Delphine "No Dogs"

3rd Year Live Project 2020

Delphine was created as part of a Live Project in late 2019/early 2020 for Flintlock Theatre as part of their touring theatre performance of "No Dogs'' supported by Arts Council England. Delphine illustrates a real testimony of a young Jamaican woman who comes to London during the Windrush era and has to take care of her child who falls incredibly ill. Check out Flintlock theatre's site for more information if you want to see Delphine at a theatre near you!

Presented by Middlesex University

Delphine's is in the Festival Circuit!

Created within 3 weeks of turmoil and challenging circumstances, Delphine was completed by a team of 5 working on designing and editing the film, whilst Anayis animated all but one of the film’s scenes herself on the Multiplane at Middlesex University with paper cut outs.

Designing The World

It was a group effort to come up with the design but the initial pitch, storyboard and frame of the project was created by Anayis with some design assistance and experiments by her team. 

The initial idea was to create a cross between Lotte Reiniger's silhouette animation and Lauren Childs' collage cut out illustrations using patterns, inks and cut out and removable sets.   

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Laying it out in Black and White

Working with a client who was absent for most of the production with limited communication meant there was lots of back and forth in order to get the ideal look they wanted. This included taking into account the balance in skin tones, and focusing on not black facing a character due to their skin colour.

 

Anayis' team tried to create a balance of representation in style between the characters on screen, whilst getting the message across of their struggle in this society. 

A Sliding World

Some things Anayis tried to obtain in the style of the work were the sliding transitions and flexibility of movement, attempting to have the sets look like pages from a pop up book, moving in and out of frame with each new location mentioned.

 

This can be seen with a mix of pixelation and cut outs in the final film as well as this early test sequence.   

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©2020 by Anayis N. Der Hakopian.