The concept of Sea Change? stems from the idea that climate change is caused in our society more than we see the impacts of it. The name Sea Change? highlights the two main purposes of the film, to raise awareness of coral reproduction and to cause people to change how they think about climate change. The Horniman Museum is a public place close to me that has always been a part of my life, therefore it was easier for me to get acces s to filming inside the museum and members of staff as I am also a member of staff. I chose to focus on one subject because I believe that in this case it could evoke more change than a group of interviews. Following the story and research of Jamie Craggs could allow the audience to see active change without getting overwhelmed. This is inspired by Rabiger, “Documentary exists not just to inform us about something but to change how we feel about it too” (Rabiger 2004). My purpose of this film was to inspire people to change or increase the amount they do for the environment. By providing the audience with information on the importance of coral this can inspire them to do further research on this topic. This film can also help the subjects as the museum is a charity and by providing information on his research this could inspire the audience to donate.

 

As I am an active a member of staff at the museum, I was offered feedback from the anthropology department, and this would be in addition to people on the course. Multimodal anthropologies reflect the changes in media ecologies that broaden our perspective to include other forms of media practice. This is important in multimodal anthropology as the intentions of this are to process meaningful interventions that can nudge anthropology into more collaborative and reflexive direction. This is true in anthropological media that a collaborative nature is necessary for reflexivity. (Collins, S. G., Durington, M., & Gill, H. 2017) The circumstances that came from the coronavirus pandemic meant that I took feedback to use a wider range of media to construe my original idea for Sea Change?.

 

The original intentions of Sea Change? were going to be an ethnographic piece of Jamie Craggs experience of the Horniman and the breakdown of Project Coral. The main audio throughout the film was going to be his interview where I was planning to ask him a series of questions. The first questions were about him and how he got to where he was. This allows the audience to get to know and sympathise with the subject. The questions would then be directed towards Project Coral and if his work has made any positive impacts. Then the topic will switch to the visitors of the museum and how they can help. Seeing as the museum is public the replies that Jamie gives can be applied to the audience watching. Only the answers will be heard of the questions, until the end where I ask how the visitors can help. This is because I will act as the voice of the audience. Sound is a key focus of Sea Change? because although our visual perceptions of things demands more attention than our aural perceptions, how you use sound can be very powerful (Henley 2007).

 

I was planning for the interview to take place behind the scenes of the aquarium where the coral spawning is set up. During the questions about Jamie and Project Coral the sounds in between and throughout him speaking would be the sounds of the aquarium lab. This reflects the sensitive nature of coral and the particular conditions that are needed for the special process of coral reproduction to happen. However, when the questions start to aim towards climate change and the public, I was planning to introduce the background noises of the museum which are a lot more intense than those of the aquarium. The increase in noise from the rest of the museum was a way to portray how humans can be destructive. This contrast will hopefully evoke a vicarious experience in the audience.  The technique of editing environmental sounds here is being used in an active way to communicate specific meanings. “Anthropologist filmmakers need to pay much more attention to the potential of sound to communicate meaning in an experimental and connotative manner.” (Henley 2007)

 

Video activism can be helpful when interpreting this website. Video activists find their purpose and strategy from a group with real needs. In the case of this project my aim was to raise awareness for coral depletion, but consequently people helping this can help communities that rely on coral reefs in their daily lives. The difference between video activists and conventional video makers is that activists aim to bring change by gaining power for a group in a community (Harding 2001). Although my project is focused on raising awareness for coral, introducing ideas on how the public can do their part in stopping the climate crisis can bring about change from various people.

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Bibliography:

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Collins, S. G., Durington, M., & Gill, H. (2017). Multimodality: An Invitation. American Anthropologist, 119(1), 142-146

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Harding, T. 2001. The video activist handbook. London: Pluto Press.

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Henley, P. 2007. Seeing, Hearing, Feeling: Sound and the Despotism of the Eye in ‘Visual’ Anthropology. Visual Anthropology Review 23-1: 54-63

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Rabiger, M. 2004. Directing the Documentary. London: Focal.

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