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Tools Request permission Export citation Add to favorites Track citation. Share Give access Share full text access. Share full text access. Her observations on Wisteria Lane are threaded through memories of her past life and experiences. The ubiquity of her voiceovers, which punctuate each episode, guarantees that a sense of the past, memory, and even death are continually mapped onto the narrative events and physical spaces of the series. From a screenwriting point of view, her voiceover provides a convenient narrate device.
Indeed, her suicide catalyzes the narrative events of the entire series. Her narration, through content and accompanying camera work, relates the individual stories of the housewives to each other and their individual pasts. The individual memories of the leading female characters and a collective remembering of the boomer past, as portrayed on television are, therefore, closely associated.
Desperate Housewives fits into a pattern across contemporary depictions of the boomer housewife that make self-conscious use of television images and both invoke and construct a television past. The show treats the boomer sitcom suburb as a rubric or vocabulary that assesses current states of gender identity and idyllic images of white middle-classness, albeit its deconstruction takes place entirely within certain representational boundaries when it comes to race, class, and ethnicity.
The studio lot carries the literal and figurative palimpsestic ghosts of the boomer sitcom, linking the show at physical and thematic levels to this television tradition of conveying postwar suburbia and gender relations.
The representational power of the oneric sitcom suburban home and an interest in its status as a set appear elsewhere in nostalgic American media. The film remake of the boomer sitcom Leave It to Beaver is shot in the original Cleaver house set, also on Colonial Street.
The Cleaver home set is cemented in popular media as a stand-in for heteronormative family as well as outmoded classist definitions of US leisure, work, and gender. It is, at this point, an historical set that has been used in multiple nostalgic depictions of American family since the s.
It figures prominently in the movie poster for the Leave It to Beaver remake as an important connective device between the film, its original series, and the set of debates around changing definitions of family and home they invoke. The sitcom suburban home set as a symbol recurs in DVD menus for boomer nostalgic media. The DVD menu for the film remake of the original sitcom, The Addams Family, foregrounds a perverse, gothic version of the oneric family home.
The original series and its remake center on the fish-out-of-water premise of an oddball family in a generic sitcom suburb who do their best to fit into white, middle-class American life despite their macabre sense of humor and decor. The original series and the film, made three decades later, resist and queer the sitcom Cleaver suburb of the s. The Addams house, the same set used in both the original and the film remake, symbolizes this queering by making the typical sitcom home uncanny.
In this case, the semiotic function of the set design translates from the original sitcom to the remake. Moreover, it is the same set piece, at Hollywood Center Studios in Los Angeles, that is recycled years later in the remake.
While DVD menus are tangential to the main text, they perform an important discursive function as marking the narrative themes the main text addresses before the audience has chance to see anything else. The fact that the sitcom house set appears in so many ancillary texts belonging to nostalgic media suggests that it signals a specific ongoing historical debate about television representations of family and suburbia, one that places the viability of this model for happiness in question.
My Universal Studio tour and narrativizing fantastic space Self-labeled fantasies of home and happiness are main themes in boomer nostalgic television and film. Emphasizing the set-ness of a set becomes one of the visual and narrative strategies nostalgic media use to cosmmunicate the idea that the boomer television image of nuclear heteronormative family was never real.
In Desperate Housewives, the boomer house set is narratively linked to queering suburban white America and questioning its historical veracity. In other texts, the sitcom home is tied to similar themes. The remake takes a different direction by making the film about the television remaking of the s Bewitched, the main twist being that Isabel, the actor in the story of the film who plays Samantha, is really a witch masquerading as a Hollywood television actress playing the role of a s housewife which just so happens to mirror her own life situation.
The confusing premise of the film ensures that the blurring together of fantasy with reality becomes a recurring theme. In reality, her own normalcy is inherently fantastic, as she possesses limitless magical powers that act as both a help and hindrance in her projects of seeking Hollywood fame its own kind of fantasy and a relationship with Jack.
Jack and Isabel cavort and dance about the set, playing house Figure 1. When Jack decides to accept Isabel at the end of the film, they are reunited by magically being drawn back to the studio set. The final scene shows them driving up to the front of a house in the suburbs, an exact replica of their studio home.
By showing Isabel and Darrin falling in love on a stage set built to look like the sitcom boomer house, the film implicitly reflects on the contemporary performances of domesticity and straight coupling surrounding the boomer sitcom image of family and home. This image is fantastic but popular culture finds recycling it to be a useful and therapeutic process, nevertheless.
During her new gig, Isabel falls for Jack. Aunt Clara from the fictional s Bewitched television series magically appears in her home and casts a love hex on Darrin.
He convinces Darrin to stay in the relationship and drives him in a magic car no less to meet Isabel at the studio lot. The recurrence of this theme reflects how the film situates itself via old television. The choice of remaking Bewitched within the film distinguishes this particular film adaptation. It has the effect of objectifying television studio set itself and treating it as a fantasy world unto its own that, on occasion, bleeds into daily life.
The fearful response to television related to its perceived effects on domestic space and routine. The book shows how popular discourse surrounding the advent of television in the home voiced a concern that TV invited the dangers of the outside world into the presumed sanctity of the home and distracted housewives from their domestic duties. The Bewitched film exaggerates such cross-contaminations by having the boomer sitcom physically enter the real world, whose veracity, in turn, is also placed in question.
By extension, the bleeding of reality present-day Hollywood into fiction the Bewitched storyworld is analogous to the relationship between the boomer past and historical present. By physically conjuring the sitcom characters in the real world, Bewitched suggests that the two eras, despite their separation in time, wrestle with enduring questions of love, domesticity, and gender.
Bewitched, the film, plays with this gap between reality and fiction, and past and present by, at some points, collapsing it completely and, at others, exaggerating difference. Fantasy is, at root, an alternative reality to the present or musing on the possibilities for the future. In the case of the boomer nostalgic texts that foreground the sitcom house as a set, the thematization of fantasy construction on American television becomes their method for processing present concerns and frustrations, and confronting concerns and disillusionments with past representations of family.
Bewitched frames the boomer sitcom as an iconography rooted in fantasy. The era itself can never be fully accessed. We can, however, look at it through the refracted images that are the boomer-era sitcom. By placing present reality and the boomer image in question, it also places the original sitcom in question. Boomer nostalgia repeats that the boundary between the real and the fake is fluid.
This is true particularly of boomer nostalgia in set design. Yet, a paradoxical need to distinguish between reality and artifice also crops up in nostalgic media. Going on the official Universal Studio Tour ride by oneself is awkward. On a June day that is uncharacteristically swampy for Los Angeles, I wedge myself on the studio tour tram between two large families after receiving the stink-eye from sweaty, cranky parents for being bumped to the front of the line.
Toward the end of the tour, the tram and its slightly damp riders turn onto Colonial Street and the Desperate Housewives theme music plays in between snippets of dialogue from the series.
As the tram passes each house, the tour guide gives information about which housewife lives there and the television families that have preceded her.
The tour guides also emphasize how each home has been to be altered and tailored to the project of the hour. The tour guides point to various pieces of the set and distinguish between what is real and fake: A recognition of the lot as an ongoing site for recycling and reuse, redressing and redesigning hyper-mediated ideas of suburbia is deeply embedded in the studio tour.
The tour also foregrounds another theme characterizing popular treatments of nostalgic set design: And so, quite appropriately, this is how I experienced my first physical encounter with the set I had been studying for years: There is always something disappointing about meeting something or someone of historical significance in the flesh.
The houses are designed to look good on screen, but not in person. In person they look small, flat, and just a little bit off. The vacant stares coming from the tram audience indicate that Colonial Street is slightly less exciting than flash floods and spitting dinosaurs, that is until the tram turns off of Wisteria Lane where it stops due to delays experienced by the tram in front of us. We therefore sit for forty-five minutes with stilted bids at conversation by the tour guide: Mid-century America and its reincarnations have always been better on television, even though, based on the studio tour and the set discourse in Desperate Housewives itself, the physical backlot and its history still have significant draw and sway over popular imaginings of what happiness looks like.
The piece ends: Not only are sets used and reused as part of industry practice, but designers are highly aware of the history of the locations and set pieces they work with. This book foregrounds the material histories of everything that appears onscreen. Design languages tell stories of their own.
Whether set in the s or the early s, these series use set design in similar ways to tell stories about intergenerational friction, gender, class, and racial struggle, divisions between home and work identities, and how television shapes all of the above. Whether reinvigorating an old studio lot or creating sets from scratch to look like something out of past, the set designs draw on boomer-era interior design and fashion.
This chapter addresses the meanings an old studio lot or older set piece carry with them onto the screen.
Tracing the recycled studio lot offers a different approach to television analysis in general. During the Universal Studio Tour, we passed by other iconic television and film sets that reappear across numerous texts because they still have cultural currency.
We could analyze television and film texts according to iconic studio lots and even pieces of sets that are used and reused. This would change the way we conduct television and film studies as a whole. Even as digital tool sets are able to create whole environments, these iconic sets are still in use and the physical set is far from being outmoded. Turning scholarly attention to the material histories of the design we see on screen offers a fundamentally different, industry-sensitive perspective of media.
Buena Vista Home Entertainment, Pantheon, , 5. MIT Press, ], Vidler explores the postmodern renditions of the nostalgic, collectively imagined home that is rooted in this loss.
Paradoxically, neighborhoods designed in this ostensibly flexible style often institute rigid zoning laws. Robert A. Duany and Plater-Zyberk designed a much less autocratic New Urbanist project at Seaside, Florida, known for its retro small town American architecture pre and pedestrian-friendly urban planning. How ironic that a film about a man who discovers he is the star of his own reality show and that his hometown is nothing but a television studio set is shot in an actual town designed to adhere to the unsettling perfection of popular memories of the early-twentieth-century suburb and small-town America.
The location is perversely mobilized in the film to question the intactness of the distilled memory of boomer television suburbia.
The discourse on the dystopic boomer suburb thus extends to real- world architecture and television production design, as well as film and TV narratives.
University of Chicago Press, , 2—3.
A Structural Approach to a Literary Genre, trans. Richard Howard and Robert Scholes. Cornell University Press, , 33— As suburbs expanded in reality and on American television, the corporate office saw similar transformations with the advent of postwar Fordism and the early impact of digital technology and ways of organizing and managing data. It also opens this interpretation up to other television texts that use corporate modernism to foreground contemporary neoliberal discourses around multiculturalism and diversity in the workplace.
Setting the office in the context of larger art historical and architectural movements expands upon the racial, ethnic, and class conflicts between Betty and her work environment as the series plays this out using both aesthetic and narrative languages. I also pay attention to specific set pieces and the industry background of the set as a whole by interviewing various designers affiliated with Ugly Betty.
Few media scholars look at how television set at this level of detail and by tracing aesthetic histories associated with specific styles of interior design and architecture. The chapter traces the retro modernist office across multiple contemporary television texts, in which corporate modernism becomes just as iconic as the boomer suburb in signaling a certain set of debates around class, race, gender, and work and leisure.
Modernism has never completely gone away, but rather, the expression and reworking of its principles has shifted with various historical and cultural contexts. Modernism on television has and continues to serve as a discursive vocabulary for navigating the digital transition in the most prolonged version of its history, from the birthplace of early computers and their impact in the workplace, to the contemporary digital environment.
Furthermore, modernism is used to signal experiences of belonging and not belonging. Worthington wanted a minimalist, futurist aesthetic with clean lines.
Almost all lines are rounded or curved, giving it a flying-saucer look. The set is governed by a fluidity of both vision and movement. Almost all of its offices have at least one glass wall so that sight lines remain open. Everyone is always on display.
Their images are in perpetual states of hypervisibility and becoming. The wide-angle lens emphasizes not only the general self-reflexivity and camp aspects of Ugly Betty, but also the hypervisible and curvilinear space of the set. When characters are not surveilling the space around them, they move rapidly through the set and are followed by steady-cam shots that exaggerate the fluidity of the space.
Flow characterizes this space, which affords the easy visual and physical access of almost everyone in the office to each other as the curves of one room bleed into the next. Complementing these themes of hypermobility and hypervisibility, the set is infused with constant media coverage of itself, Mode Magazine. Not only is his broken heart on display for prying eyes at work, but it is also the subject of all the media consumed by the same people in that space.
She and her assistant enter the space in matching black and white ensembles. All the orange color accents of the set are erased and the lights dimmed to reflect this more somber period at Mode. The Mode set, therefore, visually diagrams the narrative themes in the world of fashion, which include heightened visibility, reflexivity, extreme insulation, and beauty culture and self-representation. Modernism has been a dominant presence in design and architecture since the s, but its various iterations between then and now reflect transformations in technology and the relationship between human vision and space.
Mode partly falls into the masculine-coded discourse of modernism, which includes rational organization, technological progress, and visual and informational transparency. It is located at once in the present and the past. It is bodily and curvaceous. Retro design and its current appropriations in fashion and architecture are polysemous media for working through present questions of ethnic and racial identity, commercial definitions of beauty and beauty culture, and individualism and collectivism within increasingly media- saturated environments.
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According to this style, a building exterior should reflect its inner structure and avoid ornamentation at all costs.
Mies van der Rohe and other architects in this school prize minimalism and transparency of design over excess and ornament. The band- window one continuous window that wraps around a building and regularly placed steel studs replace cornices, molding, and sculpture. The Mode office follows in this tradition of International Style modernism. It uses glass and the open-floor plan to maximize flow and visibility. Apart from the furniture, the architecture includes little embellishment.
Le Corbusier posits a machine-inspired, streamlined aesthetic that adapts patterns and motifs from automobiles and factory machinery to architecture and interior design. Streamlining infuses all parts of domestic decor in the postwar period, informing the shape and look of refrigerators, toasters, cars, furniture, shoes, and architecture.
That said, the average s home would realistically have had a combination of both modern and older stylistic traditions. Furthermore, the narrative themes of defining good and bad taste make these quotations more pointed than random stylistic choices. The historical and cultural resonances of modernism present Mode as the engineer of good taste and Betty, as both a political and aesthetic mismatch. The set also uses Tulip chairs designed by Eero Saarinen, who also comes out of the same Scandinavian, mid-century, modernist movement and employs the same elements of fluidity and color accents.
Two of the most attention- grabbing pieces on the set are designs by Verner Panton also from Denmark. One is a pair of wall elements from the Visonia exhibit and the other is an orange Panton chair, which appears in the conference room en masse.
The wall elements are red foam chairs that face each other.
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The seat of the chair sweeps upwards into a dramatic swirl before meeting the ceiling. They are distinctive pieces, particularly when set against the white space of Mode. The Panton chair is one piece of molded plastic whose seat folds back onto itself before meeting the floor. Like Saarinen and Jacobsen, he worked primarily with molded plastic and foam, but also dabbled in inflatable furniture. The bright colors, organic shapes, and curved lines of his furniture are in keeping with the late modernism of the s and provide an important transition from high-modernism into the psychedelic designs of the s.
The set itself is not consciously retro because it looks so contemporary. This is because the Mode set is the product of a wider resurgence of mid-century modernism in architecture and design of the s and s. The mid- nineteenth-century proliferation of mass-production and factories caused a separation of spheres or the division of domestic labor from masculine-coded, blue- and white-collar labor. In this context, home and femininity stood for what was not mass-produced: From the late nineteenth century onwards, scientific efficiency reordered the home as well as the factory, in part, due to the influence of Frederick Winslow Taylor and his published studies on workflow, labor management, and productivity.
Academic critics also contributed to weeding out Victorian frills and fluff. In , Clement Greenberg associated kitsch with the threat of fascism. He saw kitsch as an autocratic tool for brainwashing the masses. The flowing lines and nature themes of Art Nouveau also experienced a revival in the late s, mostly in response to the confining tenets of modernism.
This change was meant to ease the reintegration of returning soldiers into peacetime society. The organizational complex diverged from a Taylorite framework by instilling the feeling of a corporate family. The physical and cognitive experiences of the office space were meant to be flowing, flexible, and transparent.
Buildings were meant to create continuities among departments and between the interior and exterior. This architectural shift was also echoed in the office use of psychological personality testing for determining employee placements in new corporate organization. Martin claims that these principles originate in early cybernetics theory, which studied the structural parallels among the human nervous system, data flow, and intra-office communication.
The introduction of cybernetics into office organization offered not only a new corporate dynamic, but a new symbiosis among architecture, digital technology, and the body.
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By virtue of its retro modernism, the set invokes the organizational complex. Mode favors open sight lines, mobility, and a hyper-intercommunication between departments through the rampant spread of rumors. Martin links modernism to television and the reconceptions of information flow, individualism, and collectivity that were part of its emergence. Architecture reflects and informs technologically and socially determined understandings of visuality and cognition.
For Martin, architecture, corporate organization, cybernetics, computer technology, and television are all a part of the same mid-century discourse. In this sense, the language of modernism shaped and was shaped by how baby boomers negotiated new media. Like other elements of boomer visual culture studied in this book, boomer-era modernism becomes an analytical and representational tool for externalizing technological and social change in national history.
In this specific case, modernism acts as a placeholder for hegemonic class, gender, racial, and ethnic homogeneity on TV as Betty struggles against both her physical and ideological environment.
Contemporary architecture extends the organizational complex that Martin historicizes. It shares modularity, simultaneity, controlled entropy, and neoliberal choice in common with the mid-century discourse. One major difference however is that current design prefers technology to be invisible.
For example, flat screen televisions are meant to blend into walls, creating the feeling that media is one with the physicality of the home. The computer was positioned as monolithic and inscrutable, whereas the aim in contemporary architecture is for technology to be unnoticeable and in such complete symbiosis with us that it acts as a secondary, internal nervous system. In the set, the material technologies of image reproduction, such as the computer, the television, the camera, and the printing press, are entirely erased.
However, the use of color in her Queens home is also associated with a feminine counter-movement to modernist teachings in the s, which came in the form of two-toned cars and appliances.
Betty enters the lobby to check in and, asked to wait, she sits in a modernist chair consisting of a clear, plastic orb with a narrow rectangular opening on one side, all of which balances on a small pedestal. As she nestles into the chair through the small aperture, it falls off its stand and rolls across the lobby floor with Betty inside.
Even when she rises to the height of her success, she is still unique and visually distinctive from her coworkers and their office space. The museum is composed of stacked, concrete rings that gradually become larger toward the top of the building. The gallery is organized along a spiral staircase that lines the interior of the main building, forming a conical void at its center. As one descends through the gallery visitors are supposed to take an elevator to the top and follow the spiral staircase downward , views of fellow patrons on the other side of the staircase become as much apart of the experience as the art itself.
The Guggenheim is a highly collective, communicative, and visual space. She enters the central void of the spiral at the ground level. Betty is mean and cold-hearted, leaving countless broken hearts, family relationships, and good friendships in the wake of her climb to the top. She spots Willy descending the spiral staircase and the next sequence follows Betty as she runs down the gallery of the Guggenheim while keeping Wilhelmina in sight on the other side of the spiral ramp.
Backing up in horror at publicly disrobing her superior, Betty collides into the actual million-dollar bra behind her. Her braces adhere to the bra and Betty must have the braces removed at the gallery in order to save the prized undergarment. The episode ends with one of the most anticipated events of the series, the moment when Betty removes her braces. The Guggenheim, as an emblem of high-modernism and good taste, is a fitting symbolic venue for this highly significant and final phase of her transformation from geekdom to gorgeous.
The removal of the braces is a step in the direction of the white minimalism of the Mode office and the Guggenheim. These languages historically carry messages of either conforming to or resisting the hegemony of white, middle-class, straight patriarchy. They are used here to tell a different story of assimilation, diaspora, the arbitrary assignment of value to taste cultures, and counter-beauty.
The Mode scenes for the pilot were originally shot at the Woolworth Building in New York City, but the set was moved to Los Angeles for the first and second seasons, then returned to New York for the third and fourth seasons because of tax exemptions.
Archie comes from a background in painting from Miami University. He then worked in advertising and designing windows for Neiman Marcus. This job trained his eye for working in color, space, and depth, which translated well to television set dressing. In our interview, he shed light on how stressful television production schedules can be. His process in Ugly Betty would be to collect images based on reading the script and he then had seven minutes with Mark Worthington at the end of the day during which they decided on a few images.
He then procured items based on that conversation. The crossover between cutting-edge architecture, interior design, and television set design is not new. Lynn Spigel writes about how television worked to familiarize a postwar American public with the tenets of modernism by thematizing modern design in its narrative themes and art direction.
For example the credit sequence for Get Smart, a television parody of James Bond films, follows the protagonist secret agent as he wrestles with the high-security doors to his high-tech, modernist, underground workplace, characterized by smooth unadorned surfaces and muted colors.
Get Smart clearly apes the high-modernism so prominently featured in James Bond films from the s and s, exploring the fundamental ineffectiveness and even inhumanity of modernist design. Batman carries on a similar dialogue with modernist art and architecture, as Lynn Spigel observes, in storylines that feature the Joker as dangerously dabbling in pop art and its iconic comic book blurbs that annotate fight scenes. The batcave is high-modernist by design: If modernism is far from dead in art and architecture, then television is far from being done with it.
This crossover between architecture and television intensifies in a digital age where computer-imaging skills are becoming highly valued in television production design. Television and film are increasingly seeking out architects to join art departments because of their construction and engineering backgrounds as well as their experience in AutoCAD, a digital drafting program.
Since then, architects have been transitioning to television and film. In recent years, television and film production design have been in closer dialogue with contemporary architecture and interior design than before.
Many designers prefer to keep one foot in each camp, alternating work between architecture and set design. The Mode set nurtured a strong dialogue with contemporary modern architecture, attracting substantial attention from architecture and interior design communities. It also reiterates the fruitful exchange between architecture and television set design.
In terms of its context in television production design, Mode is indicative of a greater trend in network and cable television to improve production design in order to compete with premiere channels like HBO and Showtime, as well as movies and Broadway. The connections between architecture and set design are also, no doubt, linked to the US economic recession of in addition to the progressiveness of television production design within the context of the art world at large.
Retro modernism in architecture and production design is not limited to the nostalgic longing for mid-century architecture. Rather, it is a language so in vogue in the millennial era that it barely qualifies as retro. The historical trajectory of modernism in architecture and television production design is less a story of stops and starts, but more an ongoing narrative theme that reexamines, recycles, and reinvents itself to shape haptic experiences of the corporation, the community, individualism, and difference.
While some productions usually film had more directorial intervention in the design process, television has multiple directors who work in concert, thus usually leaving the production designer greater independence. Upon further reflection about boomer nostalgia in contemporary popular culture, Barbosa entertained how new technologies in architecture might be influencing trending retro modernism.
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He expressed a concern about the decline in craftspersonship with the introduction of digital technology to design. For a television production designer, the appeal of recreating the s is that the aesthetic is already there, in wholesale form, waiting to be cut and pasted. She states that in addition to maintaining the collection which houses books and archival materials, part of her job is to be a first port of call for art directors doing initial research during pre-visualization the design process of visualizing and planning scenes before shooting them using animated or physical models, storyboards, sketches, and a range of other media.
She composites an idea board collating the images she selects for the art director from library sources. Not only does this illustrate how many hands collaborate on the design and, therefore, story of a media text, but it also suggests that period pieces, in particular, might lend themselves to digitality, which scans, prints, copies, and composites in such a way that can be emailed and re-emailed to whomever wants an idea board for s Los Angeles.
Perhaps the digital tools at our disposal endear us to past aesthetics that have more pronounced cohesion and reproducibility. Barbosa walked me through Stage 6 at Paramount where the Manson home and police station were being built.
What struck me during this walkthrough was that these were buildings, not sets, the main differences being faux marble finishing and an absence of real plumbing, etc. Walls are also, quite importantly, moveable. However, Barbosa clearly designed the spaces for the blocking and flow of handheld cameras.
The single camera has allowed sets to become more like real enclosed architectural spaces and has thus attracted and sought out the integration of outside architects into production design. Barbosa reinforces this, saying that he has met production designers with all kinds of backgrounds including dancers, stage set designers, and graphic artists, however, those at the forefront of television art direction are most likely architects by trade. There is a clear synergy between camerawork and set design in Aquarius.
The tight framing of many of the scenes in season one of Aquarius also reinforces aspects of design. The camera betrays a nostalgic curiosity about her costume, in all of its white-booted glory and the dislocated, spastic dance movements true to the period. A seemingly nonnarrative shot of a mid-century, Vistosi-style chandelier composed of large white plastic discs introduces a scene in a high-modernist Los Angeles home. The shot of the lamp appears again when the episode returns to the Karn home later that night to continue the investigation of her disappearance.
The dialogue, at times, makes its own references to the set dressing around it. Glass recurs throughout the home as a central feature in the production design. Aquarius paints both the boomer generation and s youth culture as similarly misguided.
The intergenerational tension in the series is neatly encapsulated in one scene when Emma has a fight with her mother. The Black Panthers refuse to help Hodiak in his investigation until the police address a homicide case in which the police killed a black man with a choke hold, a clear reference to the public discourse of the twenty-teens around police brutality against Americans of color.
A central message of the series is that Hodiak, like the protagonist of Mad Men AMC, —15 , is a victim of his time. In Aquarius, the design languages of both modernism and counterculture signify the hypocrisy of presentist views of history in which ideological self-righteousness and historical exceptionalism blind characters to the potential for social change.
Perhaps Mad Men offers one of the most convincing examples linking high-modernism to masculinity in mid-life crisis. He is a philandering cad with annoying charm, a big mouth, and the maturity of a twelve-year old. His frequent alcoholic benders and sexual adventures land him in repeated trouble and depressive episodes in the series. Much like the manspreader in an airplane who bristles as sharing one arm rest with an adjacent female passenger, trading in complete domination for prevailing authority is, indeed, a unacceptable compromise to such men.
These male characters and, to Figure 2. When Draper moves to the city, gets divorced, and then remarries, he starts life anew in a swanky open-floor plan apartment with a dropped floor and wrap around sofa.
In Mad Men, modernism in the home and particularly the office are languages for the misguided tenets of the style: A recurring tropic image in Aquarius, Ugly Betty, and Mad Men is the figure of a single, white, straight patriarch standing in the middle of a modernist office looking lost.
It is a powerful image for hegemony, but also one that suggests that the tonic cocktail of historical reactionism, uncompromising claims to power, and self-pity ultimately leave men alone. Their offices are predominantly white or beige with color accents. Many of the rooms include backlit apertures: There are many light sources and framing devices here for characters to pose in front of while talking. However, counter-intuitively, mirrors, windows, and media screens are nowhere to be found in the office.
Both surgeons struggle to find happiness in the series, as the lines between work and home irretrievably blur, and each man fails to find a true sense of self while fueling a beauty culture that rests on artifice, illusion, and the impossibility of gratification. Each episode unfolds in real time to thwart the next imminent terrorist threat.
The offices are located entirely underground, marked in the landscape by only a concrete bunker opening. Once inside, however, the space opens up into a series of suspended glasses boxes and cubicles that have ready visual access to each other. All walls are glass that double as media screens when information needs to be projected. Carlos Barbosa is the production designer for both Aquarius and There is an industry network of people who specialize in retro modernist design.
Workers look at each other and they look at information about other people, but the office spaces are in constant states of information interpretation.Attendance at resident courses is limited to those persons to whom a student quota has been allocated. Aspects of TV design constitute key vehicles for nostalgia in contemporary popular culture. These meditations also inflect the process of production; that is, the creative process of how props are curated and prepared for the screen.
How to use the script. Silver sulfadiazine has broad antimicrobial activity. In this sense, the language of modernism shaped and was shaped by how baby boomers negotiated new media. The chapter studies the studio lot and set history of the series Desperate Housewives and covers the historical design references the show makes through their unique blends of boomer- era architecture, interior design, and contemporary trends in design.