This research had to focus more on the process than the product. Below the films, you’ll find notes on where they appear in my written component: Introduction, Chapter 1, Chapter 2, Chapter 3. Unlike the linear structure of the thesis, the films here are arranged differently. While the institution appears in Chapter 1, I centred survivors in the website’s visual hierarchy. This small act of dis-order reflects both my research approach and broader questions around mental health and control. You can click on the moving images to watch them. Despite all the difficulties, could achieving multiple perspectives be possible below?

the audience as filmmakers​​​

(chapter 2)

The audience watched the films I/we created and gave feedback. As the discussion progressed, they passed the camera around, filming each other. This fluid exchange blurred the roles of filmmaker and filmed, shaping an unscripted narrative. Inspired by Jennifer Fox’s passing the camera method, my aim was for the audience to experience filmmaking firsthand while engaging with both the footage and the act of filming itself.

pauline's film

(chapter 2)

This film was created under the guidance of project participant/co-creator Pauline but was left unfinished when our collaboration with the external institution ended mid-project. In this process, I tried not to impose my own filmmaking preferences while also aiming to inspire her and learn from her. Provided our life circumstances permit, we hope to collaborate again.

researcher's reflection: 'line of fault'

(chapter 3)

This film is a reflection on the discrepancy between the words and actions I encountered in the field. ‘Line of fault,’ a concept introduced by Dorothy E. Smith, directly addresses this issue.

institution's voice - one

(chapter 1)

This is the first of three films that highlight the institution’s activities, documenting their work in line with their objectives. I have hours of footage from other events, but when the project was halted, I prioritised the voices of survivors.

institution's voice - two​​

(chapter 1)

Institution films are happy films.

institution's voice - three

(chapter 1)

Institution films are happy films.​​​

invitation to the research/film

(chapter 2)

Before the project began, I created this brief invitation to collaborate with the external institution in sharing it with participants/co-creators for recruitment. Though it seemed simple and easy, making eye contact with the audience and positioning the camera at eye level to avoid a top-down perspective required numerous attempts.

sharing knowledge together

(introduction)

In 2024, Pauline and I presented our film journey at the European Network for Cinema and Media Studies (NECS) conference in İzmir. Starting at 00:11:26, you can listen to Pauline’s presentation about her journey. The title was 'Institutional regimes and collaborative filmmaking: Negotiating power and representation.'​

in conversation with laura-marie

(introduction)

Through regular communication and five online meetings with Laura-Marie from the Las Vegas Radical Mental Health Collective, this record offers insights into the pre-production phase. Although it did not lead to film production, our conversations were deep, fostering discussions on mental health and mutual support.

mad pride 

(chapter 1/3)

Mad Pride is a movement where individuals with mental health experiences challenge stigma while embracing and celebrating their identities and lived experiences. I documented the event, and since there is limited footage on Mad Pride, I wanted to contribute to the broader discourse and practical aspects of the topic.