As filmmakers, we all want to improve our films and we want more people to watch them, both hearing and deaf.
We want larger audiences so that we can continue to make films. Otherwise we are making films for a very small minority – which is fine so long as that is what the filmmaker wants but it is not very sustainable for those of us who want to make a career out of making films.
The way sign language has been filmed in the media has always been down to access and rightly so. We call this method of filming ‘Sign Safe’ where the sign language on screen is framed and edited appropriately so that it is clear for the audience to understand.
Programmes like BBC2’s See Hear, which are filmed in a ‘Sign Safe’ way, have been produced for the Deaf community so that they can receive information and stories in British Sign Language. Long may they continue, I believe in accessible programmes for deaf people and it is important that we preserve them.
But when it comes to our short films/dramas we carry this rule over, and as filmmakers, we have found it very frustrating when trying to tell our stories visually. We want to tell stories with deaf characters and sign language users – but not always in the ‘Sign Safe’ way.
Everyone knows that deaf people enjoy watching films and mainstream programmes on the TV. They spend hours a week glued to the screen thanks to subtitles providing the much-needed access to the audible information we don’t hear. These films and programmes are told visually, and don’t have such rules as ‘Sign Safe’.
Yet when we make our (fiction) films we almost lock our shots and film Sign Language the ‘Sign Safe’ way. Why? We watch regular films and we follow and enjoy them immensely, why should we make our films differently?
Maybe with our films we should be allowed more freedom and let the story control how we shoot our films as opposed to an access rule? Or maybe I am wrong and sign language should be an exception? Maybe there is a particular way to film sign language and there are certain rules (I prefer guidelines…) we should follow? Are the old ones out of date?
The ‘Sign Safe’ method produces many problems for us and can be restrictive, as I highlight in this ‘Sign in the Frame’ film.
Are we trying to tell a story clearly in sign language or are we trying to tell a story visually with pictures? What is more important?
Then help Ted out by letting him know what you think. Just email your responses to the following questions to Ted.Evans@hotmail.com.
1) Which version of the scene did you prefer?
The Sign Safe Version [ ]
The No Rules Version [ ]
2) Which is more important to you?
Watching films that are accessible via sign language [ ]
Deaf people/culture being represented in films [ ]
3) Would you be happy to follow some signed dialogue in a film via subtitles?
Yes [ ]
No [ ]
4) If you have any other comments you’d like to add please include them in the email.
To help us analyse the data we receive back from people please state the following.
Your Age:
10 – 18 [ ]
19 – 30 [ ]
31 – 40 [ ]
41 – 60 [ ]
60+ [ ]
Please let us know if you are:
Deaf [ ]
Hard of hearing [ ]
Hearing [ ]
Yours sincerely
Ted Evans
(A slightly frustrated filmmaker!)
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Linda Richards
November 15, 2013
Good project! Good to explore the possibilities! How we can be creative, etc.. Best wishes for this! Lmr xx
Andy. Not him, me.
November 15, 2013
I think that you are taking notice of a vociferous few and ignoring the silent majority. Many if not most of us were brought up on films with Chaplin and Marceau. Any film with a strong visual content that can be followed by deaf people will prove popular. There doesn’t have to be sign.
There are plenty of verbal films where the speech is clear and easy to understand. I think probably the hardest films to follow are those with a complicated plot and lots of talking, for example spy thrillers. After the film we are asking … but why did he suddenly kill the dwarf…?
We have to lose the myth that Deaf people can’t understand a word anyone says unless it is in sign. Personally I find that when we do see signs on film or TV that are not specifically for Deaf people, they are pretty dire. I thought that David Bower’s signing was not too clear in 4 weddings, it looked very rushed. That is often the case. If they are going to include sign then they might as well do it properly. But they don’t.
So I would say, make your film to be >interesting<. Don't worry about signing everything, as long as it is understandable then deaf people will watch it. What really matters is that it has a strong plot and a good story and if there are a few explosions and car crashes chucked in then so much the better.
By the way the link to the film isn't working for me.
Editor
November 15, 2013
Hi Andy,
The link is fixed now
Andy. Not him, me.
November 15, 2013
Having watched it now I think we are on a similar wavelength here.
I agree with what Ted says about the bat and ball filming. All those jump cuts make it look like the sort of thing I would produce in the spare bedroom. The BBC particularly seem to have a formula that never varies. It is what I call typically Deaf filming. It doesn’t flatter us.
I’m impressed with the way Ted makes his points visually. We can see what he means without words. That film is itself a mini-lesson in film making. Despite having been a pro photographer I know next to nothing about making films. I do know a nice angle when I see it though.
The signing is excellent throughout, hearing film makers please note!
Serious question: Would it be possible to make films through crowd funding?
You would have >total< creativity.
Andy. Not him, me.
November 15, 2013
PS. Now I come to think of it… nobody has actually asked Deaf people if we wanted our films made by the Sign Safe method. Somebody, somewhere has decided on our behalf that this is what we should get.
Thanks a bunch but get knotted.
Ted Evans
November 15, 2013
Hi Andy I think sign safe is there for a reason and a valid one. When we watch programmes on TV (that are not fictional) we are relying, most of the time, on being provided information that is usually delivered in a spoken narrative. We see less of the visual information and sometimes most of the information is delivered in spoken word. So in that respect I think it is important that the information is clearly presented in sign language especially as it is sometimes the sole source of the information/content being delivered to the audience.
Andy. Not him, me.
November 15, 2013
That’s all very well but our films look as if they were made for a 5 year old and that’s why they don’t get a wider audience.
My father used to say, you can lead a horse to water but you can’t make it drink.
Ted Evans
November 15, 2013
Haha I like that one!
Liz
November 15, 2013
Hi Ted, Dr Jennifer Rayman, an American sign language researcher came to lecture us at DCAL a short while ago on the use of editing to portray ASL in TV series. Have a look at her website: http://www.csus.edu/faculty/R/jrayman/index.html that will give a link to her email, if you are interested in her research on this very issue.
Ted Evans
November 15, 2013
Awesome, I’ll certainly check it out. Thank you
Shaun Sadlier
November 16, 2013
Hi Ted, hope you are well.
In the old day, actor seem very stiff and spoken in clear English for audience to see because they were very serious about language. Nowadays, actor seem more chaos, spoken in slang, whatever to say and relax attitude.
Same things as sign language. Do we want to watch frozen and show clear sign language. Of course not, let natural take course to make it more realistic. Film is not a news reporter behind a desk 😉
I know you’re brilliant and can do a blockbuster film director. We got a new project manager joined us few days ago to sort out and get our company to launch then we are going to fund Deafwood to show many feature length Deaf Culture movie’s and good story for the mainstream to watch such as a deadly disease from alien thst cause everybody become deaf overnight and what they are going to do when alien start to take over earth? No communication and who going to solve these problems? 😉
Your main reason is lack of budget available for the marketing. I hope Films14 going to solve it and promote Deaf Culture Films Production such as you and another great Deaf film directors.
1. No rule. 2. Culture. 3. 31-40 4. Deaf. 5. We need blockbuster budget!
Take care
Shaun Sadlier.
Ted Evans
November 19, 2013
Thanks Shaun I’ll add you to the questionnaire results. You’re website/company sounds intriguing and if you think you can help us make films then that is fantastic. I think you will find the trend of filmmakers continuing as I know quite a few youngsters out there who are studying film. Most of us never had that training/education so I have high hopes for the next crop of filmmakers. Exciting times : )
Andy not Mr Palmer but another one
November 19, 2013
He is right about the old films.
Just been watching John Mills and all the other post war actors douing their stuff prior to Remembrance Day.
Also have you noticed how well lit they all are?
Ted Evans
November 20, 2013
Lighting for me, a lot of the time is down to budget. It’s easier to light a CU for example than it is to light a epic wide shot… it cost a lot of money. For the scenes in this film we simply shot with natural light as everyone involved at this stage is voluntary. I also doubt they’d let us film in the park with lights without having to pay a fee (we were approached…). The focus at the moment is purely on how we film sign language but I agree, the films we have at the moment don’t pay much attention to the lighting or cinematography in general come to think of it… but that is down to both budget and experience. Give us some money and we’ll fix the lighting! : D
Asher Woodman-Worrell
November 24, 2013
Hi
I was wondering whether there are any plans for future screenings of ‘The Retreat’ as I have yet to see it? Thanks
Ted Evans
November 25, 2013
Hi Asher
If you are in Sweden or Italy this weekend the film is being screened at a couple of festivals… On a serious note, I’m not sure when the film will be screened in the UK. It is possible Deaffest might screen it again next May and once the film has had a bit of a life on the festival circuit I will have it available online. There is a possibility it may be while before it is online, as I am very keen to revisit the idea/concept and story and it may be it becomes part of another project.
I think Deaffest might be the best bet.
Regards
Ted
Asher Woodman-Worrell
November 25, 2013
Hi
Thanks for your swift response! 🙂
Asher
Jules Dameron
November 25, 2013
The bottom line is– for me, as a film director– there is only one rule– make your point across to a certain audience or audiences in a cinematic way, in any style. I’ve done a lot of experiments with ensuring that the filmmaking process is “deaf-friendly”/”deaf-accessible” without rules that are too favorable in the hearing way, or in the outward deaf way. There’s so many factors at hand. It also depends on if you care about seeing the sign or preferring captioning over it. I do understand the intent and purposes of “sign-safe.” Ted, I’m glad you’re challenging the system, creatively speaking, for the film process. After all, filmmaking is not filmmaking without millions of exceptions to the rule or an audience to think about.
Ted Evans
November 29, 2013
Jules, out of interest how close is ‘acceptable’ when shooting ASL? I may have the wrong presumption here but is BSL bigger and uses more space than ASL? Whenever I’ve seen ASL (and I’ll admit that has not been very often) The signs seem to be closer to the head than ours… Just wondering if you guys in the states face the same difficulties we come across?
Jules Dameron
November 29, 2013
It’s quite possible, but I guess we never know until we try. The point here is– how can a native signer (i.e. culturally deaf signers or CODA’s, etc.) fully comprehend the film and still feel the emotions intended by the film director? Obviously, since filmmakers with hearing audiences as the main target have made films for years, they formed ways to design the film process to match sound. For example, editors often edit differently because they know that the music or the sound effects will create a better impact than the edit itself. I, too, have fallen into that habit myself.
I’m just entertaining the concept of if we lived in a world of visual film only, and how can we best accomplish that?
I challenge this, always, when I work with filmmakers who are trying to create films for a deaf audience or a sign language audience. There is a beauty in sign languages and cultures. How can you express a film that supports that and at the same time accomplish your point, story, message, or film?
This is an opinion that has no justification, but my first thought is, I feel like anything is possible, even with BSL. I actually have had challenges with ASL fitting in the frame, and so as a result, I’ve sometimes asked the actors to relax their signs more and sign “smaller” so that can fit in the frame. But if you think about it– lots of actors adapt themselves to fit the filmmaking standard, how loud, how low, and how they appear visually and physically.
Food for thought. I always want to challenge this.