Mark Lancelot Symons: A Symbolist Painter Reborn

British artist Mark Lancelot Symons (1887–1935) was something of an anamoly.  His work is highly accomplished but resoundingly original, though certainly not without precedent (one can see the influence of earlier Symbolist painters such as Leon Frederic).  Yet Symons never felt that art was his true calling, only beginning to paint heavily and present his work publicly late in life, and then mostly at the behest of his wife.

A lifelong Catholic, Symons considered being a minister (unordained–he was able to marry and have children) his raison d’êtreAs a result of his deep religious faith, his paintings are often thematically Christian, either overtly or more subtly; however, he invited massive controversy among his fellow believers in his native country by placing some of the Biblical scene paintings in “worldly” contemporary settings.  Of course, despite the apparently easily offended Edwardian Brit sensibility, no one seems to have raised any objections to Symons using nude children in his work (not unlike Frederic, in fact).  Ah, how different things are today.  Can you imagine a Catholic priest offering paintings of nude children to the public in 2014?

Mark Lancelot Symons – A Fairy Tale

Mark Lancelot Symons – Ave Maria

Jorinda and Jorindal (or Jorinde and Joringel) is an odd choice for a tableau painting.  Paintings based on Grimm’s fairy tales certainly aren’t unheard of, but this is pretty obscure as far as they go, and not really one of their better ones.  The story concerns a pair of youths who are in love.  When the girl is captured by a witch–transformed into a nightingale and imprisoned in a birdcage–the young man dreams of the means to break the witch’s spell and free his beloved.  Pretty much your standard damsel-in-distress tale, in other words.  The decision by Symons to present the characters as modern children is an interesting one.  Place this piece in context of the work of the Pre-Raphaelites, of whom Symons was a follower.

Mark Lancelot Symons – Jorinda and Jorindal

Again, notice the Pre-Raphaelite influence here, particularly Millais and Burne-Jones.

Mark Lancelot Symons – Madonna and Child with Angels (1925)

Mark Lancelot Symons - Molly in the Garden

Mark Lancelot Symons – Molly in the Garden

Mark Lancelot Symons - Molly in the Pantry

Mark Lancelot Symons – Molly in the Pantry

Mark Lancelot Symons - My Lord I Meet in Every London Lane and Street

Mark Lancelot Symons – My Lord I Meet in Every London Lane and Street

Mark Lancelot Symons - The Day After Christmas

Mark Lancelot Symons – The Day After Christmas

Mark Lancelot Symons - (Title Unknown)

Mark Lancelot Symons – (Title Unknown)


A Kinder, Gentler Nation? Chris Madaio Revisited

When I wrote my previous post on this artist, I simply took information from the book Il Ritratto Giovanile. When I look beyond the beautiful images and read something about the artist, I usually feel a spiritual connection and the work begins to have a deeper meaning for me. In this case, my own memories of spending time with various families while stationed in Germany gave me some context to understand Chris Madaio’s artistic experiences. After completing that last article, I decided on a whim to try to contact the artist through the internet. I found a strange news item about a Chris Madaio in Alabama being arrested for failure to register as a sex offender. Further digging revealed this was indeed the same artist I had just covered and I could not help wondering, “How could someone who produces work with such sensitivity be capable of such a crime?” I have wisely learned to be skeptical of almost anything in the media and given the grave paranoia about people who work with children, especially in the South, I decided to uncover the facts. I managed to reach him to get his side of the story and give the readers a clearer understanding of his art.

Chris Madaio - Luciano - Napoli (1992)

Chris Madaio – Luciano – Napoli (1992)

Chris Madaio was born in May 1947 in the Bronx, NY and took an early interest in photography. By age 10, he owned his first camera–taking the requisite photos of landscapes, architecture and people. He was also an avid collector of cameras and got his first collectible at age 16—a 35mm Leica IIIf—continuing to hone his craft while working on the high school yearbook. After graduating, he went to Penn State and earned a degree in Fuel Science in 1969 before enlisting in the U.S. Navy. His tour of duty offered him his first chance to live overseas and he was stationed in Gaeta near Naples in Italy, the homeport of the 6th Fleet flagship. Exploring on his time off and rarely without his camera, he caught the attention of the local people, fast making friends and eagerly learning the language. He began to recognize his skill as a teacher after first successfully coaching the kid’s basketball team then later teaching English and science to the young people there.

Digital cameras are ubiquitous and easy to use now, but at that time, the practice of street photography was still something of a novelty and Madaio made one of his first discoveries: young people love to have their pictures taken. Over time, he realized that having someone take one’s picture is a form of validation that can boost self-esteem. The following comes from a 1976 issue of the Penn Stater:

Most serious amateur photographers don’t venture beyond scenics, muscular sports heroes or glamorous models. It’s the small, unnoticed people and things that also require our attention if we are to go beyond the ordinary and mundane … I feel that everyone has a need to be recognized. During that instant when the shutter is snapped, the subject is important to one other person in this world—important enough to have his or her picture taken.

Chris Madaio - Emanuela (1993)

Chris Madaio – Emanuela (1993)

After completing his tour on active duty, Madaio returned to the U.S. with a strong attachment to this beautiful place. He went back to Italy in 1972 to use his GI Bill and take additional courses in engineering while maintaining his connection to the people and place. Recognized and appreciated for his work, he was published in Long Island Newsday in 1973 and then in the Penn Stater magazine in 1976, the same year he held his first photo show at La Nave Caiattas in Gaeta during a vacation. Shortly thereafter, he had his first major exhibition at Penn State and 10 other Pennsylvania commonwealth campuses. He continued his work as a part-time professional by covering gymnastics, swim and softball teams and capturing important milestones of the adults and youngsters in Maryland and Pennsylvania. His photography also included travel, industrial, wedding and architectural subjects.

Chris Madaio - Maria (1994)

Chris Madaio – Maria (1994)

Because of his skill in engineering, he had the opportunity to travel throughout the world on one project or another working for Bechtel Corporation and a few other companies. All the while, he made a point of returning to Gaeta every few years to spend time with his friends. In 1999, he became an avid biker and in 2001 trekked from Great Yarmough, UK to Gaeta on a Triumph Trident motorcycle—a 1600 mile journey.

Chris Madaio - Angelica (1994); (2002)

Chris Madaio – Angelica (1994); (2002)

After leaving samples of his work in a bookstore in Amsterdam, Madaio caught the attention of Ophelia Editions and was offered his first chance to publish. The result was Il Ritratto Giovanile (Portraits of Youth) in 1996. As a fledgling company, Ophelia Editions had a necessarily narrow focus, hoping to establish itself in a wider market and that has given most people—at least those who don’t really know him—the wrong impression about the artist’s scope and interest. There were plans for another book, Lo Scugnizzo, covering his work with street boys in southern Italy until Ophelia Editions shut down. In retrospect, the failure to publish the second book may have been a blessing. Scugnizzo translates as “street urchin” and in the English-speaking world, that has connotations of poverty but also of charm due to Charles Dickens’ humanistic portrayals. In Italy, however, the expression has a more pejorative meaning and having his now grown-up subjects—especially those who were not really street kids—associated with that term would belie the artist’s respect for the people whom he still regards as friends.

Chris Madaio - Giovanni (1974)

Chris Madaio – Giovanni (1974)

One of Madaio’s most vivid memories is of a boy who might more properly be called a scugnizzo:

I was hiking/backpacking through Tarragona Spain, on leave from the U.S. Navy (I did that often). I believe it was 1970 and I was 23 years old … I slept in an open meadow that night. When I got up the next morning, Francisco was hanging around. He told me he lived in a trash dump nearby (presumably with his parents), and he had a horse. I assume he told me the latter because it was painfully obvious how poor he was, so I guess that was his way of saying he had something of value. Then we split up and went our separate ways.

This picture appeared in Newsday and the Penn Stater.

Chris Madaio - Francisco sin Caballo - Tarragona (1970)

Chris Madaio – Francisco sin Caballo – Tarragona (1970)

After the publication of Ritratto, another major show was held in Gaeta—promoted by the local community—and another at the National Institutes of Health in Maryland shortly thereafter.

Chris Madaio - Martina

Chris Madaio – Martina (1999)

Despite his earlier success, by 2003, Madaio had largely curtailed his photography of young people as he noticed a decline in demand and less respect from his former clients and friends about the focus of his work. He attributes this to the rising hysteria taking place in the U.S. that casts a suspicious eye on anyone doing substantial work with youth.

Keep in mind that one of the joys of taking pictures of children is when they actually act like kids and not little adults. Sometimes kids act goofy. It may not be artistic, but the spontaneity is enjoyable and reflective of my attitudes toward childhood … Anything can happen with kids and usually does. This spontaneity can manifest itself either with a street boy skinny-dipping in a public fountain in Italy or little girls cutting up in gymnastics class.

Chris Madaio - Frederick Gymnastics Club (1993)

Chris Madaio – Frederick Gymnastics Club (1993)

Accompanying the decline in photographic work came a stressful period during his mother’s precarious health. These conditions contributed to what could only be called an addiction to pornography. Despite these setbacks, he continued to get good engineering jobs, the latest in Alabama in 2002 and he moved there. In 2004, he brought in his computer for repair and was reported to the authorities for his images, many which had been exhibited or published. In October of that year, FBI agents from the Huntsville office visited his home without a warrant and inquired about those photos. Madaio did his best to cooperate and turned over his two computers, fully aware that adult pornography would be found and he gave them some of his professional photography as well. He was surprised when over a year later an indictment was handed down from the federal authorities accusing him of receiving child pornography. Madaio had cooperated confident that no such images were present on his computer—only legitimate adult pornography. It appears the prosecutors used his browsing history to help secure the indictment and then stretched the definition of “child” to bolster their case. He was released on pre-trial bond at a January 2006 arraignment. He was not savvy to the ways probation officers gather evidence, so after winning a gun in a company raffle (he is a certified expert marksman), he made sure it was turned in to comply with the probation conditions. They say no good deed goes unpunished and that gun was then used to justify incarcerating him until his conviction on child pornography charges in June 2006. He served 48 of the 60 month minimum sentence in a federal prison. Little did he know his mother would pass away during this time and he never had the chance to see her again.

Regarding the professional photographs that were still being held by the authorities, Madaio filed a civil action under the Privacy Protection Act of 1980 (PPA)¹. However, unable to get any legal assistance from the local or national chapters of the ACLU²—who seemed more concerned about their political image than justice—the petition was dismissed in 2010 on a technicality. While in prison, he taught literacy and GED courses to prisoners and in 2008 began to take paralegal courses so he could defend himself and his fellow inmates more effectively. After his release in early 2010, he was instructed to return to Alabama despite no longer having any ties there—neither a job nor property. Thus began a 3-year fight to convince the U.S. Probation Office to allow him to return to his native New York where his handicapped sister was living.  In the mean time, he had to comply with state laws regarding sex offender registration and in the heat of legal negotiations, he momentarily forgot about a new Alabama law that required him to register quarterly. When he did present himself to register, he was arrested and searched, this time by the local Sheriff’s Office. Many items were seized including those that had been returned by the federal authorities in 2010. To complicate matters, a one-time associate of his shortly thereafter had a storage unit raided where child pornography was found and was used as a basis for additional charges issued in December 2012. He was released on bond that same month and a month after that was released from the federal probation restrictions. But he still faces a possible second trial on the state’s charges this February.

Madaio is not claiming to be completely blameless and in a properly functioning justice system, he knows he should pay some kind of penalty for his hapless browsing in 2004. But the tragedy is that because of the stigma of this kind of conviction, he cannot get a fair hearing or a fair sentence and to make matters worse, there is a culture of vigilantism in the South that prevents him from moving on and reintegrating into society. Our society would rather punish than treat a person’s problem and because of these restrictions, he has not held a steady engineering job for more than four years. On the brighter side, most of his own photographs were returned after the original seizure and are therefore still available to us. He recognizes that there are fewer years ahead of him than behind and is making a concerted effort to establish a noble and compassionate legacy.

Chris Madaio - Vista da San Francesco (1986)

Chris Madaio – Vista da San Francesco (1986)

Legal battles cost money even if one is representing oneself, so any assistance in scraping together some funds would be very much appreciated. To offer your support, order prints or hire his legal services, you can visit his website here.

In reviewing the background material for this article, I realized that the artist’s experiences are a treasure trove of legal and political advice. It would be naive for the layman to imagine that his legal system is just and that he would have nothing to worry about if he were accused unfairly. Therefore, I intend to write an article that will make use of this material and shine a light on our current political situation, its realities and offer some vital practical advice. -Ron


‭1. The Privacy Protection Act of‭ ‬1980‭ [‬42‭ ‬USC‭ §‬2000aa‭]‬,‭ ‬was enacted into law by Congress to limit searches for materials held by persons involved in First Amendment activities who are themselves not suspected of participating in the criminal activity for which the materials are sought. This is meant to discourage law enforcement officers from targeting publishers simply because they incidentally gathered evidence of a crime.

2. The American Civil Liberties Union’s (ACLU) stated mission is “to defend and preserve the individual rights and liberties guaranteed to every person in this country by the Constitution and laws of the United States.”  The Free Speech Coalition was also approached to no avail.

Madaio’s tumblr account

Creepy Girl with Rats

Shortly before our site was shut down by WordPress, I found a bizarre item: a weird photo that was made into a pillbox.  A little while later, I saw another with an equally strange image.  I decided to try to contact the seller and get more information.  Her name was Lori and was quite approachable and generously sent me the original rectangular images used to make the pillboxes.  One was a “Creepy Girl with Knife” originally posted here and the other is a girl with a creepy smile on her face feeding rats.

(Artist Unknown)

Winkler+Noah – (Title Unknown)

Lori explained that she was a long-time collector of an eclectic range of art including a number “creepy girl” images.  She confirmed that they are photographs but has no idea of the artists’ names.  These are interesting images and quite intentionally composed so I would very much like to know who the artists were.  It is hard to judge an artist’s work from a single odd example.

An interesting brief on Winkler+Noah can be found here.

The Tyranny of Cheerfulness

I have to admit that this delightful turn of phrase is not mine; it comes from Dr. Samantha King, author of Pink Ribbons, Inc., Breast Cancer and the Politics of Philanthropy. As many readers know by now, I watch a lot of documentaries and two remarkable things continue to surprise me: films that I never thought would be worth the bother happen to be the best films and little girls persistently make their presence known in history, art and the media.

I already wrote about the cynical use of children’s charm to promote products in my State of the Art Exploitation post, but what follows is one of the worst examples I have seen to date. When I first saw it, I knew it had to appear on this site. This clip is an excerpt from the film Pink Ribbons, Inc. directed by Léa Pool and produced by Ravida Din. There are many powerful points made in this documentary, but the one illustrated here is how the color pink is used to inappropriately soothe the impact of a truly horrible disease, namely breast cancer.

I included a short bit from Barbara Ehrenreich—well-known author and a woman coping with the disease herself—about how hurtful and condescending it is to promote these ubiquitous pink products and insist that women be cheerful through the ordeal. Ehrenreich became interested in this “cancer culture” when she was diagnosed and instead of doing personal research on treatment options, she became fascinated by this monstrous phenomenon. The second part of the clip is an advertisement from The National Breast and Ovarian Cancer Centre, Australia Campaign 2005. It is composed of a charming series of vignettes—as if patched together from home video footage—of girls padding their bras and playing with the idea of their bodies’ future development.

Ravida Din and Lea Pool Pink Ribbons Inc. (2012) excerpt

For those who are interested, I would like to share a couple of illuminating highlights from the film. The pink ribbons are everywhere and events all over the world are promoting breast cancer awareness and raising money, but the dark side of this is that it evolved to support the megacorporations’ balance sheets. To foster goodwill with their customers, they have engaged in token fund-raising efforts that do not focus the efforts in an effective or coordinated way. The apex of this hypocrisy occurs when the consumer products that promote cancer awareness actually contain known carcinogens!

Even the story of how the pink ribbon got started is an interesting one. It began with Charlotte Haley who after having lost a number of friends to the disease, sent cards with ribbons stapled on them to heighten awareness. In fact, the ribbons were more salmon-colored and when Estée Lauder and Self Magazine approached her and wanted to use her idea, she refused knowing it was only to promote their bottom line. They consulted their lawyers who simply advised them to change the color. Millions of dollars is thrown at the problem and there is no accountability on how it is spent and anyone knowledgeable about the history of cancer research knows there is a disgraceful lack of funds going toward prevention or studying the disease in minorities.

Women and men should be angry about these developments and it feels as though the pink (a deliberate marketing choice of color) is used to deflect militant protests that might stimulate real change into inane events that make people feel better, but does little or nothing to help people.

The following have nothing to do with the film but have worthwhile information most people know nothing about:


On the surface, it seems that a tomboy is just a girl who has similar tastes to boys or—as a feminist might define her—someone who sees the privileges of boys in our society and finds her gender role constricting.

J.D. Cardinell - I'm Goin' to Be a Boy (1900)

J.D. Cardinell – I’m Goin’ to Be a Boy (1900)

The reasons why a girl becomes a tomboy are not purely biological or purely psychological. I don’t remember the name of the documentary now, but it showed a little girl with a particular hormonal imbalance who acted exactly like a boy—rough-housing and playing competitive sports—despite being anatomically female. Cultural forces alone cannot account for the apparent gender inequities; there are perfectly valid biological motivations to consider here. As scientists learn the subtleties of biochemistry and how it affects development, it is clear that a girl’s or boy’s brain is “built” the way it is and gives each sex its peculiar stereotypical character. A powerful illustration can be seen in the TLC documentary A Child’s World (2001) where a little girl is obsessed with pink and wants everything of hers to be pink, even the lenses in her glasses.

Alex Graham & Leanne Klein - A Child's World Facts of Life (2002)

Alex Graham & Leanne Klein – A Child’s World: Facts of Life (2002)

This is quite usual as almost any mother with daughters will attest, but the dark side of this reality is when a girl does not fit the mold. In addition to feeling out of place herself, her family almost instinctively torments her about her oddness and very often there are serious psychological repercussions. The most moving account I read recently of gender roles comes from Frank Cordelle’s The Century Project—the testimony of Ana aged 45.

When I was a girl, I secretly wanted to be a boy. I hoped that I would wake one morning to find that my slim, strong body had become male. I didn’t analyze the reasons for my longing, but I knew that boys had a lot more freedom and fun than girls did.
It wasn’t until my late 20s, when my mother told me of the years of sexual abuse she had endured as a young girl, that I began to understand the deeper root of my desire. Part of my mother’s legacy was her loathing of the feminine, within herself and also in her three daughters. My mother, a pretty, doe-like woman, despised herself in many ways: her tears, her scent, her face, her sexuality, her body—full hips, softness, curves. It was impossible to grow up in my family and be a whole, healthy female. My sisters turned to overeating, anger, drugs, and sexual promiscuity. I wanted boyhood.
My childhood offered me many opportunities to live as a boy. My parents assigned me “boy” chores (lawn mowing, taking out the trash) and gave my older sister ‘girl’ chores (cooking, cleaning). I wore jeans and plaid shirts, sneakers, and baseball caps. I got my hair cut as short as my mother would allow and walked out into the world with the confidence of a boy: strong and self-assured. Every time I was mistaken for a boy, which was often, I felt a sense of triumph. I climbed trees, rode my pony, shot my rifle, paddled my raft, built forts, played catch, fished, and rode my bike with abandon.
In junior high, my body held fast to its androgynous shape. I secretly believed that I was being spared the burdensome life of a woman. My body at last betrayed me with breasts at 15 and menstruation at 16. A week after my first period, I was asked out on my first date by the sleazy high school lettermen’s club president—considered a real catch by every girl in my school—who, at evening’s close, walked me to my parents’ door, stuck his long, slimy tongue into my shocked mouth, and told me he loved me. My hopes came crashing down. I wasn’t going to become a boy after all. I was doomed to grow into womanhood and all the limitations that came with it.
As an adult I have lived with my destiny. I never considered transgendering; it was a boy I wanted to be, not a man. I learned about women: our bodies, our selves, our struggles, our strengths, and slowly became comfortable with my gender. My mother’s legacy still flowing through me, I resisted all cultural symbols of femininity: adornment, makeup, pink dresses, allowance for chivalry, a wiggle in my walk. I tucked my boy-self inside, never far from my girl-self, and became a woman unlike those I had grown up around. I liked myself.
In my late 20s I gave birth to two beautiful, wild boys who taught me—like nothing else had—that I had not, indeed, been a boy. Although I am quite an adventuresome mother, I clearly am made of something different, and that something is female.
Two years ago I made perhaps the biggest leap of my journey to womanhood: I got married. In a white lace dress with flowers in my hair. I felt beautiful, lovely, and feminine. A month after the wedding, I was riding my cruiser (the bike in the photo), which consistently allows me my strongest young-male experience. I still ride it with abandon and feel practically invincible when I’m gliding along on it, strong and fast and independent.
That day, I happened to look down at my left hand and saw my wedding ring. I nearly fell off my bike! There was something wrong here. How could this adolescent boy be wearing a wedding ring? How could he possibly have let himself become a wife? I had to pull over in order to calm myself.
I am a longtime grown woman with a strong boy alive and well inside of me. These two selves make up the core of who I am.

A friend of mine recommended I watch a French film that had just come out called Tomboy. I was working on Pigtails by that time so I figured that even though it did not sound very interesting to me, I should watch it for my own education. I expected the patent formula of a girl pretending to be a boy until the inevitable climax when she is discovered and yet manages to have a happy ending. I should have realized that no good European filmmaker could be accused of following a formula and Céline Sciamma’s Tomboy (2011) is a case in point. It does have all the expected elements but presents them in a personal and compelling way.

At the start, we see 10-year-old Laure (Zoé Héran) being allowed to handle the controls of the car as she and her father arrive at their new home in a Paris suburb. Her hair is cut short–as short as her mother would allow.

Céline Sciamma - Tomboy (2011) (1)

Céline Sciamma – Tomboy (2011) (1)

Already at home and settled in are the mother, pregnant with a boy, and Laure’s 6-year-old sister Jeanne (Malonn Lévana) who is the archetypal girly girl with pink walls, stuffed animals and frolicking around the house in her favorite tutu.

Céline Sciamma - Tomboy (2011) (2)

Céline Sciamma – Tomboy (2011) (2)

Nudity—no matter how cleverly explained or disguised—always feels a little gratuitous to me, so I must commend the filmmaker for this discreet but necessary piece of visual exposition.

Céline Sciamma - Tomboy (2011) (3)

Céline Sciamma – Tomboy (2011) (3)

After watching the neighborhood boys, Laure sets out to join them and meets Lisa (Jeanne Disson) on the way. Laure convinces her that she is a boy named Mickäel. Lisa senses there is something special about this “boy” and begins to develop a crush. Here she is telling Mickäel that he is different from the other boys.

Céline Sciamma - Tomboy (2011) (4)

Céline Sciamma – Tomboy (2011) (4)

Lisa joins Mickäel and the boys in a game of truth or dare.

Céline Sciamma - Tomboy (2011) (5)

Céline Sciamma – Tomboy (2011) (5)

As Lisa and Mickäel’s relationship develops, Lisa becomes more amorous and ventures a kiss. In a later scene, Mickäel decides she doesn’t want to hurt Lisa’s feelings and reciprocates with a kiss—something we would not see a boy that age doing.

Céline Sciamma - Tomboy (2011) (6)

Céline Sciamma – Tomboy (2011) (6)

Naturally, complications ensue and in one case while playing soccer and drinking to stay hydrated, they all need to pee so the boys just walk over to the bushes to relieve themselves. Obviously, Laure can’t do this and tries to pretend she does not need to pee until she finally runs into the woods in desperation; but it is already too late and she wets herself. This is noticed by one of the boys and Laure/Mickäel is humiliated. Lisa later tries to console him and helps him join the gang of boys again. In preparation for a gathering at the local watering hole, Laure secretly fashions herself a clay penis to make Mickäel’s appearance more convincing. Here she is seeing how it looks.

Céline Sciamma - Tomboy (2011) (7)

Céline Sciamma – Tomboy (2011) (7)

Laure’s little sister Jeanne realizes what has been going on and uses this knowledge to blackmail Laure into taking her along on her outings; she does not like being cooped up at home either. Here, Jeanne is bragging to Cheyenne (Cheyenne Lainé) about the benefits of having an older “brother” who can protect her.

Céline Sciamma - Tomboy (2011) (8)

Céline Sciamma – Tomboy (2011) (8)

Her words are prophetic when one of the boys pushes her and she is hurt, compelling Mickäel to fight the boy. The boy’s mother soon confronts the family and the secret is out. After that, Laure’s mother makes her wear a dress and apologize to the families. The final scene shows Laure and Lisa meeting in the courtyard and taking their first timid steps in reestablishing their friendship under these new terms. This compelling drama focuses on the children (the parents are not even named) and is well worth seeing—not just some superficial comedy of errors.

The Century Project (official website)

Tomboy (2011) (IMDb)

A Child’s World (2001) is a three episode series, parts of which can be found on YouTube.  I am reluctant to offer a link here as these programs tend to get removed for copyright infringement.