I’m way too tired (three film festivals in as many weeks will do that to you) and far too far removed from academia to make a coherent argument on this right now, but in trying to make a dent in my backed-up feed reader I came across some fascinating, British Marxist rumination on Joy Division. I think some of this writing might help me reconcile the two portraits of the band/singer Ian Curtis that I saw in Toronto: Grant Gee’s documentary Joy Division (which I have not yet had time to write about) and Anton Corbijn’s nominal Curtis biopic, Control (which I reviewed rather rapturously here).
Of specific concern: Gee’s provocative but not exactly fully realised thesis, that the story of Joy Division is synonymous with the story of the band’s home town of Manchester; and the philosophical concept of hauntology. You can find workable definitions of hauntology here and here, but both skew towards Derrida on one end, and music theory on the other. In relation to these two films, I think it’s more useful to simply think of hauntology as a tool with which to posit Ian Curtis as spectral presence in Control, and Joy Division as the ghost haunting Manchester in Joy Division.
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As a follow-up to my Love and Movies post, a related article that was published earlier this week in the LA Times. The article, titled “Not in the Mood for Love,” looks into the decline of romantic comedies and what might be to blame for that decline. Maybe our penchant for humiliation? Or our generally lowered standards of entertainment? As Rachel Abramowitz, the article’s author, writes:
Some blame the decline of the romance on the cultural climate. One of America’s favorite pastimes these days is ritual humiliation–a penchant for shame that can zap even the sturdiest lovers.
Or maybe it’s just more difficult to string out a good love story in the wake of the sexual revolution of the 1960s:
As film historian Molly Haskell notes, “Sex is so easy you can’t pretend that it’s the holy grail. The condition that made for the sparkle and sexiness of the old films was the fact that there wasn’t any sex. You could easily keep two people apart for an hour and a half. Now the ways of keeping them apart are increasingly strained.”
Abramowitz looks into other possible causes, too. Give “Not in the Mood for Love” a read and let me know which theory you buy.
