“Musicals were predominantly conceived of, by producers and audiences a like, as ‘pure entertainement’- the idea of entertainment was a prime determinant on them.” (p.19)
“entertainment is common sense” (p.19)
The idea that ‘Showbiz’ rules entertainment is a very clear response by some, as it is the most “thoroughly-entertainment ordinated of all types of performances”. It is interesting to explore the relationship between graphic design and the wider arts as we are all visual communicators in one way or another. “Bergdofs is like walking down Broadway” (documentary quote).
“that notions of myth, art, instruction, dream and ritual may be equally important, even at the conscious level”. (p.19)
Theatrical displays and satires are used throughout graphic design, the introduction of humour
Produced by people trained at schools like the Reimann and other art/theater/design schools which “have the sole (conscious) aim of providing pleasure.” (p.19). Entertainment stereotypes are filtered down through society and history, eg: moulin rouge, turn of the century parties, jazz in new orleans in the 20’s, have all been perpetuated through theatre as returning to the ‘nostalgic ideal’. The idea that the fantasy of back then links to romanticism, yet the fast paced evolution of the fashion industry have modernised this tactic, designing primarily for a communicative purpose.
“Two of the taken-for-granted descriptions of entertainment, as ‘escape’ and as ‘wish-fufilment’’ all stemming to ‘utopianism. Entertainment offers the image of ‘something better’ to escape into, or something we want deeply that our day to day lives don’t provide.” (p.20) This is visible in technological advertising by brands such as Thompsons holidays or the dream world of Bergdorf Goodmans. Some forms of windows, such as Harvey Nichols make you feel part of a arty fashion movement, as stores like this appear more down to the ground due to their accessibility and warm approachability. The introduction of Harvey Nichols to almost every major city in England and Scotland also gives the impression they are more ‘for the people’, then the exclusively bourgeoise brands.
‘Entertainment however, does not present models of utopian worlds, as in the classic utopias of Thomas More, William Morris..the utopianism is [created through] the feelings it embodies.” (p.20). Plato’s cave was the idealistic utopia, which one can assume the best retailers are attempting to pastiche.
The power in a utopia on the street lies in “what utopia would feel like rather than how it would be organised”. (p.20) suggesting it is not possible to create a universally globally utopia as everybody's needs and dream fantasies are different. Without containing them in a set environment (a store), any attempt at achieving this feeling is negated by external factors, some will always be an issue (eg: unable to afford the clothes in the store causes anxiety).
“we also recognise qualities in non-representational signs- colour, texture, movement, rhythm, melody, camerawork- although we are much less used to talking about them.”, (p.20) this suggests the subtle qualities the craftsperson adds to the execution of the design solution has the potential to make or break an outcome. For this reason, Bergdorf’s use the finest craftspeople who know how to handle the cheaper gems..
Hans Magnus Enzensberger in ‘Constituents of a theory of the media’ counter-argues the ‘traditional left-wing uses of concepts of ‘manipulation’ and ‘false needs’ in relation to the mass media’.
“there can be no question of a real fulfilment of its promise…. This need- it is a utopian one- is there’. (p.25)
“Consumption as spectacle is- in parody form- the anticipation of a utopian situation” (p.26) This is what retailers are artistically targeting through their displays.
Entertainment and ‘Utopia’ are in effect- the same thing. If the ‘social tension’ is scarcity then the ‘utopian solution’ would be abundance (p.26). This idealistic concept as such is transferred to the promotion of products, creation of garments and graphic design intentions as a whole.
However, there is the issue that entertainment, despite being proven to be a winning success, takes little into account of “class, race, or patriarchy”(p.26), as “class, race and sexual caste are denied validity as problems by the dominant (bourgeois, white, male) ideology of society” (p.27).
“The ideals of entertainment imply whats that capitalism itself promises to meet” (p.27)
“At our worse sense of it, entertainment provides alternatives to capitalism which will be provided by capitalism” (p.27). In a way, it is feeding the demon with the demon. We accept conscious awareness of being sold to constantly through subconscious means, and by continuing to invest in this commercial culture we will never break free, making design and windows obsolete.
“the sets, costumes, etc., are tactile, sensuous, physically exhilarating, but on the other hand, are associated with fairyland magic [and] by definition immaterial” (p28-29). However, the true utopian quality in stores like Bergdorf, being kept alive by skilled crafts people, is that they fairyland magic comes alive in abundant capacities, designed to invite and entertain.
‘formal nature if Utopian fulfilment: the movement of the world in time towards the future’s ultimate moment, and the more spatial notion of that adequation of object to subject to subject which must characterise that moment content…’ (p.35)
‘Musicals (and variety) represent an extra ordinary mix of these two modes- the historicity of narrative and the lyricism of numbers. Numbers and repetition suggest ‘over use’ and in such ‘abundance’ all stemming back to the traditional bones of entertainment.
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