Cinematic modernism truly is a flexible, multi-pronged phenomenon. For instance, through Charles and Ray Eames’ series of short films, we have shifted our focus from the grand landscapes of urban cities and exotic pre-historic jungles to the more everyday domestic sphere. This is evident in the Eames works we have looked at such as House: after Five Years of Living (1955), Lounge Chair (1956) and Kaleidoscope Jazz Chair (1960). Such domestication fosters the idea of consumerism; the topic for this blog.
House: after Five Years of Living was constructed using a series of back to back still shots. These shots depict the house’s picturesque Californian surroundings and unique interior. Throughout the film, objects of possession and individual worth are captured on screen. For example, we see a mid-range and a close-up shot of some kachina dolls. Drawing on my resounding knowledge for kachina dolls I can tell you that they are stylized, religious Native American icons, traditionally used to teach children about their religion. Today, however, they are more often used as decorative figures in one’s home. They are a commodity in which their prime function is to be displayed. So, the kachina doll is perfect symbol for the modern consumer culture. While this may be so, the kachina dolls are certainly portrayed on a miniature scale compared to the grandness of the house itself.
The next Eames film I want to look at is Lounge Chair, a quirky, short film which entails the construction and deconstruction of a classic Eames chair. Again, we find ourselves as viewers of a domestic scene and, in this case, the film acts as a clear advertisement for the Eames product. For instance, the task of putting the chair together is made to seem extremely simple through the sped up speed of the film along with its light, up-beat musical accompaniment. Furthermore, the chair is shown to have numerous functions. Relax in the chair. Relax in the chair with your feet on the chair’s footrest. Read the paper in the chair. Read the paper in the chair while your wife sits on the chair’s footrest. The possibilities seem endless. Finally, packing the chair away into its box seems just as simple as its assemblage. After seeing this, who wouldn’t want to buy the chair?
Kaleidoscope Jazz Chair follows in a similar manner to Lounge Chair as it too, is promoting an Eames commodity. On this occasion it is the Eames stacking chair. The film opens with a series of kaleidoscopic images which saturate the screen, ever-changing. The music which plays is a form of jazz, picked very intelligently by Eames. Together, the visual shots and audio sounds combine to reflect change and different ways of seeing and hearing to those of the past. Automatically, these ideas are linked to the Eames stacking chair when it makes its way onto the screen via a stop-motion effect. It is a product of ‘The Now’. A product of change. The chairs embody a sense of wonder as they transform into different colors and dance around the room.
The stop-motion effect works perfectly in this film and is still a popular technique used today. Once again showing off my love for music and film clips, for a more contemporary stop-motion clip, search Youtube for ‘You’ve Got A Lot of Nerve’ by the Red Riders. Despite being separated by almost fifty years you’ll see that there is virtually no difference between this and Kaleidoscope Jazz Chair in terms of technique.
Overall, these three Eames films explore the domestic sphere. Whether it’s through a depiction of the home, or objects within the home, they each convey a certain consumer culture which was prevalent at the time and which I believe still categorizes our society today.
House: after Five Years of Living was constructed using a series of back to back still shots. These shots depict the house’s picturesque Californian surroundings and unique interior. Throughout the film, objects of possession and individual worth are captured on screen. For example, we see a mid-range and a close-up shot of some kachina dolls. Drawing on my resounding knowledge for kachina dolls I can tell you that they are stylized, religious Native American icons, traditionally used to teach children about their religion. Today, however, they are more often used as decorative figures in one’s home. They are a commodity in which their prime function is to be displayed. So, the kachina doll is perfect symbol for the modern consumer culture. While this may be so, the kachina dolls are certainly portrayed on a miniature scale compared to the grandness of the house itself.
The next Eames film I want to look at is Lounge Chair, a quirky, short film which entails the construction and deconstruction of a classic Eames chair. Again, we find ourselves as viewers of a domestic scene and, in this case, the film acts as a clear advertisement for the Eames product. For instance, the task of putting the chair together is made to seem extremely simple through the sped up speed of the film along with its light, up-beat musical accompaniment. Furthermore, the chair is shown to have numerous functions. Relax in the chair. Relax in the chair with your feet on the chair’s footrest. Read the paper in the chair. Read the paper in the chair while your wife sits on the chair’s footrest. The possibilities seem endless. Finally, packing the chair away into its box seems just as simple as its assemblage. After seeing this, who wouldn’t want to buy the chair?
Kaleidoscope Jazz Chair follows in a similar manner to Lounge Chair as it too, is promoting an Eames commodity. On this occasion it is the Eames stacking chair. The film opens with a series of kaleidoscopic images which saturate the screen, ever-changing. The music which plays is a form of jazz, picked very intelligently by Eames. Together, the visual shots and audio sounds combine to reflect change and different ways of seeing and hearing to those of the past. Automatically, these ideas are linked to the Eames stacking chair when it makes its way onto the screen via a stop-motion effect. It is a product of ‘The Now’. A product of change. The chairs embody a sense of wonder as they transform into different colors and dance around the room.
The stop-motion effect works perfectly in this film and is still a popular technique used today. Once again showing off my love for music and film clips, for a more contemporary stop-motion clip, search Youtube for ‘You’ve Got A Lot of Nerve’ by the Red Riders. Despite being separated by almost fifty years you’ll see that there is virtually no difference between this and Kaleidoscope Jazz Chair in terms of technique.
Overall, these three Eames films explore the domestic sphere. Whether it’s through a depiction of the home, or objects within the home, they each convey a certain consumer culture which was prevalent at the time and which I believe still categorizes our society today.
The Eames short films show the domestic as the new 'frontier' for design. You have shown an educated understanding of the relationship between architecture and consumerism.
ReplyDeleteI also think Eames' films are the epitomy of modern consumerism in film. These short films put ikea to shame- colorful, flat-packed, functional and efficient!.
ReplyDeleteGreat blog! I especailly liked your discussion of the kachina dolls. Both House: After five years of living and Kaleidoscope Jazz Chair to me sum up what the fifties and sixties were all about - a time when modernism had lost the novelty we see portrayed in earlier films such as Berlin and Man with a Movie Camera and has become all consuming; the beginning of the blurring between private and public life.
ReplyDeleteStop-motion is a really interesting technique. I recently saw on Shorts on Screen (a great late night SBS adventure) a fantastic stop-motion short about a love story. If i could remember its name I would tell you but I can't so I'm sorry. If I do have a stroke of genius and remember I'll let you know because it is definately worth seeing.
I liked how you looked at consumerism in this entry. When i watched the Eame's short films i kind of felt like product placement, branding and the commodification of life were major themes being explored. Of course...it's great marketing by the couple...what a great way to get thier own designs and products out there!
ReplyDeleteGood use of the term, ‘the now’! I was stunned by Kaleidoscope Jazz Chair because jazz has this associated aura of cool and yet I was watching such a seemingly mundane object dancing around the screen. I am used to product placement in movies but not to the extent that the product plays a starring role.
ReplyDeleteThe genius of this jazzy, cool image is that the Eames place themselves in the avant-garde. Each new design would be their latest work and the poor consumers would try to collect the entire set until they ended up with a house full of chairs and nobody to sit in them.