Representing Joy Division
Assembling Audiovisual Argument and Psychogeography in Rockumentary
Bibliographic Data
| ID | 23026309 |
|---|---|
| Authors | Lindsey Eckenroth (0009-0004-8346-0674, Moscow State University of Technologies and Management named after K.G. Razumovskiy, corresponding author) |
| Year | 2014 |
| Volume | 1 |
| Issue | 3 |
| Pages | 211-230 |
| Publication date | 2014-09-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Rock Music Studies (JOURNAL) |
| Journal identifiers | ISSN: 1940-1159 • E-ISSN: 1940-1167 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/19401159.2014.931752 |
| OpenAlex | W2061471299 |
| Language | EN |
| Citations received | 1 |
| References cited | 8 |
This article examines the expressive potential of audiovisual combination in rockumentary by analyzing films that represent (post-)punk bands, with particular emphasis on Grant Gee’s Joy Division (2007). By focusing on potentialities present in late 1970s Manchester, Gee’s rockumentary moves beyond historical documentation and ultimately argues that Joy Division’s alternately ethereal and machinic sound is expressive of urban spaces that remain audible in the music even after the image is gone. I position Joy Division as a rockumentary that resists the territory of romanticization and authentication prevalent in the reception history of Ian Curtis through its attention to psychogeography.
Aesthetics · Argument (complex analysis) · Art · Art history · Division (mathematics) · Documentation · Emphasis (telecommunications) · Gee · Media studies · Punk · Sociology · Telecommunications · Visual arts · Cinema and Media Studies · Computer Science · History · Music History and Culture · Musicology and Musical Analysis
| Citations per year | 0.25 |
|---|---|
| Citation span | 2022 - 2022 (1) |
| Highly cited | No |