‘Quite a height, ah?’ A tour of the Chrysler Building by those building it

The Chrysler Tower … stands by itself, something apart and alone. It is simply the realisation, the fulfilment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
– The Architectural Forum, October, 1930

Today, it’s easy to mistake the Chrysler Building for just another skyscraper dotting the New York City skyline. But upon its completion in 1930, and until it was surpassed by the Empire State Building in 1931, it was the world’s tallest manmade structure. At the time, the tower was notable not just for its sheer mass, but for its polarisation of architecture critics, with detractors deriding the building as an unsightly novelty, and a monument to the grand ego of its car magnate namesake, Walter Chrysler. But, as is clear in this footage filmed by Fox Movietone News, while the building might have originated as a ‘one-man dream’, it was built on the backs of fearless ironworkers – self-proclaimed ‘roughnecks’, who constructed it without harnesses or hard hats. This footage from 1929 and 1930 of the building’s construction – including the placement of an iconic 61st-floor Art Deco eagle – showcases how these workers were less comfortable delivering canned lines for the cameras than they were sitting atop beams hundreds of feet high.

This footage was accessed and published by Aeon with the permission of the University of South Carolina’s Moving Image Research Collections, an archive that ‘preserves films and videos produced outside the American feature film industry to make them available to present and future audiences’.

Sketches from a Barcelona square offer an elegant celebration of people-watching

Barcelona’s squares (plaças in Catalan, plazas in Spanish) are the beating heart of the Catalonian capital – beloved to residents and tourists alike. Breaking the monotony of the city’s gridded streets, these open outdoor areas percolate with the comings and goings of al fresco diners, makeshift football matches and all iterations of art and commerce. Formed from sketches made while the London-based filmmaker Gabriella Marsh was living in Barcelona, the brief animation Solos captures daily life in a small square in the historic Gràcia neighbourhood. Streets are swept, families squabble and friendly greetings are exchanged. And yet these mostly mundane scenes transform into something quite remarkable via Marsh’s stylish hand-drawn images and composer Joe Bush’s gentle piano score. What emerges is an elegant meditation on the intersections of streets, stories and social forces that give shape to a city block.

The American Museum of Natural History grapples with its most controversial piece

The ‘Equestrian Statue of Theodore Roosevelt’ was commissioned by the City of New York to stand in front of the American Museum of Natural History in 1925, and was finally unveiled to the public in 1940. A co-founder of the museum and avid outdoorsman, Roosevelt’s commitment to conservation was reflected in many of his policies as president, including the vast expansion of national parks, forests and monuments. But despite his contributions to the field of natural history, the statue – depicting a horseback Roosevelt flanked by a Native American figure and an African figure – has been controversial for decades, with detractors arguing that it’s a monument to white supremacy. Further complicating its symbolism are Roosevelt’s recorded views on race, which were in some ways progressive for a white man of his time, but would today be condemned as unequivocally racist.

Released by the American Museum of Natural History in 2019 – prior to the institution’s decision to remove the statue in the wake of the George Floyd protests in June 2020 – this short film was created to help contextualise the work for museum visitors. Leading scholars in the fields of art, history and African and Native American studies weigh in on the sculpture’s intended and perceived meanings – alongside museum visitors, many of whom are relaying their first impressions of the monument. The resulting short is captivating both as a history and as a reading of the wider cultural moment, in which institutions are being forced to grapple with their legacies, and governments are reassessing who and what should be celebrated in public spaces.

What the Martian surface looked like to Oppy – humanity’s most resilient rover

When NASA successfully landed the Mars Exploration Rover Opportunity – nicknamed ‘Oppy’ – in 2004, the plan was to explore the Martian terrain for 90 days. Through expert engineering and careful handling, Oppy was able to exceed its designed lifespan 60 times over, exploring the planet for nearly 15 years. Over the course of its impressive expedition, Oppy made a number of key geological discoveries and broke several records, including longest off-world distance travelled at 28 miles. Then, in 2018, following one of the most intense dust storms ever recorded on Mars, Oppy relayed its final message to Earth: ‘My battery is low and it’s getting dark.’ This short video from the US filmmaker John D Boswell, also known as melodysheep, uses images captured by Oppy and music composed using the sounds of Martian winds to pay anthropomorphic tribute to the resilient rover – and by extension, those responsible for its awe-inspiring journey.

The ritualised excess of life aboard a cruise ship is tragic and parodic by turns

The cruise industry as it exists today – somewhat affordable, aggressively fun, indulgent by design – is a relatively new phenomenon, rooted in the 1960s, when passenger ships struggled to compete with air travel. After a pivot to all-inclusive pleasure voyages, cruising is now a $45 billion industry, beloved by some for its budget-friendly luxuries and amenities, and bemoaned by others for its environmental toll, treatment of workers, and – as highlighted by the COVID-19 pandemic – health risks.

The observational documentary All Inclusive drops viewers head-first into the strange rituals of tableside conga lines, captain meet-and-greets and pool cannonball contests that characterise the cruise experience. While the Swiss director Corina Schwingruber Ilić’s tongue-in-cheek tone permeates throughout, the film offers more than just an invitation to gawk, as ‘fun’ plays out in a series of over-the-top pastimes, hinting at the economic and social stratification between guests and workers.