Objectivity in Documentary Film

Documentary film is meant to educate, enlighten, and give us a glimpse into a culture that is either interesting, controversial, or simply unknown. Objectified (2009), the follow up film to Helvetica (2007), does just that.

Objectified is an in depth, interview based, documentary that opens the door into the mind of product designers. We so often take for granted even the most complex objects in our lives. A designer has played a role in almost all aspects of our lives ranging from the furniture we sit on, the houses we live in, and everything in them. Not to mention the technology we use everyday. Some are visual, others not. This is one of the strongest themes in the film. Just think of the chair your sitting in now. Sure it has an age old functional design. We expect our chairs to have a seat, a back, legs, and maybe even arms. Now think of how many ways you can achieve this simple task of designing a chair. . .the visual possibilities are endless.

Fortunately, this second directorial effort by Gary Hustwit is much more than just an exploration of design in our lives. It touches on theories in design, gives us some great insight from the minds of top designers, and even delves into the cultural significance of a designers social responsibility.

One of the more pleasant and thought provoking scenes in the film dealt with a lap top designer. Talking about "indicators" he mentioned an indicator is meant to indicate something. Seems common sense, but he goes on. When there is nothing to indicate, you should be unaware that the indicator exists. I found this to be an interesting point.

Other themes interviewees talk about are the environmental impact of there product, and how designers can in a sense control the cultural appeal of an object. There is really something for everyone in this film.

Outside of the content of the film, the form was very pleasant. Essentially a compilation of interviews an ideas, the film does not have an extremely solid direction or purpose, yet it works. The interviews were coupled with footage of the designers at work and visually stunning montage sequences.

The film, though, left me wanting a bit more. Where were the opinions of those outside the design roles. I guess they assume you bring in your own views in that aspect. What I would have liked was a point of view from those that higher the services of designers. Most of the designers in the film speak of their motivations from an artistic standpoint. A touch into the monetary motivations may have satisfied me a bit more portraying a more complete view of the design industry.

Overall I can't say anything really bad about this film. It's fast, smart, funny, and visually pleasing. A combination that's rare to find, and a formula that could help popularize documentary film in modern culture.

Check out the trailers for Objectified and Helvetica:

Character Identity - American Splendor

Below is an excerpt from the script of American Splendor. This scene is one of my favorites that deals with charater identity in a very unique way:


A SURREAL DREAM SEQUENCE

(We are now in a large, empty room similar to a blank comic
book panel.
A healthy, fully dressed Harvey appears in the corner of the
frame. He is very far away, barely recognizable. We slowly
dolly towards him as he delivers a formal soliloquy to the
camera):

HARVEY

My name is Harvey Pekar. It’s an
unusual name -- Harvey Pekar...

(As Harvey speaks, one-dimensional comic book images from his
life pass over the screen once again. This time in front of
him, behind him, everywhere. We dolly in towards him.)

HARVEY (cont’d)

1960 was the year I got my first
apartment and my first telephone
book. Imagine my surprise when I
looked up my name and saw that, in
addition to me, another Harvey
Pekar was listed!

(Images of Harvey’s childhood float by, followed by his young
adult years.)

HARVEY (cont’d)

I was listed as Harvey L. Pekar...
My middle name is Lawrence... He
was listed as Harvey Pekar -- no
middle initial... Therefore, his
was a purer listing.

(We see Harvey age in the images: he’s hanging on the street
corner with friends, collecting records, hanging with Crumb.)

HARVEY (cont’d)

Then, in the seventies, I noticed
that a third Harvey Pekar was
listed in the phone book! This
filled me with curiosity.


HARVEY(cont'd)

How could there be three people
with such an unusual name in the
world, let alone in one city?!

(Now, numerous images of Harvey’s many years at the V.A.
Hospital float by: Harvey filing, Harvey arguing with his
boss, Harvey and Toby, etc.)

HARVEY (cont’d)

Then one day, a person I worked
with expressed her sympathy to me
concerning what she thought was the
death of my father. She pointed
out an obituary notice in the
newspaper for a man named Harvey
Pekar. One of his sons was named
Harvey. These were the other
Harvey Pekars.

(The comic images fade out. Harvey is once again alone in the
empty room.)

HARVEY (cont’d)

Six months later, Harvey Pekar Jr.
died. Although I’d met neither
man, I was filled with sadness.
“What were they like,” I thought.
It seemed that our lives had been
linked in some indefinable way.

(We slowly move in on his face. Extremely close. As close as
the camera can get.)

HARVEY (cont’d)

But the story does not end there.
For two years later another Harvey
Pekar appeared in the directory.
What kind of people are these?
Where do they come from, what do
they do? What’s in a name?

END DREAM SEQUENCE