Eames, Innovation, and Advertising:

When watching the various selected films of Charles and Ray Eames, the thing that struck me most was their impeccable ability to present items that are potentially mundane as nothing short of thrilling and exciting. Whether it be a trickle of soapy water on asphalt, the various bric-a-brac in their infamous home, toy trains, or desk chairs, school chairs, lounge chairs, arm chairs (… they made a lot of chairs). The point I am getting at though, is that Charles and Ray Eames had the capacity to draw all of your attention in to the ‘wonder’ that is the assembly of a lounge chair and ottoman. How? Through their almost majestic control of camerawork, sound, light, and space. What a modern day advertiser wouldn’t do for this kind of power!

Take for instance their short film Kaleidoscope Jazz Chair. Whilst I truthfully found their manipulations and contortions of Kaleidoscopic images enthralling, as the film moved to the scene with the chairs I will concede that I almost scoffed. However, I was far too quick to do so, because as I continued to watch on, I soon found myself mesmerised. Truth be told, they are only chairs, but as they began to move and change colour, multiply and diminish, all the while in perfect timing to the catchy Jazz accompaniment, these simple chairs became so much more.

 

As a result of this phenomenon, I instantly found myself pining for an Eames chair of my very own, and this is what drew my attention to advertising. Given that in today’s society we are inundated with so many products, differentiating between them has become an almost impossible task. Hence, products must present themselves in such a way that appeases all of our senses, something that Charles and Ray Eames did so very effectively. It then occurred to me that one need not look very far to see the Eames’ influence on one of the world’s most recognisable products, Apple:

 

 

The white background, the portrayal of the product’s versatility, the rapid shot changes, the catchy melody all smacks of Charles and Ray Eames. In the 50’s and 60’s everybody wanted an Eames chair, today everybody wants an iPad, it appears as though the formula works to a tee. To borrow a phrase then: Eames is creating, Eames is vital, Eames is ideas, and Eames is amazing, even by today’s standards.

King Kong vs The World: Ready, Set, Fight!

In being one of these rare, cave-dwelling people who have managed to go about their lives without having seen the original King Kong or any of the remakes, when choosing courses for this semester, I found myself instantly attracted to this course after reading those two simple, yet legendary words; King Kong. But why? There are undoubtedly millions of films deemed to be ‘classic’ that I am yet to see, but for some reason the words King Kong truly excited me. Then it struck me. Although having never seen the film, much of my childhood was spent either playing video games or watching T.V. shows that incorporated references to, or reappropriations of, this iconic character, such as this one:

My young mind and fingers would work in tandem to ensure that Kong would triumph over the civilisation that looked to defeat him, never really appreciating the gravity of such a battle until now, having seen Cooper and Schoedsack’s original classic. Although my infant mind could never grasp such a concept, this image of giant gorilla versus big city that is now entrenched in the minds of so many people embodies so many different meanings. It is these thoughts that consumed my mind both when watching the film, and in my various ruminations post screening.

My initial thoughts circulated around all the things that Kong could possibly represent; a triumphant crusader or a racialised intruder, a hero or a foe, a regression to the primordial or a way of escaping modernity. However much I considered this, my results were never conclusive, until I came to the realisation that perhaps he could represent all of these things to many different people. In many ways, Kong conforms to the mould of the reluctant hero type we see so often in modernist Hollywood cinema. He is that individual, set apart from the rest who looks to conquer any adversities that may come his way, all the while striving to rescue the damsel in distress. Yet concurrently, he is that racialised intruder who sets about destroying those things treasured by modern society. Likewise, his very image is indicative of his status as a primordial being, emanating from an uncivilised world, not being able to emotionally or intellectually connect with those around him. Yet his actions, such as literally breaking free from the shackles of the modern world that contained him depict him as some kind of transcendent figure seeking to escape the bounds of modernity.

For my mind, this is why King Kong is today, and will be for sometime, one of those truly remembered films. Unequivocally, he is that isolated character who stands up against the world, but whether one sees this as an act of courage, or an act of insolence is a matter of interpretation, meaning that everyone who watches this film is given a voice with which their opinion can be heard.