Logorama

François Alaux, Hervé de Crécy and Ludovic Houplain apply an extensive use of symbolism in their short film Logorama (2009) to explore the realist idea of mass consumerism in a negative light. The characters, their surroundings, and every last object in the film are all anthropomorphised and become an embodiment of the persistent and unrelenting commercials we see in our everyday life. Far from being simply a chaotic incorporation of advertisements, Logorama is a witty and hyperbolic social commentary on the ubiquity of advertising and its energetic show of entrepreneurial images and metaphors make it a superb work of realism. By launching a barrage of countless brand logos at the viewer, Logorama makes us take notice of our solely consumerist generation. The choice of logos was decided by several different aspects. The heroes of the short, several Bibendi (or the Michelin Men), were chosen because of their perception as tough and being able to withstand hazards, it was also owing to their rotund appearance acting as a caricature of American policemen due to the long held notion of them being overweight. Ronald McDonald was chosen to be the villain because of the perception of clowns being fear-provoking; this is also an instance of major influencing the minor, as the Joker from Batman was part of the inspiration for this choice. One can easily see the contrasting characteristics of each company being incorporated into their characters; the Michelin Men who help with road hazards and ensure you make it on your way are shown in a better light than Ronald McDonald, the mascot for a company whose unhealthy and fatty food cause heart disease. Furthermore, by subverting the usual wholesome image of Ronald McDonald, the creators are emphasising the evils of commercialising and brand overuse. The menacingly ominous appearance of him at the end of the credits, after the viewer has seen him supposedly die, accentuates the idea of no escape from major companies and their icons; the indestructible symbols of the manufacturing supremacy; a very realist idea. Other, more trivial, characters were chosen for their graphic outward appearance such as Julius Pringles, the mascot for the Pringles potato snacks, being all the van drivers in the film as people associate them with moustaches. Mr Clean is portrayed as a flamboyantly camp stereotype, attributable to his appearance; the earring, the tight trousers, the muscular arms shown bulging through his tight white top and his shaved head. Other icons chosen include the Big Boy and Haribo mascots which do not fit the identity that their company and the general public have given them and have a completely different nature than the one they are associated with shown through their filthy language and misbehaviour. This is echoed in several of the other icons and works because of the viewers' knowledge of the companies they are known for, for instance the Esso girl smoking. By pitting corporations against one another, Logorama demonstrates how they are fighting off the competition; this is shown when Ronald McDonald destroys the Pizza Hut restaurant and when he is shown killing other logos such as Mr. Peanut or the Michelin man in a Maurice Binder barrel homage shot. This symbolism portrays a very real situation; this depiction of what these companies iconic logos will do to survive shows the desperate or harsh lengths the companies will go to in order to stay on top and bankrupt one another. By bouncing the companies off each other Logorama also shows the predicament of the onslaught of consumer culture feeding off one another and itself; an instance being when Ronald McDonald is flung from his Grease 2 bicycle when driving into a Weightwatchers sign. A company like Weightwatchers would have less demand without fast food restaurants like the one Ronald stands for. Next, the pace of the film is very rushed, with each key event taking seconds to happen, this can be seen to symbolise the speed of our everyday lives, the speed of commercial breaks on television, and the speed with which companies bring out new products and advertisements.

It's no mean feat incorporating all those different logos, essentially laborious fruits of graphic design artists, giving those creations their proverbial 15 minutes by creating this hodgepodge that pays homage to the Hollywood staple of action-adventure romp, cop-buddy movies, and most of all, those disaster flicks that depicts a series of misfortunes that hit a fictionalized version of Tinseltown all happening in a span of a day with a pair of bungling Michelin mascots seen covering their police beat.

Though this 2D animation can be considered rough on the edges, it befits the aesthetic conceit of making it look like a collage awash with pop culture images with a soundtrack and musical score that succinctly captures the broad array of moods explored throughout. It is a severely violent animated catastro-vaganza that's never short on both visual and ironic humor.

All flash, not much substance; a sort of an inbred love-child of pop and postmodernist art. This 16-minute-plus film addresses the disdain felts towards the by-products of American brand of capitalism, everything that can be considered as unhealthy, garish, flamboyant, and ostentatious, and who better tackle that than the French, the people who pride themselves as having introduced the cinematic medium to the world. And by using Los Angeles as the setting for the film, home of the most prominent cinema and television industry in the whole world and dumping all those global capitalist brands and appropriated corporate mascots such as the ubiquitous McDonald's clown embodying the angst of somebody who feels more and more estranged by the fast pace of the ever-expanding universe he's in, it accomplishes in becoming a sheer escapist fantasy that's ridicules something, but it's certain that no one can ever feel slighted by such a gesture.

My rating: A-flat.

Logorama is a simple satire but one that does well to capitulate almost a century of corporate culture. It's brought to life by segments of colorfully animated rotor-style 3D animation which punctuates the style of logos with cell-shading. The film's lack of a coherent story is in itself a nod to brainless blockbuster entertainment as it is filled with a number of over-the-top action movie nuances. In light of this, the short has some entertainment in the form of crude comedy and action, but this is all some-what diluted by the shear intended chaos of the film.

In the end, the film did a decent job of pointing a not-so subtle finger at the potential of social decline due to an inundation of consumer culture that feeds on the one thing it promotes.

In a city made completely of corporate logos and branding, two cops shoot the breeze until they spot a fugitive from justice and give chase leading to a cataclysmic conclusion.

Whether or not it is intended as a commentary on the nature of American "culture" (and I think it is), this is a remarkably well made short film that mixes clever ideas with a real understanding of the genre that they are using as a vehicle to their satire. To deal with the surface first – this film is very clever in the way it utilises brands and logos in every aspect of the world it creates. Not all of them will be recognisable but the design of them will make them unmistakable as brands even if the names escape you. It is startling how many you will recognise and, while some have complained that the film is little more than a game of "spot the brand", I did think that the high hit-rate was perhaps part of the point and it was a point well made.

If the film was only a cleverly use series of logos then perhaps this may have been a valid point, but the short goes onto to spoof American movies and culture by delivering all this in the middle of a high-octane crime thriller where everything goes up to 11 and, if it can be destroyed in glorious Technicolor, then it is. It gets this spot on and shows a real understanding of the genre. OK the Tarantino-esque chat is a little obvious but past this the direction and framing of the shots and "camera" movements could all be taken straight out of many blockbuster action movies – movies perhaps that are accused of product-placement with their cars, watches, drinks etc etc. In this way the film actually engages beyond "spot the logo" and "isn't America morally bankrupt?" because it delivers an exciting action short with plenty of movement and style.

I really was surprised by how enjoyable it was. I would have liked it to have had a bit more teeth in regards the satirical aspect to it but this part still did just about work for me. Beyond it though I can understand why some did see it as all style and logos because the logos are used really well and the style is genre-perfect. A very clever short film that deserves credit for not wallowing in the smartness of its idea or for being snide or acerbic in its commentary.

I honestly felt the Wallace and Gromit short would win, although I felt Logorama hit a lot of social buttons for me. A touch of Tarantino and the visual dreck of our Corporate world turned on its ear. It was base, and crude, and oh so American. This is a wonderful poke at the 'freedom fries' period of consumption in this glorious nation of visual icons constantly being force fed to anyone living in consumer society. Brilliant color,fast pacing,clever to the nth degree. Leave it to French artists to hold the mirror up for all of us to see. Some will not want to watch, and if they do may not get it. Not being trained in the cyber style of animation, I was very impressed with the short. Kinematograph was deserving of more than just a mention, but with 32 entries I can't imagine having to select from the field. Runaway was a lovely poke at society as well. If the animated shorts are available to you, run-don't walk - and experience all of them. 'I'm lovin' it' means much more for me now.