Objectified
Objectified is the second feature documentary by Gary Hutswit (following Helvetica, about the typefont and its implications), who is developing a strong sense of thematic overlap between his work. He’s also, possibly unwittingly, serving as an example of what’s wrong with our fashion-obsessed culture. His films are sleek and considered; what they lack is any kind of expressive touch. That’s part of the point in two ways: As a documentarian, he doesn’t want to infuse his films with himself (like Michael Moore or Errol Morris might do); and so far, the subject of his films haven’t been people so much as inanimate objects and notions of what design is. But his adherence to his philosophical approach to design—an Apple-brand minimalism—actually says more than his arm’s-length directorial style might suggest.
In his world there is no joy, no ecstasy; only inexpressive tablets that we project ourselves onto. We understand by watching Objectified that Target is more iherently fashionable than Walmart (but learn nothing of their practices); we see how form and function no longer play a pivotol role in design (with digital instruments, the “look” of them need not suggest what they do). We also see a culture of waste; objects being created only to be thrown away. We see our obsession with being up-to-date rather than maintaining objects that can withstand time.
Hutswit may feel a deep affinity for modern design and the epheremal nature of new technology, but his philosophical understanding of the relationship between humans and objects—setting aside the fact that he actually realizes there is one—is profoundly shallow (and commercial). The essential suggestion the film makes is that we’re surrounded by items we didn’t even realize were designed, and that the designers often intend to create objects so their very design is undetectable. But the education never goes further than that. Why is it that we’re no longer happy with objects that perform a function and last? Why is our culture obsessed with things that are new? Why do we prefer flash to quality? Do our relationships with objects shed light on our relationships with other people? These are the kinds of questions—and criticisms—Hutswit might ask in his next film if he aims to be something more than an implicit fanboy for Apple, Target, and IKEA.
