchained Melody’ spliced with mesmerising footage of seals swimming underwater.
Through their deep understanding of one another – as well as a shared adoration of Elvis Presley – Lisa and Essie tenderly illuminate the value of what it means to have access to networks of care and support, where interdependent relationships have the ability to form and develop, based on mutual trust, kindness and patience towards one another’s idiosyncrasies. As the welfare state continues to be incrementally eroded by a Conservative government, and, in particular, whilst we are experiencing long periods of social isolation due to the pandemic, these bonds are more important than ever. Nevertheless, they should not be seen as a replacement for state provision, rather, they should be bolstered and supported by the government, given proper investment so that such relationships can flourish and multiply.
Meanwhile, in Ben’s film, we see him explore the frictions that can occur when his neurotypical family do not share his exacting standards. Ben has a strong enthusiasm towards collecting Pokemon - a hobby not entirely shared with his family members. Performing as both himself and the persona of ‘Granny’, Ben uses the technique of dual characterisation not only as a creative solution to the constraints of social distancing and self-isolation, but also to express his frustrations at feeling disregarded and misunderstood by those around him. Ben has been working on the character of 'Granny' since Carr and Cullen began making films with him last Summer. We can read her as a personification of his frustrations, employing tropes from the rich history of female impersonation in British TV comedy, whilst the overall tone of the film is something closer to an Alfred Hitchcock movie.
Through imaginative storytelling, technological innovation, alongside energetic performances, Ben helps us to reflect more thoroughly about the importance of managing relationships with family and friends during this time. In particular, his film reminds us that while we are perhaps spending more time with some people than usual – and less time with others – due to the restrictions enforced by the pandemic, it is more crucial than ever that we approach one another with consideration, compassion and tolerance.
Watch here the second part.
The project has been organized and curated by Joanna Harrison.
The project is supported by Arts Council England Grants for the Arts.
