a presentation on the nature of genre with regards to post punk and film noir with focus on iceage's against the moon.

1. Mise En Scene
Against the Moon

2. Introduction & Context
This video was directed by Martin Masai Anderson and Kim
Thue at a time in which Iceage were encountering great
change; although ‘Plowing into the Field of Love’ was well
received by critics, many fans were shocked and
disenchanted with the new moody sound the band were
making on this release. The band took a risk with this artistic
decision, meaning that ‘Against the Moon’ is a track released
in a time of uncertainty for Iceage. The video is telling of the
band’s situation at the time whilst also providing some social
commentary.
Kim Thue called the video a “surreal film noir”, and explained
that the narrative drifts “...In and out of past and present, as
the film deals with repentance or lack thereof, as the lyrics
suggest”

3. The gruff male protagonist in ‘Against the Moon’ is reminiscent of
more recent noir heroes such as Frank Miller’s Marv from the Sin City
franchise. Anderson and Thue’s choice in actor aesthetic may have
been influenced by Miller’s angular and masculine drawings of Marv
in his original Sin City graphic novel series. Marv and Husen both
embody the hyper-masculinised male hero that is often typical of noir.
Rather than creating a ‘star image’, Anderson and Thue have used a cast of actors to be the
subject of the audience’s attention. This is telling of the bands modesty; they look not to be judged
in image but in their music
As Husen remains driven and stern faced, he almost
embodies the music Iceage are producing: Husen himself is
‘plowing into the field of love’ as he drives through his washed
out, dreary location. His desire to be with the female character
is what keeps him going, but as the video continues, his hope
begins to dwindle (a trait which is characteristic of pessimistic
film noir.) Post punk is similar as it is fuelled by and was a
reaction to the overproduced and lacklustre pop music of the
70’s, thus explaining the melancholy yet angry tones in the
music.
The repeated image of the female character is representative of
Husen’s lack of repentance; he and the female are never shown
together, suggesting previous conflict of some kind, and
demonstrating that we see the character’s memories from his
point of view. This choice in edit ensures the audience’s
sympathy lies with Husen. He does not forgive himself for what
he has done but does not attempt to mend his actions or return
to them. As Goodwin would argue, close ups showing his tears
relate to the melancholy tone of the song.

4. Like so many other music videos, Against the Moon contains elements of voyeurism in
it’s representation of femininity, most notably via the German actress Missa Blue.
Mulvy would argue that
Anderson and Thue’s
sensual use of Missa
Blue is a typical example
of the fetishistic mode of
looking, which reassures
the male audience’s
sexual arousal.
Similarly, Jonathan Schroeder’s concept of
male gaze is relevant, as Blue is clearly
being objectified and used to appeal to
male sexual fantasy. However, it is arguable
that this is a typical feature of film noir:
The Femme Fetale
character type has been
used since the birth of
film noir, with one
famous German ‘vamp’
influence being Theda
Bara in ‘A Fool There
Was’ (1915). Femme
Fetales use their good
looks to lead men to
their doom.
It has been argued that the idea that a
female character is able to use her
body and charm to manipulate male
characters is empowering for women,
as it demonstrates the ingenuity
and intelligence of females in
film noir.
the representation of
women is important
in this video when
as it reflects the
change in genre with
which the band have
gone through.
‘Plowing into the Field of Love’ is
the first album in which Iceage
begin to express more
stereotypically feminine emotions,
rather than the punk anger and
aggression of their first two
projects. By experimenting with
softer indie and new wave, the
band are able to express fragility
which punk rock would not allow.

5. Shots like the above are reminiscent of Roman Polanski’s ‘Chinatown’, a film which has been
described as ‘neo-noir mystery’. The classic noir chiaroscuro use of light is present in both clips,
as both pieces of film use it to create a dramatic quality which is typical of film noir.
Chinatown sets itself aside
from classic noir films by
exploring darker, more
shocking scenes of
violence. Neo-noir was
also able to utilise better
technology and introduce
new themes like nuclear
destruction.
Noir is notorious for its stark cityscape locations, as such places are reflective of a post-depression
America. It is likely that Thue and Anderson have used this set piece to further enforce the dark,
mysterious tone of the video, which compliments the gloomy track.
Gunther kress argues that genre
is derived from frequently
repeated social occasions. This
would suggest that the repetition
of claustrophobic, urban
alleyways in noir is derived from
dodgy backstreet dealings. This
relates to Iceage as the band
used to frequent small, dingy
venues in their earlier punk
days. Also, the location is more
rough and raw, reflecting the
bands ethos.

6. In an unorthodox way, Iceage have used subversion of gender norms by using welsh male
model Louis Backhouse and his (traditionally) feminine clothing.
The male escort character
acts as a symbol of
Husen’s bleak present,
whereas the female
character is a reminder of
his happier past. This is
almost reflective of the
nostalgic nature of post-
punk:
Thue and Anderson have
decided to use a male
escort character in their
video to further establish this
world of noir where all is not
as it seems. The norms and
values of society are
undermined and discarded
in more ways that one, as it
tackles the taboos of
androgyny and
homosexuality.
This indication of
male prostitution
and homosexuality
becomes important
when we consider
the context of the
band:
Homosexuality has been legal in Denmark since 1933. Denmark was also the first country in the world
to allow same sex unions. This is illustrative of the liberal attitude towards homosexuality taken in the
Netherlands, which is interesting when we consider that Iceage are originally from Copenhagen.
Perhaps the use of the male escort character is a cultural signifier of the band’s Dutch background.
much of the genre
rejected the popular
music of the time in
favour of the more
rudimentary approach
taken by the bands
that came before
them (similar to
Iceage’s approach on
‘Plowing into the Field
of Love’