Control, the debutfeature from former music press photographer Anton Corbijn , is the biopic of late Joy Division singer Ian Curtis, and is set firmly in the tradition of black & white Northern realism. The main setting is Curtis’s hometown of Macclesfield in the early 1970s, when the punk revolution happens and Curtis joins local band Warsaw.
Corbijn Interview + Control footage
Inspired by a legendary 1976 Sex Pistols gig in Manchester, the Warsaw play their first gig in May 1977. Drummer Stephen Morris is recruited and they change their name to Joy Division and releases first album Unknown Pleasures and the single Transmission. But on the eve of their first US tour Curtis, his health increasingly erratic and tortured over his love life, hangs himself at his Macclesfield home in May 1980. The single Love Will Tear Us Apart and the album Closer are posthumously released.
Italian female singer-songwriter and rock musician Gianna Nannini
is on tour with her pop opera Pia come la canto io. Based on a section of Dante’s Purgatorio, the opera inhabits the kind of extreme territory of uxoricide, whereby Pia’s husband, Nello d’Inghiramo de’ Pannocchieschi, allegedly disposed of his spouse, Pia de’ Tolomei, at his castle near Massa Marittima in the middle of a malarial swamp.
« Ricorditi di me, che son la Pia;
Siena mi fé, disfecemi Maremma:
salsi colui che ‘nnanellata pria
disposando m’avea con la sua gemma. » (Purgatorio V, 130-136)
Dante Gabriel Rossetti. La Pia de’ Tolomei. 1868-1880. Oil on canvas.
Gianna Nannini tells her Pia’s story by making the Maremma the grammatical subject. The marshy region on the Tuscan coast sets a folks tradition and a familiar landscape to allow an eclectic blend of rock and popscene with surreal hip hop attitude. The narrative proceeds by extremely realistic details with the use of Bruscello: a dramatical forms of folk theatre linked with the rituals of late-Spring connected with the themes of conflict between good-evil, spring-winter, life–death.
Gianna Nannini contaminates this monodic song of lines, with her rock attitude and breakdancing battles. The result is a contemporary Bruscello Pop to narrate Pia’s concern for Dante’s well being and her request to be remembered : a shining example of the «eterno femminino» in the sense of acceptance of her eternal fate which stands out by the relative, dramatic contrast with the terrible descriptions of the manner of her death.
Gianni Nannini marks a climax: her down-and-gritty voice sharing Pia’s joy and sorrow emerges as a code in its own right. Thus ending the whole opera on a high note of female catharsis.
Culture Machine is an international open-access journal of culture and theory, founded in 1999. Its aim is to be to cultural studies and cultural theory what 'fundamental research' is to the natural sciences: open-ended, non-goal orientated, exploratory and experimental. All contributions to the journal are peer-reviewed. […]
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