A scientific film essay, narrated by Phil Morrison. A set of pictures of two picnickers in a park, with the area of each frame one-tenth the size of the one before. Starting from a view of the entire known universe, the camera gradually zooms in until we are viewing the subatomic particles on a man's hand.
Charles and Ray produced this film for IBM’s pavilion at the 1958 Brussels World’s Fair. The Information Machine was the first completely animated project produced by the Eames Office. Intended as an introduction to the electronic computer, the film depicts the computer as the culmination of the tools and systems we have created over the centuries to process information. It also explores how humans solved problems both before and after this technology was invented. The Information Machine is ultimately the story of our continual need to process and communicate larger and more complex amounts of data, and how we learn to manipulate abstractions with increasing sophistication and skill.
From hardware to software, the basics of then-current computing technology is explained.
The life and work of the astronomer Nicolas Copernicus are shown by means of images of his writings and drawings and places he was associated with.
The short film uses a variety of familiar examples that have the feedback principle in common to present a broad view of the phenomena present in control mechanisms and social situations.
Stop-motion animation depicts a man assembling an Eames lounge chair, sitting down to relax in it, and then disassembling it for shipment.
A portrayal of the Mexican Day of the Dead consisting of still shots and narration. Deals with the special objects and events surrounding the annual Mexican celebration of “All Souls Day”. It is not only a rich flood of folk art, but a view of the way that the Mexicans have come to terms with death. Searched out with the help of Alexander Girard and a moving guitar score by Laurindo Almeida.
Created as a demonstration of multi-disciplinary thinking, this film was produced in association with UCLA Mathematics professor, Ray Redheffer. With the exclusive use of storytelling through animation this lively and exuberant presentation of the “architecture of algebra,” the film explains the behavior of specific exponents and concludes with the general laws that all exponential expressions obey – all achieved without the use of narration. Council on International Non-Theatrical Events (C.I.N.E.) Gold Eagle Award, 1975. Columbus International Film Festival Bronze Chris Plaque Award-C, 1975. New York International Animation Festival Bronze Praexinoscope Award, 1975. Melbourne Film Festival Selected for Participation, 1976.
The Eames House and Studio is explored via a series of slides.
A film record of an exhibition of the late work of Paul Cezanne, organized by The Museum of Modern Art and the Reunion des Musees Nationaux in Paris. The camera moves across details of paintings, as well as details of Cezanne’s studio, providing an intimage, close-up view of the artist’s work. The narration is provided by Cezanne’s own words, taken directly from records of correspondence. 22nd Annual San Francisco International Film Festival Participation- Communication Competition, 1978.
The movie "Clown Face" offers a very rare glimpse into the backstage private world of Circus Clowns. Here, you can look behind the curtain. You will see the clowns in their backstage habitat, Clown Alley, preparing for a circus performance
Based on an existing slide show the Eames Office had made about the exhibition, A Computer Perspective (produced for IBM in 1971). The film is a visual survey of the collection of artifacts, ideas, events and memorabilia displayed in the exhibition to represent important milestones in the development of the electronic computer.
This film reveals design proposals for the IBM pavilion at the 1964 New York World's Fair. It incorporates photography and animation to present the concepts, architecture, and overall look of the pavilion and to convey an impression of the exhibition's spirit and content.
