This Red Riding promotional picture (ident?) by Joseph Ernst is the best thing I have seen not only this week but possibly, idk, ever. *hearts for eyes emoji*. Pylons! Cooling towers! Other excellent landscape features! Maxine Peake’s beautiful haunted face looking beautiful and haunted! Different filters demarkating different time periods!
The torn paper palimpsest (shout out to everyone else who first learnt that word from The Handmaid’s Tale) effect looks like the peeling posters of yesterday’s entertainments pasted up by Bill Stickers and left to decay in the rain. It’s like a microcosm of the kind of media quotidian milieu — everyday life sculpted from the cultural artefacts of a given time and place, that carry within them the aspirations and anxieties of that society — that I love banging on about in my thesis and anywhere else I get the chance to.
My only complaint is that it could do with a bit more Sean Harris and a bit less of the massive number 4, but then again, couldn’t we all?
The ident is otherwise perfect. It’s such a pungent distillation of the kind of Northern neo noir visual tropes that really gives off the flavour of ‘Yorkshire noir’ that Peace has sought to establish: pure ‘gritty bafta’ iconography. I strongly recommend clicking on the image for a bigger version and having a good old gawp for a bit, and also maybe clicking aimlessly around Ernst’s website for a while.
Re: Harris’ absence from this picture, I partly say this in jest because I am known to be a big fan of his, but also, were I blocking the positions on this image, I would have placed Harris (who plays Bob Craven) where the character Bill Molloy (Warren Clarke) is standing. It would have been helpful to me if Ernst had in fact done so as I could have used it to support my interpretation of the texts that suggests a northern true crime -inflected re-mapping of the kind of situation described by Eve Kosofsky Segewick’s theory of homosociality. She adapts Rene Girard’s conception of triangulation, whereby the classic two dudes competing for one lady love triangle is a sublimation of strong social and/or sexual feelings between the men in question. And I in turn re-imagine this triangulation in a different context — more twisted power play than classic love rivals.
In the second Red Riding film (Red Riding: In The Year Of Our Lord 1980) the three characters played by Paddy Constantine, Sean Harris and Maxine Peake, who are all police officers and all find themselves working on an internal team looking into the possible mishandling of the Yorkshire Ripper investigation, have a fraught set of relations. Peter Hunter (Constantine) has been having an affair with Helen Marshall (Peake), now over, and Bob Craven (Harris) not only makes it his business to both hamper Hunter’s investigation as much as he possibly can, whilst being openly rude and obstructive to his colleagues, but to use Marshall as the object of explicit verbal sexual harassment, and also to threaten Hunter in a weirdly intimate and homoerotic style (the classic Harris move, featured in several of his roles, of rubbing his head down people’s faces whilst mumbling cryptic threats: master of the Creepy Bastard role). This all leads up to the blood-drenched hammer-clutching twist reveal.
So, basically, the three of them have this weird quasi-love-triangle dominance struggle thing going on, which forms the nucleus of the second film, in my reading of it at least, so, wang us some Harris in the left corner Ernst so I can use your picture as an example of how other people can see this too I didn’t just totally make it up. #academiainanutshell
But, that was a minor nitpick. I’m trying to work on turning my paper about this theme that I presented a paper (partially) about at the Roles Sexuality and Gender conference in May into an essay for Roles’ forthcoming edited essay collection (WATCH THIS SPACE) based on the proceedings of that conference, and so, obviously, I have a bee in my bonnet about this facet of the RR films.