echoesJess M Crawford
echoes is an impressionistic exploration of one mother’s experience navigating parenthood and searching for belonging in an ever-increasingly isolating internet age. Using online mothers’ forums and aggregated responses from chat gpt, paired with digital and film documentation, echoes creates a poetic future-oriented ode to motherhood in relation to the natural and digital world.
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echoes blends film and digital text in such a unique way—can you talk about how you approached the visual language of the piece and what you wanted it to evoke?
I was really interested in the tension the viewer might feel between reading the text and watching the visuals unfold on screen. I wanted to create a sense of being torn—of having to choose where to focus, knowing that something would inevitably be missed. That fragmentation is meant to mirror the emotional experience of caregiving, where you’re trying to be fully present with what’s in front of you while simultaneously navigating an ongoing inner dialogue.
I was really interested in the tension the viewer might feel between reading the text and watching the visuals unfold on screen. I wanted to create a sense of being torn—of having to choose where to focus, knowing that something would inevitably be missed. That fragmentation is meant to mirror the emotional experience of caregiving, where you’re trying to be fully present with what’s in front of you while simultaneously navigating an ongoing inner dialogue.
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I was also drawn to the idea that our presence in any given moment is often mediated—or interrupted—by technology. There’s usually another layer of experience running parallel to the one you’re physically in. With echoes, I wanted to explore that dissonance: the challenge of being fully present when your attention is constantly being pulled elsewhere, but also the attempt to hold space for all of it—that full, fractured experience.
At the same time, I wanted to explore the often unseen tensions of parenting—the emotional labor, the quiet struggles that aren’t always visible. I also saw a strong connection between contemporary online forums and the consciousness-raising groups of the early second-wave feminist movement. Both create space for women to speak openly about experiences they might otherwise feel discouraged or isolated in sharing. These digital spaces, much like their analog predecessors, foster a kind of collective witnessing and solidarity. |
The film draws from online mothers’ forums and even uses ChatGPT responses. What was the process like for gathering and shaping those voices, and how did you decide what to include?
For the forums, I drew from online groups I was already a part of. I was interested in how these voices—though distinct and individual—were all moving through similar stages of parenting. They ran parallel to one another, echoing shared concerns while still feeling deeply personal. I wanted to showcase the range of experiences and emotions you might encounter on these platforms, and how—despite their differences—every voice was ultimately reaching out for comfort, reassurance, or solidarity. I think it’s important to note that myself and many of the people in these forums became parents during the pandemic, which was an especially isolating time to take on a caregiving role. That context made these digital spaces feel even more essential—non-judgmental communal environments in a time when real-world support was often absent.
For the forums, I drew from online groups I was already a part of. I was interested in how these voices—though distinct and individual—were all moving through similar stages of parenting. They ran parallel to one another, echoing shared concerns while still feeling deeply personal. I wanted to showcase the range of experiences and emotions you might encounter on these platforms, and how—despite their differences—every voice was ultimately reaching out for comfort, reassurance, or solidarity. I think it’s important to note that myself and many of the people in these forums became parents during the pandemic, which was an especially isolating time to take on a caregiving role. That context made these digital spaces feel even more essential—non-judgmental communal environments in a time when real-world support was often absent.
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With ChatGPT, I was exploring the idea of whether it’s possible to “Google a feeling”—to ask for the kind of emotional response you might need in a moment of vulnerability. So many people turn to digital spaces for support, and I wanted to reflect on what it means to seek that from an AI. I fed my own writing into ChatGPT and asked it to comfort me, then took its response and ran it through an AI voice generator. My aim was for the voiceover to feel soothing and hopeful—but also uncanny. I wanted it to sit in that tension: to offer comfort, while simultaneously pointing to the deeper need for physical, human community. That complexity and contrast—between emotional need and digital delivery—felt essential to the piece.
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There’s such a strong poetic thread throughout echoes. Did you write a script or structure ahead of time, or was it more of a collage that took shape during editing?
It’s funny—how the film was made is directly connected to the way it presents itself. I spent about three years collecting footage, both digital and 8mm, with the intention of doing something with it. As I gathered the material, I began editing, but it wasn’t until I started working with the footage that the structure began to take shape. Along the way, I started writing responses to help make sense of what I was seeing, and from there, I’d film additional footage to complement the writing. As the editing process continued, I began animating the text, gathering responses and layering the sound. It ultimately came together like a collage, with each piece directly inspiring the next.
It’s funny—how the film was made is directly connected to the way it presents itself. I spent about three years collecting footage, both digital and 8mm, with the intention of doing something with it. As I gathered the material, I began editing, but it wasn’t until I started working with the footage that the structure began to take shape. Along the way, I started writing responses to help make sense of what I was seeing, and from there, I’d film additional footage to complement the writing. As the editing process continued, I began animating the text, gathering responses and layering the sound. It ultimately came together like a collage, with each piece directly inspiring the next.
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How did your own experiences with motherhood inform the emotional tone of the film?
I don’t think it would’ve been possible for me to create this piece without my own experience of motherhood. Motherhood shapes not only the content but also the emotional tone of the film. The fragmented sense of self, the emotional complexity of navigating a new identity, redefining relationships, and understanding how you're viewed—these are all things I’ve lived and felt deeply. The film reflects those experiences, giving voice to the moments that are often unspoken or left unseen. The emotional tone you feel in the piece comes from living through the nuances, contradictions, and ongoing questions of motherhood. In many ways, it allows the viewer to sit with me through that uncertainty and evolution of identity. |
There’s a quiet sense of urgency in the film around disconnection and digital overload. What kinds of conversations do you hope echoes sparks around parenting and tech?
Primarily, I hope echoes encourages people to see caregivers as whole, complex individuals and to have an interest and respect for that experience. At the same time, I’m concerned that our current digital landscape tends to reinforce shallow, transactional relationships. The dynamics of the digital realm—where people are often consumers and producers—mirror a transactional approach that can lead to further disconnection and isolation. I believe this dynamic can be deeply connected to the way we treat our relationship with each other and with nature. Just as we can become disconnected from one another in digital spaces, we’re also distanced from the natural world and our responsibility to it. Both are part of the same issue—the fragmentation of real, tangible connections. In exploring these themes, I’m hoping to spark a larger conversation about how our digital overload and disconnection from each other and nature are intertwined—and how we might begin to repair both
Primarily, I hope echoes encourages people to see caregivers as whole, complex individuals and to have an interest and respect for that experience. At the same time, I’m concerned that our current digital landscape tends to reinforce shallow, transactional relationships. The dynamics of the digital realm—where people are often consumers and producers—mirror a transactional approach that can lead to further disconnection and isolation. I believe this dynamic can be deeply connected to the way we treat our relationship with each other and with nature. Just as we can become disconnected from one another in digital spaces, we’re also distanced from the natural world and our responsibility to it. Both are part of the same issue—the fragmentation of real, tangible connections. In exploring these themes, I’m hoping to spark a larger conversation about how our digital overload and disconnection from each other and nature are intertwined—and how we might begin to repair both
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Did motherhood change your approach to filmmaking or how you think about time, process, or collaboration?
I wouldn’t say that motherhood has drastically changed my approach to filmmaking, but it has certainly strengthened my voice and my trust in the process. My experiences as a mother have given me greater perspective and confidence in my insights and approaches. Becoming a parent has allowed me to fully embrace the creative process—pushing through uncertainty, diving deep into my work, and trusting that I’ll uncover something meaningful along the way. |
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One area I’m particularly interested in is how the dominant film language is historically rooted in white patriarchal systems and how, in many ways, its very structure mirrors those systems. Becoming a mother, while continuing to engage with visual language, has made me acutely aware of how much of the way we process images is tied to a system that doesn’t always serve us. Motherhood, in many ways, has given me the confidence to challenge that system with my art and explore the possibility of creating something new—something more attuned to my own understanding of the complexities of my experience and identity.
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Jess is a filmmaker, video and media designer, editor, producer and educator. Her work has included directing, shooting and editing experimental shorts, documentary, short narrative films and music videos, as well as designing and engineering video and interactive experiences for performances, installations, and augmented and virtual reality experiences. She actively explores issues such as environmental conservation, gender politics, ethical responsibility, caretaking and our relationship to technology in her work. Her projects have been presented in New York, London, Miami, Pittsburgh and written about in publications such as The New York Times. Jess received a BFA in Film Production and Electronic Arts from Bard College and an MFA in Video and Media Design from Carnegie Mellon University. She is currently a Professional Lecturer of Media Studies and Production at Marist College in Upstate New York, where she lives with her family..
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