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Sounding Loneliness in Under the Skin Senses of Cinema

Jonathan Glazers Under the Skin (2013)

Sounding Loneliness in Under the Skin

Sean Redmond

March 2016

Feature Articles

Issue 78

Listen.

If you listen closely, intensely, you will hear the sounds of loneliness scoring the most
profound encounters found on our screens and in their relatable, traceable senses.

Sounding loneliness is heard in the timbre of the vanquished voice, the rhythmic pattern of
raindrops falling, the nervous beep of a horn emitting from a car parked in the urban shadows.

Listen.

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Sounding loneliness is made manifest in the cries of a sibling, the weeping strings of a violin,
the rustle of yesterdays newspaper, the click click click of a midnight mouse, and the
primordial raptures of the wind banging at the back door.

A goodbye, lamenting kiss; the silence of a dead tear sliding down a wretched face its liquid
vibrations moving the air as it slowly descends. Footsteps gradually fading, aching their retreat
into the long drawn out distance all recall the sounds of loneliness.

Listen. It is the combination of sounds, the intricacies of a texts sound design that creates a
scene of melancholy and malcontent. A scene can be busy, over-wrought with noise and
commotion and yet be a soundtrack of loneliness such as when a character is found lost in the
midst of their isolation and distraction as the carnival plays on without them. Party scenes often
employ this convention of loneliness to mark out a character in crisis or deep despair. They sit
forlornly, with giggles and chatter surrounding them.

Disenchanted environments chant the name of loneliness: a desolate, rocky beach washed with
a high tide; a high rise, brutalist housing complex humming to the sound of light strips stripped
bare of their dignity; and a vast cosmos emptied of its bright stars and luminous planets. An
unkempt woman sitting on the edge of an unmade bed, pinching the sheets with her broken
ngertips; a silver kettle boiling in an empty Ikea kitchen; and the creek of a swing in an
abandoned playground amplifying the sound of rust as it freezes the still air. All scream out the
idle tunes of loneliness.

Hear.

How one affectively sounds loneliness on screen is dependent on what instruments, melodies,
voices and sound effects are used to create a sonic membrane that manifests as melancholy and
malcontent. It is in the syncretic and synesthetic entanglement that sounding loneliness takes
root. It is in the added value inherent in the sound-image to draw upon Chion1 that
loneliness fully emerges like a black dahlia.

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So many lonely people, where do they all come from?

And yet, as I will suggest, this sounding loneliness is not only textually specic, simply or
singularly driven by narrative and generic concerns, but is historically contingent and
nationally and culturally locatable. For example, the sounds of urban isolation of the American
1940s lm noir are different from the Chinese peasant laments of Chen Kaiges Yellow Earth
(1984), or what I will presently argue are the British austere strings of sounding loneliness
today. When one employs a diagnostic critique2, one undertakes to nd the history in the text
and the text in the history. It is in the interplay between sound and image that historical and
political truth emerges.

These contextualised and historicised soundings change across and within national landscapes
and their related imaginings. We dont just see the crumbling walls of the imagined nation
state, but get to hear its desolate tunes: The Specials wailing Ghost Town the anthem of/to
Margaret Thatchers rst wave of 1980s neo-liberalism is a striking case in point.

But what specically is this contemporary sounding loneliness, and where does it come
from? I would like to suggest that this age of loneliness is composed in, through and within the
sonic vibrations found in the wretched politics of austerity. My case study will be the anomic
soundings of Jonathan Glazers Under the Skin (2013).

The Austere Age of Loneliness

We are supposedly living in the age of loneliness; a period of time where we have fewer
companions, and where networks are broken down or rendered virtual and ephemeral. In the
age of loneliness we are supposedly self-driven isolates, parasocial junkies, endlessly caught in
the self-reexive glare of narcissism, and we suffer, suffer terribly as a consequence. In his
article, The Age of Loneliness is Killing Us, George Monbiot suggests,

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Three months ago we read that loneliness has become an epidemic

among young adults. Now we learn that it is just as great an afiction of
older people. A study by Independent Age shows that severe loneliness
in England blights the lives of 700,000 men and 1.1m women over 50,
and is rising with astonishing speed Social isolation is as potent a
cause of early death as smoking 15 cigarettes a day; loneliness,
research suggests, is twice as deadly as obesity. Dementia, high blood
pressure, alcoholism and accidents all these, like depression,
paranoia, anxiety and suicide, become more prevalent when
connections are cut. We cannot cope alone.3

Zygmunt Bauman takes up a similar position when he outlines how late modernity has stripped
away a range of solid connections to be replaced with oating social networks, self-interested
neo-tribes without emancipation, and just-in-time-consumption demands that govern all
aspects of our lives, including love and intimacy.4 When we gravitate to social media, we nd
that it doesnt actually connect us but increases our sense of isolation, and deepens or thickens
our profound sense of loneliness.5

Loneliness is writ large, far and wide across the rancid politics of austerity. It is produced by
the closure of social, medical and mental health networks; it is found buried in the discourses
that dene the marginal and the dispossessed, and those on low pay and worse, as pariahs and
mists, scroungers and fakers; and it is consumed in homes and ats where social access has
been limited or cut off. As Kirsten Forkert argues in relation to the processes and practices of
austerity:

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The present moment is marked by anxieties about society falling apart,

and nostalgia for a lost era of social cohesion. These anxieties shape
the dominant narrative about the causes of the recession which are
seen as resulting not from the excesses of the nancial sector but from a
proigate welfare system and an overly permissive immigration system,
which has given the wrong people access to public services the
unemployed, the disabled, single parents and immigrants. This
narrative justies the austerity measures implemented by the Coalition
government; and it is able to do so because of the cross-party consensus
about the need for cuts, and the divisions between the deserving and
the undeserving.6

However, little is spoken about the soundtrack to such austere loneliness, or the ways in which
isolation is fostered in a sonic environment. So two central questions emerge in relation to
anomic contemporary cinema: How might one sound this contemporary cauldron of
loneliness? How might one place it within a particular austere framework? The answer is
under ones skin.

The Loneliness of Under the Skin

Under the Skin is a perfect metaphoric and experiential exploration of this epidemic and
epidermis of loneliness, set within a dissenting austere Scotland. An unnamed, alien seductress
(Scarlet Johansson) lures single, isolated men back to her house where they are submerged in a
liquid tar, and their bodies slowly consumed by an unknown force.

The lms cruising scenes are set in the industrial and urban wastelands of Scotland Glasgow
in particular. The seductress drives a van around the city estates and its empty roads, but also
through the teeming metropolis where movement seems both accelerated and dead slow, like
time is out of kilter, in a state of temporal crisis.

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The streets of loneliness

Under the Skins architecture, its sombre materiality and its oppressive mise en scne help
create the spatial conditions of brute and fragmented loneliness. The liquid tomb that the single
men drown in captures perfectly the sense that modern life is permeable, boundary-less, even
as the opportunity to connect and expand connections is never really there. The men drown in
the isolated and isolating conditions of liquid modernity of beguiling austerity just at the
moment they dreamed of, and were close to getting, sexual intimacy.

Scarlet Johanssons character is also eventually caught in this cauldron of anomie. In one
pivotal scene, she stares blankly at herself in a mirror, misrecognising who she really is. She
examines her body as if it doesnt belong to her (which it doesnt, it has been lifted off a
corpse), capturing the sense that the self is a project that can be made, re-engineered, in an age
of consumer products and surgical transformations. This is the haunting mirror of neo-liberal
individualism staring back into itself.7

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Misrecognition
Johanssons character tries to have an intimate relationship with a man in the lm but they
cannot consummate their feelings he has forgotten simply how to connect; and she is alien,
Other, without a vagina or a womb, and is therefore unable to love or reproduce, but only
destroy. The Otherness in the lm is the spectre of loneliness: the more human and humane she
becomes, the further removed she is from the mechanical and anti-human processes of human
harvesting the lonely men are put through this is austerity in its most brilliant metaphoric
form. To be human is to be annihilated.

This is very much an anti-star performance by Johansson: she appears with little glamour, and
draws upon a range of authentic performance codes that suggest a hyperrealist embodiment is
being presented. Such codes include her mass-market street attire, mournful gait, and the
improvised exchanges of dialogue which are lmed in a documentary style. This is a
performance that seems to out the artice of stardom, to out what stardom can do to the actor
who is caught in its glare. Through her performance, Johansson seems to be addressing the
loneliness of stardom itself. Stardom and celebrity ultimately become conduits for this culture
of loneliness.8

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However, it is in the lms isolating and austere soundscapes that the voices of loneliness truly
emerge. I will divide these audio motifs into thematic categories, but it should be noted that it
is in their sensory unication that they are best able to paint the lm with melancholic colours.
Through these soundings the impoverished lives eked out by the lowly inhabitants of austere
Britain are established.

The Beehive Effect

Sitting just beneath the dominant diegetic sounds of Under the Skin is the beehive effect,
described by Mica Levi, the lms composer, as this alien language.9 It stains and stings the
images of the lm, undermining its hyper improvised realism and impregnating its
improvised shooting scenes with a cold metallic futile futurism. The beehive effect exists in
what can be dened as the sound en creux,10 or sound in a gap, whereby the orchestration
exists in dissonance and contradiction with the mise en scne. In Under the Skin, every image
is undermined or destabilised by these buzzing waves. The narrative centre, as a consequence,
cannot fully hold. Moreover, this acousmatisation, whereby a repeated sound source enters a
lm without its origin being witnessed and is thus denied embodiment, creates an alienating
space for a phantom acousmetre to emerge, or:

a kind of voice-character specic to cinema that derives mysterious

powers from being heard and not seen. The disembodied voice seems to
come from everywhere and therefore to have no clearly dened limits to
its power.11

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One can hear in the acousmetre the very disembodiment of this contemporary culture of
loneliness: one cannot be social with it, because it cannot be materialised beyond liquid
vibrations. The acousmetre is also the nameless author of austerity, its reach exponential and
seemingly without end. The hive-like vibrations it draws forth implies it belongs to, or
emanates from, a supra-collective for which human individuals must be sacriced. But these
sacricial individuals must not be individualised, but framed as living isolates they are
chosen because they will not be missed, not by anyone. The men in Under the Skin form a
disconnected mass they are a herd of near silent and incoherent no-hopers left behind and on
their own by the politics of austerity. Their voices are the drones of bees.

This alienating sound en creux requires the viewer to ll in the missing semiotic or
representational properties absent from the image. But because the origins of the sound will
never be witnessed, the gap can never be successfully lled. Entering into the gap requires one
to be also alienated, to become part of the skin of inexplicable loneliness. We are also
immersed in the verses of the no-hopers.

Austere drownings

Voices in the City

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As mentioned above, many of the lms cruising scenes take place on deserted city streets. The
alien seducer a lone single white female drives her van into edgy areas in the hope of
picking up single men without ties, so they can become food for alien entities we never see.
The soundscape in these proto-realistic scenes, many of which were improvised and involved
non-actors, is naturalistic, with the urban noise occupying the spaces of the working class
urban milieu. The sound here feels thin, essentially lonely, emptied of connection and
connectivity the city is a mausoleum for the near-dead men who walk it. However, these
scenes are also lled with the beehive soundings and percussion that beats out a lonely drum.
In one key improvised scene, Johanssons character falls over, and on-lookers immediately go
to her rescue. What we witness for less than a bare minute is humanity ood the scene, only to
be quickly replaced by disconnection as people return to their winding wasp runs.

Nonetheless, it is in the conversational exchanges between the seductress and the isolated men
that the darkest deadening takes centre stage. She draws them in with the faux warmth in her
voice, and her easy acceptance of who they are. She initiates the conversation, shows interest
in these deadbeat wanderers who in turn reveal their isolation and desire to be wanted. Her
warm American accent brings a touch of the exotic, the foreign, to this parochial environment.

The conversations are often about directions but are directionless monosyllabic and
monotone and yet deceptively avoured. Delivered as they happened, full of dry, lifeless
improvisation, the conversations capture the death of intimate language itself. As viewerswe
become immersed (versed) in this dialogue of emptiness, and are positioned to see and hear
through the delivery bare performances, and the uncanny soundings, loneliness as a
deterritorialisation experience. This is the experiential rendering of austerity conversation, the
afterlife of the image.12

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Kaja Silverman has argued persuasively that Classical Hollywood cinema fetishes the womans
voice and suppresses or contains her speech in the service of patriarchy. Women may also be
coded as duplicitous through the lies they tell, their forked words a marker of their deception.
The gure of the femme fatale is central here. Men, masculine characters, are seen to control
the voice-over, dominate dialogue, auto-position the narrative, in the same way as they hold the
gaze:

By folding the female voice into diegetic recesses, submitting it to the

talking cure, and anchoring it to the female body, dominant cinema
attempts to move the male subject from a position of linguistic
containment and subordination to a position of superior speech and
hearing. The position is in turn only a reection of the symbolic order or
auditory aura.13

This masculine auto-positioning and silencing of women is complicated in Under the Skin. On
the one hand, Johanssons character is a classically constructed femme fatale her voice one of
the weapons she uses to ensnare the men. On the other hand, she controls the dialogue, directs
the narrative until the lms ending. She embodies the derided gure of the post-feminist, the
hated but voiced gure of much austerity politics.

Decaying Strings and Three Note Seductions

Under the Skin employs a particular microtonal music structure, capturing the decay of the
present through wavering between the 12 tones we are used to hearing in mainstream cinema,
and lling the void of the lm with a fragmented scrape of the strings melody, as if the lm
itself is expressing its own melancholy and loss.

This decomposition is supported by an evolving three-note leitmotif that accompanies

Johanssons character whenever it appears on screen. In the cruising scenes at the start of the
lm, it is a hushed, buttery seduction arrangement, but by the lms end it is full of
disintegration capturing her predatory and preyed upon transformation. As Mica Levis notes,

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She uses that theme its her tool. At the beginning, its like fake its
her perfume, its the way she reels in these guys with a tune. Then it
deteriorates, it becomes sadder. We called it the capture melody.
Then theres this major triad, a warm chord, and thats her human or
love feeling. And theres this darker minor triad of trilled strings that
recurs throughout.14

There is more than a touch of Looking for Mr Goodbar (Richard Brooks, 1977) in the lms
ideological allusions: Johanssons character is ultimately punished for consuming the men she
didnt desire but wanted on her own terms. This is austerity soundings calling upon rape
culture motifs to position women as deadly and deadening sirens. Her murder, an immolation
at the hands of a would-be rapist in the hushed, ever-so-quiet snow covered tundra, is a vicious
moral retribution of order by the type of failed man she had taken to task earlier.

An immoral retribution of order

This is where post-feminism is undone in the lm cast as a predatory shadow on Johanssons
character. Much UK austerity discourse has centred on the role and function of women, with
forms of classed and gendered shaming to generate public consent for the governments
welfare reform.15 Under the Skins austere soundings are inherently gendered, and yet no one
is at home in the lm. Rather, death is everywhere.

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Death at the Beach

Some of the most disturbing moments in Under the Skin are two scenes set at a remote and
rocky beach. Narratively speaking, they are built around two murders including one of a baby
left to die on the shoreline but sonically they create layers that are profoundly upsetting and
unsettling. We hear the sounds of the waves breaking on the shore, a dog barking, a baby
crying, screaming and shouting, as well as footsteps on shale, the beehive effect, and the wind
in the air. However, each sound carries its own impressionable register the sublime enormity
of the waves and white horses set achingly against the piercing, hysterical cries of the baby that
has been left on the beach. The scenes horror doesnt just come with the three adult corpses,
two of whom drown, and one of whom is murdered by the seductress, but with the death of the
baby that will be. The return to the beach scene some hours later, to nd the child still wailing
in the (now) acrid darkness, sounding waves now close to his feet, carries real and allencompassing phenomenological power.

These wretched encounters are holding onto air moments; moments that occur when the
scene is so resolutely, ethically and morally ghastly, or is so uncomfortable to view, that one
feels the need the unstoppable, thoughtless urge to reach out and hold onto the nothingness.
This is not a screaming moment or a time for looking away from the screen. This is not a
moment when you clutch or claw at the person sitting next to you. It is a moment of deafening
silence and absolute centeredness. Ones eyeballs ache and ones ngers and hands reach out
towards the horror that one is experiencing. Ones breathless silence is in marked contrast to
the noise before one. It as if holding down air will somehow stop the trauma, reconnect one to
terra rma and the material underpinnings of everyday life. We hold onto air to arrest the
drama unfolding before us.

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When a baby screams

In these moments of vaporisation, one attempts to anchor oneself on a property that is
groundless, because the ground has been swept from beneath our feet. One reaches out,
stretching ones arms to their limit, and grips, grasps, grabs, clutches at it the very act a
moment of self-help, a closing off of narrative possibility, and a helpless attempt to intervene in
the story-world. Your eyes and ngers silently whisper, stop! We hold onto air as if the thing in
the ctive (or factual) world that disturbs us so can be changed and challenged. It cant. We
hold onto air and undergo a quiet death in the process helpless witnesses rendered complicit
in the silencing gaze that wounds.

This attempt to ground the groundless, root the rootless, is very much like the condition of
austerity itself. Faced with an impossible discourse we seek ways to stop it and empower
ourselves. But we cant. The message of Under the Skin is that the babys abandonment is our
abandonment it is a scene in which bare life is enunciated and annulled, which is the
supposed truth of austere politics: stand on your own two feet or drown, drown, drown.

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Death is past, present and future tense the audio envelope that carries all the sounds in this
beach scene. This is the state of our exception. Born alone and to die lonely, if only we hear
and see its calling. Here, loneliness rises up in the image, in the sound en creux, on the empty
beach as the tides of austerity wash in.

A Brief history of Loneliness

The history of cinema can be charted through its relationship with and to loneliness. When you
think about it, melancholy, introspection, meditation, detachment, isolation and atomisation are
everywhere. Chaplin is but a lonely tramp that nds his lonely ower girl. Renoirs A Day in
the Country (1936) is a reverie of companionship marked by deep pockets of loneliness. Gilda
only wants Johnny; Johnny may want Balam. While Kolker denes his cinema of loneliness in
terms of certain American auteurs,16 I think we could usefully chart a new history of cinema
along this axis of loneliness nding its variants and variations across national cinemas and
underpinned by social and political contexts of the time.

To return one last time to Under the Skin: its cinema of loneliness is one generated by the
ghastly conditions of austerity, of austere Britain. Its mise en scne is crafted from the urban
wastelands of today, and the wilderness the lm ends in is both escape from and an extension
of austere loneliness. The seductress is both an architect of austerity and one of its victims. Her
voice carries the sounds of loneliness throughout the lm and into our bare lives

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Hello darkness, my old friend

Ive come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted
In my brain still remains
Within the sound of silence

-Simon and Garfunkel, The Sound Of Silence

Endnotes
1. Michel Chion, Audio-Vision: Sound on Screen (New York: Columbia University Press, 1994).
2. Douglas Kellner, Media Culture: Cultural Studies, Identity and Politics Between the Modern and the
Postmodern (London: Routledge, 1995).
3. George Monbiot, The Age of Loneliness is Killing Us, The Guardian (14 October 2014),
www.theguardian.com/commentisfree/2014/oct/14/age-of-loneliness-killing-us
[HTTP://WWW.THEGUARDIAN.COM/COMMENTISFREE/2014/OCT/14/AGE-OF-LONELINESS-KILLING-US]

4. Zygmunt Bauman, Liquid Modernity (Cambridge: Polity, 2000).

5. Mai-Ly N. Steers, Robert E. Wickham, and Linda K. Acitelli, Seeing Everyone Elses Highlight Reels:
How Facebook Usage is Linked to Depressive Symptoms, Journal of Social and Clinical Psychology 33:8
(2014): pp. 70131
6. Kirsten Forkert, The New Moralism: Austerity, Silencing and Debt Morality, Soundings: A Journal of
Politics and Culture 56 (Spring 2014): pp. 4153.
7. Stuart Hall, The Neo-Liberal Revolution, Cultural Studies 25:6 (2011).
8. Sean Redmond, Introduction in The Companion to Celebrity, eds. P. David Marshall and Sean Redmond
(New York: Wiley, 2015).
9. Mica Levi, Interview, Pitchfork (31 March 2014), http://pitchfork.com/features/interviews/9366under-the-skins-jonathan-glazer-and-mica-levi/ [HTTP://PITCHFORK.COM/FEATURES/INTERVIEWS/9366-UNDERTHE-SKINS-JONATHAN-GLAZER-AND-MICA-LEVI/]

10. Chion, Audio-Vision.

11. Ibid., p. 24.
12. Ibid., p. 123.
13. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington:
Indiana University Press, 1988), p. 99.
14. Levis, Interview.
15. Kim Allen, Imogen Tyler, and Sara De Benedictis, Thinking with White Dee: The Gender Politics of
Austerity Porn, Sociological Research Online 19.3 (2014), www.socresonline.org.uk/19/3/2.html
[HTTP://WWW.SOCRESONLINE.ORG.UK/19/3/2.HTML]

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16. Robert Kolker, A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman, third edition
(Oxford: Oxford University Press, 2000).

ABOUT THE AUTHOR

Sean Redmond [HTTP://SENSESOFCINEMA.COM/AUTHOR/SEAN-REDMOND/]
Sean Redmond is an Associate Professor in Screen and Design at Deakin University, Australia.
He has research interests are in lm and television aesthetics, lm and television genre, lm
authorship, lm sound, and stardom and celebrity. He convenes the Melbourne-based Eye
Tracking and the Moving Image Research group, and the Science Fiction Research group at
Deakin University. He has published ten books, including A Companion to Celebrity (2015),
The AFI Film Reader: Endangering Science Fiction Film (2015), Celebrity and the Media
(2014), and The Cinema of Takeshi Kitano: Flowering Blood (2013). With Su Holmes, he edits
the journal Celebrity Studies, short-listed for best new academic journal in 2011.

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