In October last year I was invited to deliver a paper at The Mediated City conference at Woodbury University in Los Angeles. The paper was titled: ‘Hollywood Menace – Los Angeles Mid-Century Modern Dens of Vice’ and continues my fascination with cinetourism which I’ve been exploring through the World Film Locations book series for Intellect. The conference brought together academics, arts practitioners, architects and film-makers who’s work is related to media and place in some way. Partly a way to celebrate the 50th anniversary of Marshall McLuhan’s seminal book on the subject, the conference also highlighted the vast amount of work being done in this area of cross disciplinary practice – the place where film, architecture, media, travel, politics and other forms of art all converge to help us make more sense of how we live in cities today.
It was great to meet so many interesting people doing some wonderful work. A few highlights were meeting Alice Arnold who’s film ‘Electric Signs’ is a brilliant visual essay on neon signage used for advertising in key cities around the world. Much of the film focuses on the massive electric billboards which are a blight around the streets of Los Angeles and the grassroots fight that is currently going on to prevent these signs from dominating the cityscape.
I also met the cultural geographer, lecturer and author Demetrios Eames, who alongside running the Charles and Ray Eames foundation that protects their iconic case study house #8 (more commonly known as simply the ‘Eames House’) produces books and installations under the banner Kcymaerxthaere – a fascinating ongoing project that explores narrative through interactive, temporary installations around the world. Demetrios is a polymath in every sense of the word as his mind-bogglingly diverse cv shows, but he is humble and full of enthusiasm for meeting new people and experiencing new things.
I came away from the conference inspired and creatively rejuvenated – seeing where the work I’m doing connects with projects and initiatives being done by others all over the place.
One contact made at the conference has led to a nice little writing ‘gig’ for the revamped Interiors journal. The journal, which initially focused its efforts on producing architectural flat plans for chosen film scenes, has developed its remit – now functioning more like a traditional online film journal although the focus continues to be on ‘place’ and environment. My monthly feature is called ‘Screengrab’ which sees me analyze one shot from a film semi-exhaustively. The first piece was on a fairly pivotal shot from John Carpenter’s aliens-are-among-us romp They Live, that offered me the opportunity to discuss typography, advertising and contemporary art all in one go.
My next piece will be on Charles Laughton’s masterful Night of the Hunter, which aside from being one of the most haunting films of the last century, is also one of the most beautifully told modern fairy tales with big bad wolves, timid grown-ups and courageous children present and correct.
On the books front, Havana Street Style was published last August and so we held the launch event at Bristol’s ‘The Cuban’ on September 11th to celebrate with copious amounts of Mojitos and heaps of authentic snacks. The book was a thoroughly enjoyable collaboration between myself as project manager, photographer Martin Tompkins and author Conner Gorry, but a book isn’t really a book until it arrives back from the printer to be leafed through, passed around (and occasionally smelt).
Following the recent announcement in December by Barack Obama and Raul Castro that the United States and Cuba will restore full diplomatic ties for the first time in more than fifty years, we’re hoping the book will take on a tad more poignancy as one of the last collective portraits of life in Havana before massive cultural and economic changes change the country forever.
I’ve been working with colleagues at Intellect on a new book series called Crime Uncovered, which explores the ever increasing popularity of crime in all of its manifestations, from literature and film to television and videogames.
Each title is devoted to a particular character type such as ‘The Detective’ or ‘The Anti-Hero’ and contains protagonist case studies, interviews with crime writers and longer essays on the wider background and perception of these fascinating – and much loved – characters in crime.
I opted for a minimalist but playful approach for the covers – using type and monotone only to convey a mood and which can be used for future titles in the series. The challenge here is to modify only one letter on each cover, turning the type into a ‘character’ which alludes to the whole basis of the series. The temptation with these covers was to use imagery, but as there are so many case studies of well known protagonists in each book, choosing one figure to represent the whole bunch just didn’t seem like a good idea. I also wanted to avoid falling into clichéd territory with shadowy (often male) characters donning stereotypical garb, concealed by plumes of smoke ala Raymond Chandler.
We’re hoping the accessible, reader-friendly approach we’ve taken to the books content and layout will connect with general enthusiasts of crime fiction, students and scholars – but as with all publishing ideas, only time will tell.
More about the series and the first two titles scheduled for release (Antihero and Detective) can be found here.