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Ethnic minorities are disproportionately represented and affected by the organ shortage. Particularly, only 2% of deceased donors are from Black African and Caribbean backgrounds but comprise 11% of those on the waiting list to receive an organ (NHS Blood and Transplant, 2023). Moreover, family consent for ethnic minorities (39%) is far lower than for White people (70%), but little is known as to what impacts it (NHS Blood and Transplant, 2023). Therefore, there is a need to encourage discussions around organ donation and opt-in decisions amongst ethnic minorities in the UK. In this respect, arts-based community-based films have been proven to be effective mediums of promoting health behaviours (Baumann et al., 2020). This is evidenced in community-based films on increasing blood donation amongst the Black community in the UK (Mills et al., 2024), preventing COVID-related illness amongst British Bangladeshis (King’s College London, 2022), and improving perceptions of organ donation in UK’s Muslim communities (Jamal & Khan, 2023). Literature shows that narrative and storytelling can be a particularly effective tool for ethnic minority groups with a rich storytelling tradition (Larkey & Hecht, 2010; Robillard & Larkey, 2009). Furthermore, Mills et al. (2024) find evidence for co-created community films being an effective tool to encourage Black blood donors in the UK. Given the role of cultural context and identification (Murphy et al., 2013), films on the Black community are hypothesised to be most positively associated with the Black community. Furthermore, narrative transportation theory suggests that when people are transported into a story, they are less likely to generate resistance to the message (Green & Brock, 2000). Unlike analytical processing, transportation works through emotional engagement. We explore this by developing two community co-created films that vary in their use of voice-overs to enhance exposition. Films without voiceovers or reduced voiceovers may enhance the narrative transportation effect by letting viewers interpret the story naturally, increasing authenticity, emotional engagement and self-relevance (Igartua & Barrios, 2012; Murphy et al., 2013). In contrast, voiceovers that enable exposition can trigger what Green & Brock (2000) refer to as cognitive elaboration, which can reduce immersion into a story by triggering rational instead of emotional engagement with the film (Slater & Rouner, 2002). We create two community co-designed films that are identical except that they vary with respect to the use of voiceovers. The films are created across two scenes. The first scene sets the narrative structure of the events that unfold later. It is of a young man leaving his bedroom to ask a woman an important question. In the second scene, we learn the consequence of the question. In version 1 of the film, there are no voice-overs in scene one, but there are in scene two. Thus, people are drawn into the scene one as they are not sure what he is going to say and who he is going to ask (the conclusion of the scene is him asking his sister to donate her kidney to him). The second scene sees the family one year later, after the donation and transplant, and the effect on the family. By this point, we know what the question is, and the voiceovers enhance the feeling of the family members. In version two of the film, the voice actors appear in both scenes one and two. Thus, people know from the start that the question is about organ donation. Action on Blood, a UK and Nigeria-based social enterprise that bridges the Black community with health research and activities like blood donation is a partner in the ENCOURAGE Project with whom community-based films are being co-developed with the Black Caribbean community in London, UK. In this research, we will evaluate the impact of the co-created films around organ donation in its appeal to ethnic minority groups, attitudes towards organ donation, and discussion and decision behaviours around it. This project is funded by NHSBT. References: Baumann, S. E., Merante, M., Folb, B. L., & Burke, J. G. (2020). Is Film as a Research Tool the Future of Public Health? A Review of Study Designs, Opportunities, and Challenges. Qualitative Health Research, 30(2), 250–257. https://doi.org/10.1177/1049732319871251 Green, M. C., & Brock, T. C. (2000). The role of transportation in the persuasiveness of public narratives. Journal of Personality and Social Psychology, 79(5), 701–721. https://doi.org/10.1037/0022-3514.79.5.701 Igartua, J. J., & Barrios, I. (2012). Changing real-world beliefs with controversial movies: Processes and mechanisms of narrative persuasion. Journal of Communication, 62(3), 514–531. https://doi.org/10.1111/j.1460-2466.2012.01640.x Jamal, S., & Khan, M. (2023). The Impact of the film “Organ Donation and You” on public perception of organ donation. Journal of British Islamic Medical Association, 14(5). King’s College London. (2022, May 12). Project preventing COVID-related illness among ethnic minorities receives SSPP impact award. https://www.kcl.ac.uk/news/project-preventing-covid-related-illness-among-ethnic-minorities-receives-sspp-impact-award Larkey, L. K., & Hecht, M. (2010). A Model of Effects of Narrative as Culture-Centric Health Promotion. Journal of Health Communication, 15(2), 114–135. https://doi.org/10.1080/10810730903528017 Mills, R., Okubanjo, A., Acheampong, N., Croucher, M., Eaton, N., Kazi, A., Di Angelantonio, E., Wood, A., Masser, B., & Ferguson, E. (2024). The power of arts‐based film interventions to encourage Black blood donors. Transfusion, 64(11), 2133–2143. https://doi.org/10.1111/trf.17963 Murphy, S. T., Frank, L. B., Chatterjee, J. S., & Baezconde-Garbanati, L. (2013). Narrative versus Nonnarrative: The Role of Identification, Transportation, and Emotion in Reducing Health Disparities: Narrative vs. Nonnarrative. Journal of Communication, 63(1), 116–137. https://doi.org/10.1111/jcom.12007 NHS Blood and Transplant. (2023). Annual Report on Ethnicity Differences in Organ Donation and Transplantation.

As a residential school and Indian hospital survivor, Laura Cranmer wrote the play "Scenes from the Nanaimo Indian Hospital" based on her three years at the hospital as a child. Life on Gabriola TV's Althea Rasendriya interviews Cranmer and the company of the production, currently touring Vancouver Island, to learn more about how revisiting this dark past has affected them, and the play's place in an ongoing language reclamation project. A brief history: The Nanaimo Indian Hospital operated from the 1940s until the 1960s. it was a former military hospital with 220 beds -- the second largest in western Canada. The hospitals were intended to isolate indigenous tuberculosis patients from the general public. Although oral drug treatments to cure the disease were later introduced, the Indian hospitals continued their experimental treatments on patients and refused to let them leave. "Scenes from the Nanaimo Indian Hospital" features three little girls, representing the three Indigenous language families of Vancouver Island, as they grow their friendship and share memories in each of their own tongues. In the interview, the creators discuss the production process, their background and involvement, healing, revisiting and unveiling repressed history, what it means to "rewrite the colonial script," and the crucial significance of language reclamation. Life on Gabriola TV is generously sponsored by: The Gabriola Arts Council https://artsgabriola.ca The Haven, Gabriola Island https://haven.ca

As a residential school and Indian hospital survivor, Laura Cranmer wrote the play "Scenes from the Nanaimo Indian Hospital" based on her three years at the hospital as a child. Life on Gabriola TV's Althea Rasendriya interviews Cranmer and the company of the production, currently touring Vancouver Island, to learn more about how revisiting this dark past has affected them, and the play's place in an ongoing language reclamation project. A brief history: The Nanaimo Indian Hospital operated from the 1940s until the 1960s. it was a former military hospital with 220 beds -- the second largest in western Canada. The hospitals were intended to isolate indigenous tuberculosis patients from the general public. Although oral drug treatments to cure the disease were later introduced, the Indian hospitals continued their experimental treatments on patients and refused to let them leave. "Scenes from the Nanaimo Indian Hospital" features three little girls, representing the three Indigenous language families of Vancouver Island, as they grow their friendship and share memories in each of their own tongues. In the interview, the creators discuss the production process, their background and involvement, healing, revisiting and unveiling repressed history, what it means to "rewrite the colonial script," and the crucial significance of language reclamation. Life on Gabriola TV is generously sponsored by: The Gabriola Arts Council https://artsgabriola.ca The Haven, Gabriola Island https://haven.ca

As a residential school and Indian hospital survivor, Laura Cranmer wrote the play "Scenes from the Nanaimo Indian Hospital" based on her three years at the hospital as a child. Life on Gabriola TV's Althea Rasendriya interviews Cranmer and the company of the production, currently touring Vancouver Island, to learn more about how revisiting this dark past has affected them, and the play's place in an ongoing language reclamation project. A brief history: The Nanaimo Indian Hospital operated from the 1940s until the 1960s. it was a former military hospital with 220 beds -- the second largest in western Canada. The hospitals were intended to isolate indigenous tuberculosis patients from the general public. Although oral drug treatments to cure the disease were later introduced, the Indian hospitals continued their experimental treatments on patients and refused to let them leave. "Scenes from the Nanaimo Indian Hospital" features three little girls, representing the three Indigenous language families of Vancouver Island, as they grow their friendship and share memories in each of their own tongues. In the interview, the creators discuss the production process, their background and involvement, healing, revisiting and unveiling repressed history, what it means to "rewrite the colonial script," and the crucial significance of language reclamation. Life on Gabriola TV is generously sponsored by: The Gabriola Arts Council https://artsgabriola.ca The Haven, Gabriola Island https://haven.ca

In this article, Joshua Block states that his high school students are creators discovering how to express their ideas and emotions in multiple, complex ways. He teaches students who write their lives through words on pages as they fill journal after journal. There are others who constantly write and create in the form of tweets, photos, videos, status updates, and texts that tell their stories and define their worlds. There are also those who do not regularly express themselves but spend much of their time observing and developing their own private ideas. Block's goal is for students to develop unique, individual voices and discover multiple avenues for communicating their ideas as they present their work to public audiences using multiple modalities. New modalities have changed research and allow students to individualize content and express themselves in multiple, new, innovative ways, and yet the tensions, struggles, and rewards of meaningful intellectual work remain. Block concludes that it would be foolish to argue that technology somehow simplifies the challenges faced by educators and students. Yet it would be even more foolish to ignore the possibilities and opportunities for meaningful engagement, choice, audience, and discovering voice that technology and multimodal works present to educators, creators, and citizens of the world.

257 pages ; 23 cm

257 pages ; 23 cm

257 pages ; 23 cm

257 pages ; 23 cm

257 pages ; 23 cm