It has been a kind of gratifying week with a lot of uncertainty being clarified. As regards the schedule of activity, I have now – as of a few minutes ago – finished collecting all the still images and sound effects for the film. These are all the archival images and sound clips that will accompany the narrator’s and voice actor’s words and film footage.
The only outstanding still image is one that I only found out about this week. A professional artist that I am close to, named Teresa Fenton, is going to create a piece of original art for the film. It will likely be in the form of a chalk drawing, and will be an “older-looking” image of Mary Ann Shadd. The picture will be based on the one-and-only photograph of Mary Ann Shadd in existence, which was probably taken when Shadd was in her 20s. And her face will be aged using as an example, the image of Shadd’s father. Also, there is an image of Shadd’s sister that may help to give a sense of Mary Ann’s appearance.
This week I also obtained six variations on the musical theme, “Steal Away to Jesus,” performed and recorded by Jenna Richards. They sound beautiful, and include simple, minor key, abstract, and rolling variations on the theme. They are going to make an excellent backdrop to the narrative.
I also met with Professors Miller and Walsh, and they gave me some very helpful suggestions for the film narrative. In particular, we had a good discussion about the “intentionality” of the burial of Black history in Canada. They also had some good suggestions about the wrap-up of the film.
I’ve been spending some time, as well, this week, thinking about the Reflective Essay. There are a million things I could talk about. But I have been thinking about some of the work of theorists, like Michel Foucault, regarding “seeing” and “the gaze” since this sort of project forces one to really look hard and to consider what has been seen, in the past, and what I am seeing through my process. I also want to consider the whole performance side of things, since this film is clearly a performance of history. Bettina Carbonell’s “The Syntax of Objects and the Representation of History: Speaking of ‘Slavery in New York’” may be useful. As well, Freddie Rokem’s Performing History. And of course, Robert Rosenstone’s “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film” will have some useful points to consider.
I also want to think about the whole ‘burial’ of Black history, and will likely be able to draw from James C. Scott’s Domination and the Arts of Resistance: Hidden Transcripts.
This coming week is going to be devoted to writing the Shooting Script. As I’ve been tinkering with the Treatment, I’ve been adjusting the narrator’s words, so hopefully when I go to write the Script, in its formal format, a lot of what I need will already be in place. This week I also want to get times (during the second week of March) set up to record the narrator and all the voice actors, and that is already under way.