White Feather

Aim: Chronicling the minutes leading to the death of a WW1 deserter, James Campbell, through a firing squad of his former battalion brothers

Context: Why White Feather is an important story

The film is a short segment of the atrocities of the First World War. We aim to tell an intimate story about the intricacies of interlocking emotions within the firing squad. It is about the age, attitudes, and experiences of these boys and men.

There are so many intimate stories between soldiers that go untold. One of which is the story of desertion and cowardice in the First World War. We want to shine a light on an almost forgotten history of the war. 

Why "White Feather"?

The white feather was a widely recognised symbol representing cowardice in World War I. There was a campaign in which women would hand out white feathers to any men who were not in uniform in order to shame them into enlisting.

The symbol of the white feather is also associated with mourning. It is believed that seeing a white feather it is a message from a loved one who has passed away.

White Feather will be taking inspiration from the visuals of different artists and photographers who were able to convey the solemness of war. The images above are from Francisco Goya, Paul and John Nash, Fernand Cuville, Harvey Dunn, and Chloe Dewe Mathews. We will in particular be drawing from the photographer Chloe Dewe Mathews images which reinsert the audience into the spaces where soldiers were executed for cowardice and desertion resulting in haunting visuals. Our hope is to design the film’s visuals in a way that illustrates an evocative and stark image of the war.

Why we need your help?

In order to make this film a reality and the best in can be there are specific areas that your donations will really bring to life. Historical accuracy is very important for 'White Feather' - sourcing period accurate costume, weapons and props will allow us to breathe life into the story, doing its subject matter justice.

Our talented department leaders each specialise in a unique area of film production and each have different needs. With your help, we can provide our camera team with superior equipment, stock up our make-up artists tools to produce true to life characters and allow our production designer to use the perfect location and dress the set to bring the audience into 1916 Normandy.

Film shoots can be a long and arduous process, being able to provide a craft table and hearty lunches for cast will enhance performances and build team morale as we continue to work through the tumultuous weather. 

Read about our magnificent department leaders below, each talking about their own personal connection to film and what this story means to them:

Benjamin Hovington

Hello, I’m Benjamin Hovington and I’m the Writer/Director of White Feather. Having background experience predominantly in cinematography, I’m a very visual storyteller. I was fascinated by a photography series by Chloe Dewe Matthews. The series shows the haunting modern day locations of World War One firing squad executions. I wrote the story partly to bring these executions to life on screen and bring light and attention to the untold stories of WW1. Equally, telling a personal account based in the first world war, which is more about the intricacies of the interlocking emotions of boys within a firing squad, than who is right and wrong. As nobody won.

Tyler Harvey

(Producer)

Hi! I’m Tyler Harvey, producer on White Feather. To me, filmmaking has always been inherently political - with the ability to showcase important stories and genuinely spark cultural and societal change. Especially today; it is crucial to reinforce the horrors of war, in which no one can win, and by the end all that remains is the memory of innocent lives lost. I really look forward to telling this necessary story and honouring the memory of those considered ‘cowards’ by the same country that encouraged them to be ‘heroes’.

Tallulah Sibley

(Co-Producer)

Hi! I’m Tallulah, the co-producer of White Feather. Prior to university studies, I worked as a production assistant for an independent London based production company. This experience inspired me to pursue producing as a specialism on the AUB film course. To be able to facilitate the filmmaking process and witness a brilliant story transition from script to screen is such a rewarding experience.  I have always been drawn to stories that evoke thought and reflection. Hence, I was eager to join the project of White Feather. It is such a compelling story, structured on a multitude of important themes that deserve to be recognised and explored. A reminder of the innocent lives lost to the hands of war and authority.

Shee Won Park

(Director of photography) 

Hi! I’m Shee Won, the director of photography of White Feather and I’m extremely excited to be a part of this project. I was drawn to cinematography because of its power to communicate different emotions and ideas in creative ways. I equally love when visuals interact with different elements such as sound in order to create a rich and immersive atmosphere for the audience. I was drawn to the script particularly because of the film’s emotional subject and its rawness as it explores the tragedies and hypocrisies of war. I’ll do the story justice and make sure the visuals support the story through raw and haunting visuals.

Uxio Lago 

(Gaffer)

Hi! I'm Uxío Lago, the Gaffer of White Feather. Since I was little, I spent a lot of time outside just looking at the sky and how the light behaves on walls and faces, realizing the power of the light. This is why I was drawn to cinematography. When I read the script I realized how interesting is going to be working on this project, since we are going to have to work in open spaces where the light is going to be really challenging to control and work with it. I can't wait to work with this amazing crew!

Maia Woolrich

(Production Designer)

Hiya! I’m Maia and I’m the Production Designer for White Feather. I have always had a vast interest in the artistic aspects of life, niche or not. So being able to create characters and worlds for them to live in is a great privilage I get to experience working in the art department. With my eclectic range of knowledge and skills I am always up for a meaningful challenge, such as what White Feather will be! I was drawn to this project after reading Bens moving script about a part of history that isn’t discussed as much as it should be.

Abi Beaven

(Costume Designer)

Hi I'm Abi an I'm currently in my 3rd year of Performance Design and Film Costume at AUB. Over my time at uni I've worked on several short films and industry productions, and aim to work in costume for film in the future, particularly in costume illustration or cosprops. I've loved my time working on these projects and have become  passionate about creating characters and storytelling through costuming. I was drawn to White Feather because of the storyline and I think it will be a great production to further develop this area of interest. I'm really excited to explore the depth of emotion in these characters and how this is reflected in their clothing, especially with the challenge of period accurate uniforms.

Maeve Regan

(Costume Supervisor)

Hello! My name is Maeve, and I’m a 3rd year Costume student, training to be a costume maker at AUB. Costume, to me, is an integral part of storytelling and imperative to understanding the character – every detail telegraphs a narrative. I have made numerous costumes for both screen and stage productions, I have had opportunities to supervise wardrobe on sets, and I am so excited to use my experiences of period costume to help bring the characters of White Feather to life on screen. Costume encapsulates the history, the social and political context, and the very fabric of the characters journey, which is why being able to costume White Feather is so special; it’s a story that needs to be told.

Zoë Pyne & Megan Matthews

(Make-Up Artists)

Hello, we’re Zoë & Megan and we are the Makeup and Prosthetics Designers on White Feather. We’re both at the beginning of our journey into the film & TV industry as prosthetic, hair and makeup artists. We’re currently in our final year studying at AUB.

We are looking forward to enhancing the team’s vision for this WW1 film and the story of the characters through the makeup, showing the harsh realities these young men faced.  We plan to do era accurate hair and styling, and with our experience in prosthetics create detailed realistic wounds and abrasions. The whole team is dedicated to their art and it creates such a positive environment, which allows creativity to flourish. We’re very excited to be a part of it.

Francesco Aldersons

(Editor)

Buongiorno my name is Francesco. Passionately in love with stories and History, I always dreamed of going into the past and recreating historically significant events. When Ben pitched me White Feather, I knew I had to be part of this incredible experience as its ambition and power were contagious. It is an honour and privilege to be the editor of an upcoming work of art.

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