Memoirs of My mother

Production Pack
Charlotte Whitworth
Stage 3: Reframing the Interface
BA (Hons) Digital Film and Screen Arts
University for the Creative Arts Farnham

CONTENTS
Treatment

Inspiration

Budget

Schedule

Equipment

11

Risk Assessment

13

Personal Appearance Release

17

Installation Plan

18

TREATMENT
Over the past few years I have grown as a person, to the point of realisation that I was
possibly a horrible child to be a parent to. I knew hardly anything about my parents
history, or either of the sides of the family in general, and this was something I wanted
to change. So, I decided to create a project based around finding out information Id
never known before, and this progressed into a connection with my mum that Id never
had before. Id known bits about my mums past, for example, when she was about 16
years old she was hit by a car, who then continued to reverse over her and then drive
off as they werent sure what they hit. This meant my mum had visible scars on her
face and body, as well as a plastic nose, and the majority of her teeth not being real.
However, by producing this installation I gained an understanding into my mums
childhood, I learnt about the highs and lows, and how it has changed how she looks at
life.
Theres one memory in particular, that I knew a little about, which affected my
mums life drastically. When she was 18 years old, her younger brother committed
suicide in the shed behind the house. He was found hanging from the ceiling by their
father, with a pile of stolen women underwear falling out of the closet, and I Cant
Stand Losing You by The Police playing in the background, the album of which had a
boy hanging himself on the cover. Due to them living on such a small island at the
time, my mother heard the story time and time again, until it got too much so she
decided to leave her family in Jersey and move to London. This will become the main
focus of my installation, because it was such a turning point for my mums life story,
even though it is incredibly morbid.
However, I will also focus on other memories my mother had as a child, many of
which were more positive about the island and the places within it. Although not a main
focus, these memories will be recreated as landscape photography. I will have a
conversation with my mum about her childhood, which will be recorded, and from this
places will be taken that she talked about, and then visited in person in able to
photograph them to capture the memory. Within the installation itself, they will take
the form of a story, which leads up to the suicide, and ultimately represents the suicide
in the end. It is a combination of taking what my mum would so happily talk about, and
something that would take her a while to open up about. Expressing the found
memories, and conveying them in a way that would show the negative side that would
be buried deep under them.
The installation itself involves all of what was described above. The main focus is
a hanging body made out of the landscape photography, recreating the death of my
mothers brother with the rest of her memories. The photographs will fall from the
ceiling, making the hanging body shape, and disperse at the bottom, spreading into
items that were found in the shed with her brother. In front of the body will be a plinth,
on which will be a photo album and an mp3 player containing the conversation with my
mother that runs the viewer through her story, and how her childhood came to an
abrupt end with a tragic loss of a loved one. I want to gain a reaction out of the
audience, to be able to place themselves into my mothers shoes and see what she
went through at such a young age. Its a submersion into her childhood, allowing the
audience to be connected to the story as they are being involved in a very personal and
private memory.

Inspiration
YISHAY GARBASZ - IN MY MOTHERS FOOTSTEPS

Garbasz is an artist who produces work within photography, performance and installation, her main field of which is trauma and the inheritance of post-traumatic memory.
The piece In My Mothers Footsteps is based on a personal matter, it follows the story
of her mothers childhood during World War 2 and her holocaust experiences. The project consisted of an exhibition of photographs and written word, as well as a book
which has been nominated for awards.
Garbasz truly placed herself within the work, and made the decision to trace her
mothers path, on foot, for over a year. I needed to see firsthand what remained of my
mother's memories. My mother left parts of her soul in those places, and I intended to
go back to collect them. And as I am a photographer, the camera was going to be my
tool to help me see. She even decided to use a large camera, as this would force her
to spend more time at each place in order to take in the location, and for the image to
appear to her.
This piece inspired me to try and gain the knowledge from my mum about her
childhood, but dig deeper so theres a more personal aspect in the work. It means planning to ask some more meaningful questions about everything, including getting my
mother to speak about aspects of her memories that she would often block out.

Inspiration
MICHAEL LANGE - WALD

Lange is a self taught photographer, from the age of eighteen he was interested in the
subject and then continued to learn over 10 years until he was getting his work into
magazines. For years he worked within journalistic photography for publications such
as Time and Newsweek, before returning to his own artistic projects.
WALD is a personal project based upon Langes childhood, he used it to open up
to private stuff and go deep, so went back to the woods in which he felt safe as a child.
The forest behind the house was my refuge. All together WALD was a slow process, a
kind of incrementalism. This was my first landscape project. A personal approach was
needed, a photographic language demanded. So over weeks and month I literally let
myself get lost deeper and deeper into the woods and tried many different techniques,
perspectives and approaches.
Inspiration from this came in a similar way to In My Mothers Footsteps, allowing
myself to go deeper into myself and produce a piece of work that is very private to give
it a meaning. As with WALD I will be going back to where I find safe, and that is within
the comfort of my mother. It may become a projection of her childhood, however it is
also my own as Im creating a bond between the two of us that may not have been
there before.

Budget
Area
Trip

Cost ()
Transportation (Ferry)

75

Accommodation (AirBnb)

Equipment

Installation

260

Food

50

Transportation (Bus)

20

Transportation (Train)

20

Transportation (Coach)

10

Extras

40

Tripod

20

Camera Bag

15

Lens Kit

27

Telephoto Lens

76

Photo Paper

10

Fishing Wire

Clothing

Free

Record Player

20

Record

6.50

Photo Album
Total

11
666.50

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EQUIPMENT
Nikon D3200

Product Type

Digital camera - SLR with Live View mode, movie recording

Sensor Resolution

24.2 Megapixel

Field of View Crop Factor

1.5

Optical Zoom

3x

AE/AF Control

3D-tracking AF, Face-priority AF, Subject-tracking AF

Digital Video Format

H.264, MOV

Image Recording Format

JPEG, RAW + JPEG, NEF (RAW)

Max Video Resolution

1920 x 1080

Light Sensitivity

ISO auto, ISO 12800, ISO 100-6400

Max Shutter Speed

1/4000 sec

Min Shutter Speed

30 sec

Exposure Compensation

5 EV range, in 1/3 EV steps

Exposure Range

EV 0-20 ( ISO 100 )

11

EQUIPMENT
18-55mm Lens

Type

3 x zoom lens - 18 - 55 mm - f/3.5-5.6 G Nikon

AF-S DX VR

Focal Length Equivalent to 35mm Camera

27 - 82.5mm

Focus Adjustment

Automatic, manual

Min Focus Distance

28 cm

Max View Angle

76 degree(s)

Zoom Adjustment

Manual

Filter Size

52 mm

Lens System Mounting

Nikon F

55-200mm Lens

Type

3.6 x zoom lens - 55 - 200 mm - f/4.0-5.6 G

Nikon AF-S DX VR

Focal Length Equivalent to 35mm Camera

27 - 82.5mm

Focus Adjustment

Automatic, manual

Min Focus Distance

1.1 m

Filter Size

52 mm

12

BA (Hons) Digital Film & Screen Arts

RISK ASSESSMENT
P
r
o
d
u
c
t
i
o
n
title
The contents of this risk assessment must be communicated to all students, staff, contractors,
actors and persons involved. In the case of a studio production a copy of this assessment must be
displayed on set.

Campus: Farnham
Course: Digital Film & Screen Arts

Unit

Year 3

Grou
p

Student Producer name & phone number (NB - all students are responsible for safety in production):
Charlotte Whitworth 07854135764

Unit leader(s): Kathleen Rogers

Proposed date(s) and times(s)

Travel/Set up date(s) / time(s):

Shooting date(s) / time(s):

Pack down/travel date(s) / time(s):

09/03/2016

09/03/2016 - 15/03/2016

15/03/2016

1. Exact location of
filming, including
address & post code.
1a. Location
Permission

Jersey, Channel Islands

Upper Kings's Cliff, St Helier JE2 3GP, Jersey

Mark where you are at with an X

Yes

In the process of getting it (incl

details of where you have got to
ie email confirmation)

No

Do you have signed location

permission?

Does your location require you to

complete their own risk assessment?
If so, attach it to this risk assessment.
Have you notified the local Council
and Police? You must do so if you are
doing any of the following:
Filming in a public place
Using weapons
Have cast in uniform

1b. Address & phone

number of nearest
Walk-in Centre or
Minor Injuries Unit

The Parade, Jersey, Channel Isles JE1 3QS

1c. Nearest bus and

train stops to location
/ local taxi phone
number

! of 3
1

N/A

13
July 2013

1d. Fire / emergency

plan
1e. Work facilities
food & drink, toilets,
secure storage etc
2. Brief summary of
set & nature of filming
/ activity

Photography of landscapes and certain structures, will be focusing around a conversation

with my mother that has a basis on her childhood on the island.

3. Names and contact Name:

details of the
production crew / cast
Charlotte Whitworth
/ documentary
participants. Add
extra lines as you
need to.

Role:

Contact number

Photographer

7854135764

4. Identify potential hazards; who could be affected; how they could be affected; and list the
control measures that will reduce the risk. University H&S policies can be found here.
Hazards or
hazardous
activity

Who may be affected?

Crew, actors, participants (documentary), crew,

helpers, public.

How may they be harmed?

Type of injury or health problem that might result i.e.

cuts, bruises, fractures, electric shock, burns etc.

List the control measures you will

put in place to reduce risks from
the hazards to an acceptable
standard

Evaluate the
probability
and
consequence

Control measures should ultimately reduce the overall risk.

Do not purely rely upon providing Personal Protective
Equipment or rely on just being careful

Indicative values for P column (P = Probability)

L = might happen, but unlikely
M = could happen
H = will probably happen

Indicative values for C column (C = Consequence)

L = can return to filming work after minor attention
M = person unable to work for 3 days or longer
H = permanent injury or death

P
L

Access/ Egress

Crew may be affected by the fact that

the island cannot be left easily, may
cause mental issues

Make sure everyone gets breaks, and allow

time to get used to the island.

Booking with a reliable company, as well as

making sure all their safety checks are done.

Aircraft / flying

Crew and the public may be affected if

the plane we are flying on
malfunctions. Depending on the
severity of the issue injury may result
in death.

Make sure all crew have the correct

medication with them, and also keep some
spare allergy relief medicine just in case.

Allergens

Crew may be affected if they have

allergies to anything in the surrounding
area, such as; pollen or animals.
Sneezing, flaring of the skin, and other
problems may arise.
Animals may cause obstruction for the
crew, causing them to fall or possibly
be trampled by the animal.

Make sure the area is clear of animals, and

that all crew are aware of their surroundings

Animal

Audience / public

Public may cause obstruction for the

crew, causing them to fall

Make sure the area is clear of the public, and

that all crew are aware of their surroundings

Crew may be harmed when visiting old

structures on the island, can result in
injuries to the body.

Make sure all buildings are safe to go inside,

and contact the owners to check that we are
allowed inside and is safe to do so

Boats
Compressed gas /
gas
Confined spaces
Cranes, hoists, lifts
& access platforms
Derelict buildings,
dangerous
structures
Diving operations
Electricity

! of 3
2

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July 2013

Falling objects

Falling objects such as tree branches

or parts of buildings may cause harm
to the crew

Make sure the area is clear of debris that

could fall and hurt the crew, also make sure
the crew is aware of surroundings

Carrying supplies on backs may cause

injury to crew, mainly back injury

Make sure all crew are safely carrying their

bags, also that breaks are taken every so
often to rest

Fire
Generators
Glass
Hand tools
Hazardous
chemicals
Heat / cold
Inexperienced /
children /
vulnerable persons
Location Lighting
Machinery
Manual Handling
Mines, excavations
/ tunnels / quarries
Noise

Physical exertion

Carrying supplies on backs may cause

injury to crew, mainly back injury. Also
due to long periods of walking crew
may become tired.

Make sure all crew are safely carrying their

bags, also that breaks are taken every so
often to rest

Photographing in a variety of weather

and at night may cause issues to crew,
injury may be caused by something
they cannot see

Make sure all crew carry lights at night and

have the appropriate gear for all weathers.

Poor visibility /
night shooting

Walking along side roads may be a

hazard for crew, worst case scenario
means the crew falls off balance and
into the road

Take precautions next to roads and make

sure all crew are a safe distance away from
traffic

Roadside working,
traffic, vehicles

Stress may affect all crew, mainly

mentally but also physically with things
such as tiredness and loss of balance

Make sure all crew are getting enough rest

on journey, and allow time to relax between
shoots

Crew will be photographing near large

bodies of water, injury to crew may
occur in various ways

Make sure all crew are safe distance away

from the water, also that it is safe to be in or
near the sea at the time

Scaffolding
Speed (running or
other sport - not
vehicles)

Stress
Stunts
Trailing cables
Messy
environment
(equip / props)
Violence,
aggression, public
disorder, war
Visual effects:
smoke, snow,
fireworks
Water

! of 3
3

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July 2013

Weapons

Weather

Various types of weather may affect the

crew in a variety of ways

Make sure all crew are aware of the

predicted weather, as well as having all the
necessary clothing and equipment to deal
with various weather types.

Lone working
Working at height
Other (list and add
rows if necessary)

Mark an X next to your choices

5. With control measures in place what is the

Minor
1

6. How likely is the most significant hazard to

cause harm?

Unlikely
1

Likely
2

Low
12

Medium
34

likelihood of an injury or health effect?

7. Calculate the risk score (use the figure

which represents the highest risk of all present
hazards)

Moderate
2

Major/Fatal
3
X

Very Likely
3

High
69

13. Signatures
The names below are confirming the date that they have read and discussed this risk assessment
with the production team. Based on the information supplied on this form it is noted that the
control measures are considered appropriate and proportionate to the hazards identified. At all
times, students retain responsibility for their own safety and for those around them.

Student Producer:

Date:

Production Coordinator:

Date:

Unit Tutor:

Date:

Technician/Tech Tutor (supervising if studio based):

Date:

Estates Services Manager (where UCA routes, building features etc are impacted):

Date:

Resources Co-ordinator/Manager (Medium/High Risk):

Date:

Course Leader: (High Risk/International Shoot):

Date:

Health, Safety & Wellbeing Advisor (High Risk/International Shoot):

Date:

Executive Dean (International Shoot):

Date:

! of 3
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July 2013

17

INSTALLATION
The final installation will focus on the death of my uncle, and how it affected my
mother. This will be done by using the photographs that represent my mothers positive
memories of the island, and tranforming them into what seems like a hanging body.
The illusion will be created by having various photographs hanging from the ceiling at
different lengths, showing the shape of a body. It'll be based within an approx. 5ft x 5ft
square, and within that will be the falling photographs, the plinth with the album on it
along with a way to listen to my mums story to immerse the viewer further. As well as
these aspects, there will be some items within the installation that almost recreates the
scene when he was found. From having a very delicated conversation with my mum I
found out about how he was found, with stolen womens clothing falling out the
cupboard, and the song Cant Stand Losing You by The Police on the record player, the
album cover of which has a boy hanging himself.
The final installation will have:
Approx. 300 6x4 inch black and white photographs
String/fishing string
Plinth
Photo Album 29x32cm
Sound recording
2x Headphones
Possibly - womens clothing, bin bag, record player, Police - Can't Stand Losing You
album
See the following plans for details, as well as the attached packet that has a more
detailed version.

18

Installation (Front)

19

Installation (ABOVE)

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