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Published on January 19, 2012
Non-film: Steve McQueen’s “Shame”
by MARK FISHER
Steve McQueen’s Shame, a study of sex addiction starring Michael Fassbender, is one of the
talking-point films of the awards season. FQ Writer-at-Large MARK FISHER is impressed
by its sense of emptiness.
Shame. Photo courtesy of Fox Searchlight.
In Shame, Steve McQueen transforms New York into a non-place. Marc Augé coined
the term to refer to the anonymous and interchangeable zones of transit—retail
parks, shopping malls, airports—which increasingly dominate contemporary
culture. We learn that Shame’s lead character, sex addict Brandon (Michael
Fassbender), was born in Ireland but grew up in New York, and his migration
handily captures the transition between McQueen’s first feature, Hunger, which
dealt with the 1981 hunger strikes in Northern Ireland, and the new film. McQueen
has pointedly left behind the heavily coded, multiply overwritten territory of
Northern Ireland’s Troubles in the 1980s for the bland vistas of upscale New York in
the twenty-first century. These are quite clearly high-end non-places—the
apartment in which Brandon lives, the office where he works, and the hotel where
he takes a co-worker for a failed liaison have the unobtrusive minimalism which
still connotes expensive taste. But they remain non-places: it’s sometimes difficult
to know whether we’re in Brandon’s apartment or the hotel room. Shame’s New
York is as lacking in temporal as spatial signifiers. At points, the film’s soundtrack
pointedly calls up an older moment, when music could capture a particular time
and place. The disco of Chic and the post-punk of Tom Tom Club and Blondie that
Brandon hears in clubs and bars were once rooted in a specific New York era, but
they’re now as “classic” in their own way as the Bach that Brandon prefers to listen
to as he jogs through the city.
Shame. Photo courtesy of Fox Searchlight.
Apart from his sex addiction, practically everything about Brandon is generic,
depersonalized. His job, never fully specified, seems to be something in advertising
or branding. This vagueness profoundly irritated Ignatiy Vishnevetsky: “every scene
ladled with big dollops of cinema’s most respectable cop-out: ambiguity … Shame
wears its emptiness like a badge of honor; McQueen is trying for banal blankness,
and though he succeeds in that respect, you kind of wish that a filmmaker (and one
with a background as an artist at that) would aspire to do more than just say
nothing.” But far from being something that you might expect an artist to refrain
from, isn’t compulsory ambiguity precisely a signature of so much contemporary
art, which regards “saying something” as an unpardonable vulgarity, and which
would far rather “raise questions” than make any kind of determinate statement?
When McQueen does try to say something, Vishnevetsky complains, it is
staggeringly clichéd: “’sex can be both a dehumanizing and transcendent
experience’ (you don’t say!), ‘addiction can take over a person’s life’ (really?), ‘people
are often motivated by past trauma’ (well, I’ll be!), and ‘we live in a culture that
nourishes emotional isolation.’” At its worst, Shame comes off like a standard
melodrama remade with arthouse ellipses, complete with what Rob White called
“conventional therapy-speak psychology that holds childhood responsible for adult
compulsions.” At its best, however, Shame isn’t “saying nothing” so much as it is
telling something about nothing, about the non- of the non-place.
Shame. Photo courtesy of Fox Searchlight.
Brandon himself seems to have been projected from the non-places which he
inhabits. He is to post-crash Manhattan what Patrick Bateman (in American Psycho)
was to boomtime New York: the city’s psychopathology rendered no longer as
perversely humorous extravagance but as dour furtiveness, its traces to be found
not in a mutilated corpse but on a soiled hard drive. Superficial charm covers over
a terrifying nullity, and you suspect that Brandon’s sex addiction covers over a
deeper impulse to flee from that central nothingness. The film is called Shame but
shame is conspicuously lacking from it emotional palette, which is as subdued as
the architecture on which McQueen’s camera lingers. Shame is dominated by such
an overwhelming sense of affectlessness that it could be about depression as much
as sex addiction. Even when Brandon clears out his porn hoard, there’s a sense of
utilitarian purposiveness about his actions rather than a purgative self-disgust. Just
as the office is barely distinguishable from the hotel room, so there’s a grim
continuity between Brandon’s (vaguely defined) work and his addiction–
compulsion, which is as lacking in affect as labor. The affect that does occasionally
flare up in Shame—for instance when Brandon returns home to find his sister Sissy
having sex with his boss, or when he fails to perform in the scene with the coworker—is a kind of inarticulate frustration.
Shame. Photo courtesy of Fox Searchlight.
Shame is at its most powerful when it explores the bleak phenomenology of
Brandon’s loneliness. Carey Mulligan is fine as Sissy, yet the whole dynamic which
Sissy’s character brings to the film introduces some of Shame’s weakest elements.
The arrival of Sissy, inevitably, brings Brandon’s carefully controlled libidinal
economy into crisis. Her equally inevitable act of self-harm, as well as her
therapeutic editorializing—“We aren’t bad people; we’re just from a bad place”—
relieve us of the disturbingly anonymous automatism which elsewhere governs the
film, and throw us back into the well-formed causality familiar from “conventional
therapy-speak.” This same therapeutic causality is invoked in the scene with the coworker, with Brandon’s impotence implicitly explained by his desire to “retain
control,” something McQueen has underlined in interviews about the film. Shame is
most convincing—and most unsettling—as a kind of post-traumatic cinema. It’s
post-traumatic not in the usual sense that it explores the impact of a trauma, but in
the sense that it implies a situation in which trauma no longer plays a decisive role
in explaining either behavior or psychology. Throughout most of Shame—
everywhere, in fact, apart from in Sissy’s remarks—the old psychoanalytic relation
between trauma and compulsion has been disarticulated. What survives is a blind
compulsion, radically illegible, incapable of giving any account of itself; and this
depthless compulsion might be the psychopathology—or rather the psycho-nonpathology—of the non-place.
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