MAY 2022
atlas VOLUME FIFTEEN
Join Atlas! We’re on the lookout for creative Bond students (writers, photographers, artist and more) to contribute their work to the next edition. If you create it, we print it! Some opportunities as an Atlas Committee Member: Gain Industry Experience! Write your own column! Earn Beyond Bond Points! Meet other creative Bondies! Interested? Apply Now! Email: ella.wood@student.bond.edu.au
Meet The Team Editor-in-Chief Ella Wood Bachelor of Creative Arts
Graphic Designer Alisha More Bachelor of Film and Television
Head Photographer Uma Chaghaghi Bachelor of Film and Television
Hi Atlas Readers! I’ve had so much fun in my first semester as Atlas Editor getting to know the creative community of Bond students. This edition is particularly exciting because we now have an offical Atlas committee! I want to say a huge thank you to everyone who contributed. I’d also like to thank Alisha, for her incredible graphic design and the work she’s put in to creating this magazine! And, of course, thank you to Uma for bringing together all the Bond photographers, and creating this editions cover photo. We have some exciting submissions for you this semester and everyone at Atlas can’t wait to share it. Happy reading! Editor-in-Chief Ella Wood
Contributors Carolyn Anderson Chloe Alford Conor Brown David Grobby Grace Hamilton Jasmin Naish Joshua Brown Kelsey King Lachlan Bond Lara Claydon Lilli Wyatt Loysh Cartmer Patrick Traynor Renee Pollock Uma Chaghaghi
CONTENT
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writer’s room
six reasons not go clubbing
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watch out snow white!
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the lovely land of tasmina
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37
film
culture
ultraviolence, homoerotic country, and power electronics
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what is style?
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noodles, anyone?
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survive in silence
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imperialism of ‘the cove’
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the impact of japanese animation
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student film success
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sunrise, sunset, midnight...
Aloha!
My name is Lara Claydon! I am a university student at Bond University from Maui, Hawaii studying for my bachelor’s in communication with a minor in public relations. I have been studying virtually through my entire degree while competing professionally as an ocean athlete in longboarding & stand-up paddling. In addition to studying and competing I teach surf lessons throughout the week, sharing my love for the ocean & surfing with others.
LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA LARA
CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON CLAYDON
LARA CLAYDON LARA CLAYDON
Six Reasons NOT to go Clubbing From someone who was severely disappointed. By Grace Hamilton
It’s never a good look when you rock up to the family brunch still smelling like vodka red bulls - especially when paired with the clumps of dried mascara that seem to stick to the corners of your eyes. Oh yes, the eyes that didn’t get nearly enough down time during your latest clubbing and-notreallyworthit-venture. But other than the next-day trauma brought on by SnapChat memories and uncalled for reminders from friends, what isn’t to love? Perhaps, it’s getting absolutely plastered and spilling your deepest secrets to the semi-hot bartenders while they shake (not stir) your drinks. Regardless, there’s 6 things that I am convinced can ruin a good night out, and they happen to all be found at the clubs.
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Writer’s Room
Photo: Mark Angelo Sampan
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The sweaty bodies. What is there to like aboutthis? I sacrificed my self-hygiene all night by jumping up and down to shitty music for zero benefit. All I got was some crisp sweat drops from the people who seemed to forget the dance floor was not a oneperson venue.
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The transport. Going in and out of the city is perhaps the biggest conundrum of a night out. No one goes clubbing and volunteers to stay sober! But then again, the price of an Uber these days is rising at the same rate as the Sydney COVID cluster. So that leaves one option: call mum? Are you crazy? She’ll have you on laundry duties for the next week. Moral of the story: it’s a loselose situation.
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The late night. I’m sorry gen-z, but I just don’t think I’m cut out for this whole all-nighter thing. The one thing on my mind throughout my latest Valley venture, was how much I’d rather be in bed with the blankets up to my chin and dreaming about – well, anything really. So, I’m making that executive decision to be home well before the sun comes up.
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The line ups. This is the way I see it: stand on side of street, give licence to scary man, let scary man decide if you look the 16-year-old in that awful quality picture, thank scary man awkwardly, enter building full of wasted people dancing to mediocre remix music. Is that meant to entice me? Mission incomplete. The bathrooms. Look, I want to keep this one PG, but it will be hard. The blue lighting might stop some from shooting up, but I’m sure people these days have come up with some ‘2021 methods.’ And on top of that, I could barely tell if the sticky floors were a result of missed attempts at the toilet, or just pure sick. Either way, my first bathroom break was indeed my only. The prices. I don’t just mean the entry fee (because to me, that seems like a scam rather than a ‘thanks for coming, have a nice night’). The cheapest drink on any menu I saw was $13. It might not sound like a huge investment, but I can think of a few better things to waste money on.
All in all, the aftermath of a big night out (and all its hang-over glory) takes the cocktail for ‘worst sacrifice to benefit’ ratio. Big call for someone who voluntarily eats Brussels Sprouts.
ATLAS Magazine
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Watch out Snow White! How Social Media has Turned Young Women into Evil Queens Girl on Girl Hate - A tale of the modern-day Snow White and how our phones have become our own personalised looking glass. By Lilli Wyatt Sweat beaded on my forehead as I started to regret my short-lived career as a feature writer. Five seconds ago, it had posted and all I could do now was tear myself apart. Your lips look cracked. That pimple on your chin is huge. Your teeth are crooked. Yet there I was, posting a video on Instagram asking for other girls’ insecurities and online experiences of girl-on-girl hate - what a total hypocrite. But nonetheless, as expected, I soon became overwhelmed by the responses that started to flood in. The first response was an old friend from high school… “I compare my body to girls on Instagram even though I know they aren’t the realistic beauty standard,” she said. I could relate to her comparison, but with a 77.6% increase in the number of BBL’s performed globally, who wouldn’t? All it takes is $15,000 and the risk of losing your life, just so you can finally meet today’s standards. The second response was from a girl I sat with in class… “I feel anxious when I see the sent icon underneath my Instagram posts and I don’t know who it is,” she said. This made me curious as I scrolled through my own posts, why did my selfie have seven sends - were they making fun of me? Suddenly, I too became self-conscious. Lastly, a girl came clean about her grade’s current commotion… “They had a group chat where they would send in photos of their own friends, commenting about their weight, appearance and relationships with boys - there were screenshots sent around.” Was this the modern day burn book? All I could think was that somebody had stolen a page out of Regina George’s playbook, and they weren’t giving it back anytime soon.
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And yet somehow these responses hadn’t surprised me. In late 2020, a survey by news.com found that a shocking 65% of young women had been harassed on social media, which was 7% higher than the global average. Even more so, 40% of the harassment was from people at their school or work and further a confronting 29% was from their own friends. After collecting the statistics and scrolling through a substantial number of personal experiences I decided that I needed the opinion of a social media expert. According to Jennifer St George, University lecturer and social media expert, these comments are just the tip of the iceberg to a more pressing issue facing young girls who are active on social media. “I think girl-on-girl hate has increased significantly,” she says. “Young girls feel the need to be posting content about their ‘perfect lives and it’s rare that girls are going to admit that they are struggling mentally.” “I think it is hard for girls to step away from social media…that disengagement has gone, and I think it’s to the detriment of a lot of young girls’ mental health.” Psychologist and corresponding Author, Yvonne Kelly, confirmed Jennifer’s observations through a study in which she tested the effects of social media on young girls and boys. She found that Girl-on-girl hate on social media has become a prominent issue for the next generation of young women as it evidently affects younger girls’ and targets their mental health in comparison to boys respectively. Why is this? Well, it may be a more familiar story than you think. Psychologist, Mary. C. Lamia delves deeper into the minds of women and why jealousy may be able to tell us more than we once thought…
Writer’s Room
Social comparison was found to be the main culprit of jealousy, the notion that the other person seems more desirable because they have the attention and adoration that you crave. It appears as a physical projection onto others manifested from your internal insecurities. That was when I made the obvious connection between the tale of Snow White and the pressures facing my own online community of young women. According to Literature teacher and well-rounded Disney expert, Michelle Chalmers, we as women relate to The Evil Queen more now than ever… “The Queen is evil because of her jealousy - she is condemned for a response that she has been taught; that a woman’s worth rests in her appearance and comparison to others,” she said. “She shouldn’t be villainised - she is our own and society’s construction to control appearance, beauty and jealousy of women, yet ironically if we show any of these jealous traits, we are evil.” “We all have an interior monologue much like the evil queen…I realise it is a monologue that has been taught to girls and women about how we should see and judge others - especially other women.” It is no revelation that Disney Princesses have long been criticised as ‘bad for girls’ due to the message that selfworth is defined by appearance. So why is it that these harmful messages are still displayed so vividly on social media, why are we constantly reminded that we aren’t enough? The answer…through our phones.
have become our personalised mirror in which we can “constantly assess, verify, validate and record our appearance - with the added dangers of filters and image alteration,” she said. Further expanding that on social media “we can be The Evil Queen, mirror and Snow White - we can be the victim, perpetrator and accomplice,” of girl-on-girl hate. As I continued to scroll through the answers on Instagram, I came to realise that my emotions and message responses were almost identical in their structure. I started by telling every girl that they weren’t alone, that they were understood and that they were greater than the imaginary version of themselves that lived within the virtual whispers of others. Our phones have become the gateway to a reality that always seems just out of reach, a reality which we will never physically live up to. But I don’t see why that is such a bad thing? In the story, The Evil Queen becomes the author to her own downfall as she was fixated on something she could not achieve, she already had a lot, but she wanted more. The looking glass was symbolic in fuelling her fiery hate for Snow White but in truth, was only reflecting her true insecurities. If it wasn’t Snow White, it would’ve been someone else. Maybe she just wanted to know if she was enough in the eyes of others - if she had value aside from her appearance. Maybe if she had stepped away from the looking glass or simply asked if she was enough for herself, she would have finally been the fairest woman in her own eyes.
It became apparent that if we are Evil Queens on our social media, then our phones have become our subconscious, envy reflecting, looking glass onto our peers. Michelle further clarifies that our screens
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The Lovely Land of Tasmina
From mountain top to coastal shore, exploring Australia’s historic peninsula. By Carolyn Anderson Australia’s southern most state allures visitors for a variety of reasons, the amazing food and wine, the fascination history, a claim to the worlds freshest air, but this year the Apple Isle added $300 more reasons. To boost tourism, Tasmania is offering up $300 vouchers for travellers from Queensland and South Australia, and with tassie being the closest thing you will possibly come to getting overseas this year, I thought I would share my recent short break down south. In the semester break I headed to Tasmania for 4 days/3 nights, enough time for a whirlwind tour of the states South-eastern Region. Jetstar offers direct flights from Coolangatta to Hobart 3 times a week.
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Once I arrived in Hobart, I picked up a rental car from the airport, where the cheapest model will set you back $30-$40 a day. I was so excited at the thought of seeing snow, I decided to drive straight up to what I now consider to be one the bests lookouts I have ever visited, Kunanyi (Mount Wellington). The drive from the airport takes around 40 mins, and I was lucky enough to make it up in time for sunset, complete with a fresh dusting of snow. If the view isn’t enough to take your breath away, the icy wind will so make sure to pack some layers, even If you are going in summer. Remember, when you are in Hobart, you are closer to Antarctica than you are to some points in Australia.
Writer’s Room
Hobart is one of the most historic places to visit in Australia, having lived in Europe for the last few years, it definitely has a very European feel to it in comparison to Sunny Queensland. At the foot of the imposing Mount Wellington, with the majestic Derwent River (Timtimili Minanya) and scenic harbors I would definitely suggest leaving some time to explore. The trendy Salamanca area comes alive on the weekend with bustling markets, and the waterfront is a great place to grab a bite to eat. If you are not big on wine tasting, but would like to sample some of the states over 18 beverages, the Lark Distillery downtown does tasters of Tasmanian gin and whiskey in a gorgeous vintage bar built into the historic waterfront buildings. If art is more your style, or even if it isn’t, I wouldn’t skip a visit to the MONA - the Museum of Old and New. This is consistently rated one of the worlds top new gallery spaces and its not hard to know why. The whole experience is incredible, descending into a labyrinth of underground passages that hold works of art from ancient Egyptian hieroglyph to Picassos to impressive modern installations. You can even ad a river cruise from downtown to the gallery to take in the magnificent city (and skip having to find a parking spot).
Once you are ready to leave Hobart and head out to check the amazing countryside, I would highly recommend a stop at the Bonorong wildlife sanctuary. A completely not for profit rescue centre, run by some of the most passionate animal lovers I have had the fortune of meeting. You can opt to do a free tour of the park, and get up close to some Tasmanian Devils, Wombats and other Tassie locals, all whilst your small entrance fee goes to ensuring the rehabilitation and release of the animals.
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My next stop on the Tassie adventure was the infamous site of Port Arthur on the Tasmanian peninsula. As a bit of a history lover, Port Arthur was a must see on my list, and I wasn’t disappointed. With a discounted rate for students, your entrance ticket will include a guided walking tour of the site and a boat cruise around the Islands. The walking tour is well worth the time to learn the importance of the buildings, the history and the perspectives of the traditional land owners. The boat cruise will take you around the Isle of the Dead, the aptly named island containing the formal penal colonies gravesites. If you are after even more spookiness, you can opt to do a nightly ghost tour- I wasn’t so brave. The peninsular also has a wide variety of natural beauty to explore, with hikes, blowholes and magnificent
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ocean views. Leave some time to explore the areas other than just the historic site. I stayed the night in a stargazing tent (a magnificent glamping experience complete with electricity, indoor heating and fireplace, and outdoor tub to watch the night sky) at the big 4 holiday park. The area is also home to some wonderful wineries, however if you are just looking for one to visit, you can’t go past the Bangor Vinyard Shed. This award winning vineyard not only offers a delicious tatsing from passionate staff, fresh oysters and incredible views, it was also the very first spot Abel Tasman on the 24th of November 1942. After the peninsular, head north to the famous Wineglass bay, in Freixenet National Park. This area is famous for a reason, it is absolutely beautiful. Put a few hours at least to explore the park, and do the Wineglass
Writer’s Room
bay hike, it is well worth it. Just note, there is an entry fee to the park, as with all national parks in Tasmania. Book ahead of time to save yourself some time. After a day exploring the area, head a further half an hour north to the charming side town of Bicheno. There is some beautiful scenery in the area, including the most impressive of the 5 different blowholes I visited on the trip, as well as the copper coloured rocks as made famous by the Bay of Fires, which is even further north. My biggest reason for visiting Bicheno was the penguins, and I am so glad I did! You can see the penguins on many of the rocky outcrops surrounding the town, or even stay in a hotel were they come through the grounds. I opted for the cheaper accommodation option and paid $40 to go on the Bicheno Penguin Tour. The tour takes you to the
penguin breeding ground, about 15 mins out of town, with an expert guide to tell you all sorts of fun penguin facts. These are wild animals, but that doesn’t mean you don’t get a close encounter. Whilst standing in the dark, being instructed to stay completely still, a flurry of little penguins ran strait over my shoes. After that, you can make your way back down to Hobart, or if time permits explore further north to cradle mountain and Launceston. From Bicheno, It is a 2.5 hour drive back to Hobart Airport, and a 2 hour flight back to the Gold Coast. Tasmania is a wonderful and diverse holiday destination, that will have you feeling worlds away whilst breathing in some of the freshest air you ever have. So before the International borders open, make sure you holiday here this year!
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‘Survive In Silence’ A short film by some Bond University film students. By Chloe Alford
In the early weeks of January, a handful of Bond Film and Television students were offered the opportunity to film a short film at the Screen QLD Studios. For those of you who are unaware, the studios in Brisbane are the third largest film studios in Australia. The studio we filmed in is 3,000 square meters, and was used for productions such as ‘J oe vs Carole’ (2022), ‘Love and Monsters’ (2020) and ‘Aquaman’ (2018). So for our cast and crew, filming in these studios was definitely a pinch me moment. Our cast and crew consisted of 14 members, and we filmed our short film in the studios over two days. Due to the current covid climate at the time, some of the crew members were unable to attend the shoot, but their efforts were key during the film’s pre-production process. As one of the Producers on this project, I am incredibly proud of the cast and crew for their efficient efforts throughout the film’s creation and development stages. With Uma, the other Producer, and I only having two weeks to organise the shoot, we couldn’t have asked for a better group of people to help bring a vision to life. We want to say a special thanks To Darren Fisher, Derek Hall and the Screen Queensland Studios, for providing this wonderful opportunity and supporting our cast and crew throughout the pre-production and production process. Cast and Crew CLARK: Agustin Romero QUINN: Angelika Martin JACOBS: James Roobottom Producer: Chloe Alford Producer: Uma Chaghaghi Screenwriter: Jake Manoussakkis Screenwriter: Patrick Traynor Director: Conor Brown First Assistant Director: Alisha More Script Supervisor: Eloise Bowden Director of Photography: Chloe Alford First Camera Assist: Alisha More Second Camera Assist: Conor Brown
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Film
Gaffer: James Roobottom Best Boys: Conor Brown & Eloise Bowden Sound Recordist: Loysh Cartmer Boom Operator: Loysh Cartmer Editor: James Roobottom Production Designer: Eloise Bowden BTS Photographer: Loysh Cartmer BTS Photographer: Eloise Bowden Supervising Director of Photography: Jensen Just Supervising Gaffer: Kai Johnson Supervising Gaffer: Zed McMahon
Photos: Loysh Photography
Jake, one of the film’s Screenwriters, says the writing process “was a great experience” and that he “especially [enjoyed] collaborating with everyone.” He also remarks, “it was awesome to see everyone’s creativity through this whole process.” The Director, Conor, discusses that he “thoroughly enjoyed working with the incredible crew around” him, and he believes he was “extremely lucky” to work with a “talented” and “passionate crew…allowing [him] to do [his] job as Director” to the best of his ability. Gus, who played our lead Clark, says that his experience filming at the studios was “absolutely breathtaking,” and his first look at the studio made him think of “the endless possibilities that a film crew could use the space for.” The film’s First Assistant Director, Alisha, discusses that she still finds it “hard to believe that we were given the opportunity to make a short film in a studio where some amazing feature films and TV shows were made.” And that the experience “of manipulating the space however we wanted was so cool.” Our Production Designer, Eloise, thought “how am I going to fill an empty warehouse?” After some research she filled the set with “a ton of cardboard boxes, [of] all different sizes, along with clothes, games and sports equipment.” Adding, she is “really pleased how the production design turned out.” Angie, our lead actress who played Quinn, says “as an actor, it was exciting to work in such a professional environment, and have a taste of what it’s like to film in a studio production.” Our Sound Recordist and BTS Photographer, Loysh, explains she “enjoyed every moment of setting-up and packing-down the gear in such a huge space” and that she “was amazed at how well our small group were able to bring the whole project together.”
The Cove (2009)
Imperialism of ‘The Cove’ The power of selection, emphasis and omission. By Jasmin Naish
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Film
‘The Cove’ (2009) is a critically acclaimed documentary, directed by Louie Psihoyos, scoring a hefty number of awards, such as best documentary at the Academy awards. The documentary follows Ric O’Barry and a group of environmentalists from the Ocean Preservation society as they aim to expose the killing of dolphins yearly from Japanese fisherman in the town of Taiji. Coming from a Western society, audiences instantly sympathised with the fate of the dolphins being culled in Taiji. However, what needs to be addressed is the imperialistic nature of the documentary, which forces Western values onto the Japanese. Western societies generally hold the belief, Christianity in particular, that there is a single God, monotheism. Humans, beings that hold not only the most intelligence, but also consciousness, are essentially the closest thing to God. Due to this, a hierarchy of value is placed upon animals that hold a higher amount of intelligence. Throughout documentary, dolphins are constructed as the closest animals to humans on the planet. This is done through the personification, or ‘anthropomorphism’ of the dolphins. Psihoyos highlights dolphin’s connection with humans, such as cases of dolphins saving drowning people, or their ability to communicate with one another within a sophisticated language we are yet to understand. In contrast, much of the Japanese population follow Shinto-Buddhism, a polytheistic religion who believe in many Gods. A belief that stems from this religion is the idea that there is no hierarchy within nature, and every form of life is equally precious. So, by eating any animal, we become guilty. This applies to all animals however, who serve one another for different purposes. All animals are respected for the purpose they serve. This is evident in the sacred treatment of whales in the whaling industry, as the souls of whales are prayed for that they make it to the afterlife. Psihoyos represents the Japanese fishermen, men who are simply trying to make a living, as antagonists who are greedy and violent. These men are filmed without their consent and are further edited and manipulated to appear in such a way. Ric O’Barry even goes as far to say, “They’d
kill me if they could. And I’m not exaggerating”. The selection, emphasis and omission of this footage constructs an oversimplified stereotype of the Japanese population as vicious and greedy. Yet this could not be further from the truth. The lack of representation of Japanese protagonists in the documentary do not inspire or encourage their population to make change, but rather offends them. As Japan is a town that originally lived off of vegetables, rice and fish, and was then introduced by Westerners to hunt for meat, it is seen by their perspective to be rather hypocritical. The killing of dolphins is only a small percentage in comparison to America’s killing and consumption of pigs and cows. Americans consume beef at a much higher level than Japanese people, consuming 25.8 kg of beef per year in comparison to 6.5kg. Due much of Japan’s belief in Shinto-Buddhism, and the lack of hierarchy they place on forms of life, they do not see how it is fair for the West to criticise when they are only doing the same thing to other animals. A Japanese audience could see this as a form of ethnocentrism, with the West applying judgement on other cultures against their own for reference. This is imperialistic, with Psihoyos attempting to spread Western values and cultural practises onto other countries. This lack of understanding is evident, when Ric O’Barry says, “If you didn’t know what’s going on over here, you would think this is a town that loves dolphins”. This is said following the selection of iconic images and sculptures of dolphins and whales within Tai Ji. However, it can be understood by a Japanese audience that this is done to honour and respect the taken and departed souls of the animals. Overall, the film poorly represents the Japanese in an oversimplified manner. He has spread the notion that western, particularly America’s cultural beliefs are superior to surrounding countries, such as Japan. As a result, the argument loses its emotional impact on Japanese audiences, who had the possibility of being inspired to take action within their own country. Rather, Psihoyos has successfully made much of his Japanese audience resistant to the ideas displayed in the film, guilty of hypocrisy and ignorance.
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Spirited Away (2001)
The Impact of Japanese Animation How Anime is molding the entertainment industry. By Conor Brown It’s Saturday morning. You’re 10 years old, waiting for your favourite show to come on. You have no mountains of schoolwork to do, no part time job and no worries about how the future will turn out. In those brief moments of time, you can enjoy something so profound that it stays with you. That precious memory is locked behind all our busy brains somewhere and remains a fond moment in time to remember. That pure, childhood joy of enjoying a Saturday morning cartoon is what inspired me to pursue a career in Film and Television at Bond University. That feeling of enjoyment is hard to replicate but remains a dream of mine to share with others. So, as I grew older, I found myself navigating towards a form of media I found that same joy from – Japanese animation.
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Film
Japanese animation (anime for short) is a style of animation originating in Japan that is characterized by colourful graphics, vibrant characters in action-filled plots. Often with fantastical or futuristic themes, anime has a wide range of genres including romance, sci-fi, horror, action and psychological. What makes anime so unique is the mature stories it can tell. Unlike the classic Saturday morning cartoons aimed at children, anime can include numerous plots and characters that appeal to older audiences. Therefore, I naturally found myself gravitating towards this form of media. It seemed a perfect blend of familiarity and more mature narratives that still replicated that childhood joy.
As I continued to research, experience, and enjoy this form of entertainment, I found something interesting. There seemed to be a striking connection between anime and Hollywood films, borrowing visuals and plot lines that almost identically match the original anime source material. Some filmmakers have given tribute to borrowing or copying elements and stories from anime. The Wachowski sisters (makers of the Matrix) have been vocal on how Ghost in the Shell has influenced their film both visually and narratively. However, various other
filmmakers still deny the similarities between their works and the animated source material. The purpose of highlighting the similarities between Hollywood films and Japanese animation shows how the entertainment industry is being moulded by anime. Little do we know that Hollywood is one step ahead of audiences and Japan, unknowingly borrowing features from anime to create “original” works for western audiences. Whether for monetary gain or artistic purposes, anime is clearly influencing media we watch.
Ghost In The Shell (1995)
However, anime is finally making its own rise to power. In the past decade, more people have flocked to anime for the same reasons Hollywood have – the interesting stories and creative visuals. The internet gave Japan the ability to add anime to streaming services. No longer was anime a hidden gem of creative media for Hollywood to borrow from. The anime Demon Slayer (Kimetsu no Yaiba) released a movie in 2020 that smashed the box office. As of current, the Demon Slayer Movie has grossed a total box office income of $503 million USD. During Covid-19, the film managed to topple many Hollywood films including Wonder Woman 1984 ($166.8 Million USD) and Christopher Nolan’s Tenet ($363.7 Million USD). In addition, Attack on Titan (Shingeki no Kyojin) has broken streaming services Crunchyroll and Funimation due to mass audience watches over new episode releasing every week. Curtesy of Towards Data
Science, Attack on Titan was also announced as IMBD’s highest rated episode ever.* Hoping on anime’s rise to success is streaming service giant Netflix. A simple search will show a whole section dedicated to anime media. Alongside this, Netflix has recently produced the live-action series of Cowboy Bebop and is currently in development to produce a live-action One Piece series. Anime is slowly deserving the praise and reward it deserved. From financial success, audience popularity and streaming service collaboration, these recent achievements are the evidence of something new. No longer subjected to the sidelines, anime is can now shape and mould the industry in spotlight. Finally, anime is free to offer a new, alternate form of entertainment to enjoy. * Ganiyu, M. (2019). What TV show has the best of the best episodes on IMDb? Towards Data Science.
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Photography
UMA CHAGHAGHI ATLAS Magazine
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Film
Student Film Success! Behind the scenes look into first semester Film and TV student’s short film. By Josh Brown
Have you ever been at a party and seen someone start to walk your way, and you go to say hello to them, but you can’t remember their name? Then ‘Brain Fart’ is the film for you. From the mind of Harrison Hanley, ‘Brain Fart’ follows Charli (Chloe Flannagan) and Brain (also Chloe Flannagan) as they frantically search for clues inside Charli’s head that would point them in the direction of the name of Girl (Jada Melhem) as she approaches them at a house party. This Whitty comedic short film was shot on our own Bond University campus during the weekend of Week 10 in the FSD Immersion Labs in Building 1. The crew contains students studying the Bachelor of Film and Television, with most only in their first semester. Harrison’s stellar scriptwriting and direction were only crucial when tag-teaming with the Director of Photography and Camera Operator on the project, Sarah Larkey. Having already experimented with having the same actor play two characters on screen simultaneously, Sarah was the winner of Best Comedy in the 2021 BUFTA Awards with her film Stuck With Myself, featuring a similar stylistic concept as Brain Fart. “On my last project, which was had some similar elements, it was just me and my iPhone. But this time around I had the privilege of working with proper equipment and a crew who I got to learn from and got to share this incredible experience with.” (Sarah Larkey). Brain Fart was an excellent opportunity for the first semester FITV students to get stuck into the course, gain valuable crew experience, and get a head start on what it’s like to be on a film set. The next journey for the project, moving on from the shoot, is the post-production aspect of the film. I’m sure that the post-production team would enjoy the difficult task ahead of them, especially the Special Effects team, who have to put two of the same actor on the screen simultaneously. Nevertheless, keep a keen eye out for any updates for this film during the next semester.
ATLAS Magazine
Before Sunrise (1994)
Sunrise, Sunset, Midnight… Linklater’s ‘Before’ Trilogy: A Message About Love and Relationships, We All Need to Hear. By Patrick Traynor “You complete me.” “To me you are perfect.” “I’m just a girl, standing in front of a boy, asking him to love me.” Most of you will know these quotes. That is because romance is one of the most popular movie genres in the world. This could possibly be due to its adaptability incorporate comedic and more serious, dramatic tones. Some of the resulting films have evolved into instant classics. Films such as ‘Jerry Maguire’, ‘Four Weddings and a Funeral’, ‘10 Things I hate about You’ and ‘Love Actually’, have become cinematic staples and have attracted huge popularity from audiences everywhere. The romance genre has had its fair share of flops as well, I’m looking at you ‘Fifty Shades of Grey.’ But these films mostly succeed due to the one major theme that everyone has no choice but to connect with. You know the one I’m talking about. Love is one theme we can all relate to. We experience this every day, when we call our family, when we spend time with our partners or those we love in secret, when we dig into a delicious meal or watch our favourite Netflix show. These films succeed in connecting with us, which can account for their popularity, but they all are guilty of one thing. They convince us that our relationships with other people are as simple as happily ever after. They present a fantasy version of love that takes away from the beauty of the real thing. Something that became clear to me when I stumbled over three small indie films, I’d never heard of, at 2am on a Thursday morning that changed my perspective on love and relationships forever. “We met about 18 years ago, we kinda, sorta, fell in love a little bit and then we lost track of each other and then a decade later we ran into each other.” This line from the final film of Richard Linklater’s ‘Before Trilogy’ is a nice brief summary of the romance we follow throughout his three films. These being ‘Before Sunrise’
released in 1995, ‘Before Sunset’ released in 2004, and finally ‘Before Midnight’ released in 2013. So, what is it about Linklater’s Before Trilogy that makes it so damn important. Well for all the film students reading, all three films are technical masterpieces. True works of genius with brilliant writing, acting and directing. However, it is the themes and messages that make these films essential for everyone to see. Now a fair warning, for many people this film will lack the entertainment factor of most other films you watch. But entertainment is not the trilogy’s main goal. Its main goal is to explore the deep concepts that affect every one of us, and to hopefully help to inspire us through these complicated parts of our lives. Over roughly two decades these films challenged the clichéd view of love seen in most other romantic films to uncover the truth behind these unexplainable and intangible concepts. Each film is set exactly 9 years after the last and follows the main characters Celine (Julie Delpy) and Jesse (Ethan Hawke) at a different point of their life and relationship. According to Hawke, each film explores three distinct phases of a relationship. ‘Before Sunrise’ deals with naïve and exciting prospect of what could be. ‘Before Sunset’ deals with the weight of decisions and the pressure to decide what to do. And ‘Before Midnight’ addresses the consequences of those decisions leading to what is now. By looking closely at each film, we can explore how Linklater, Hawke and Delpy portrays these various stages of a relationship and effectively shows us the evolution of love over time. Part one (What could be): 1994 In ‘Before Sunrise’ we first meet Celine, a beautiful French university student. We also meet Jesse a young, curious, American Backpacker, travelling across Europe.
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After a chance meeting on a train bound for Paris and establishing a mutual attraction and liking towards one another during an enlightening conversation, Jesse convinces Celine to disembark and explore Vienna with him before he catches his flight home the next morning. The two take in the beautiful sights of the Austrian capital, while conversing over every topic imaginable, life, death, marriage, religion, even milkshakes. If you can think it, they talked about it. They also find out more about each other while discussing their own life experiences. Over the course of the evening, they fall deeply in love, but must tragically say goodbye to one another the next morning and travel their separate ways. What makes this film so unique and special, is its ability to transport its audience to feel as though we are in a dream world. We are treated to a unique and beautiful love story, between two strangers in a wonderful, new place. There’s no other reason for them to be together or to be where they are. They’re just there, experiencing, living, loving, just for the sake of it. When you think about it, it’s not an experience we feel very often in this modern world. Everywhere we go and everything we do is motivated by some cause. That’s why Jesse and Celine’s situation feels so weirdly foreign and so wonderfully satisfying to the viewer. Celine herself acknowledges this in the film, “It feels like a dream world, our time together is just ours, it’s our own creation.” This feeling the film creates, effectively portrays the exhilarating feeling of a new romance. It also creates the feeling that most of us students will relate to, of being on the verge of adulthood using our newfound personal freedom. The film achieves this so well that we feel a deeper connection towards Celine and Jesse’s romance more than any other romance film before it. As Linklater himself describes, “The first film was solely about capturing the deep, intangible force bringing these two people together.” However, all dreams must end. Every rose has its thorn. Every deep, wonderful sleep must be rudely awakened. As the sun comes up Jesse and Celine’s fairy-tale romance is brought to an unsatisfied end. He must catch his plane; she has to return to university in Paris. The ending is bittersweet, as the two soak up the beauty of the connection they had with one another, but are saddened by the fact that it must end for good as they will probably never meet again. However... Part Two (What to Do): 2003 (9 Years Later) In ‘Before Sunset’ Jesse and Celine incredibly meet again in Paris, 9 years later, and they have matured. They have fully transitioned into motivated, driven and disciplined adults, their lives in full order. Jesse is a successful bestselling author, married with a son. Celine is working in NGO’s focusing on environmental issues and climate change, she now commits to
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longer and more serious romantic relationships. Their conversations as they walk around the streets of Paris are more political and sophisticated and have to do with what’s happening in the world, rather than focusing on deeper, intangible, philosophical topics. As Hawke describes, “The first film finds us in our late teens/early twenties and is about hope and love and other such topics, whereas this film finds us in our early thirties and finds us immersed in the realities of life.” It becomes harder for the two of them to be romantic towards one another due to their distrust in the idea of romance, having now experienced the harsh realities of false love and failed relationships. Celine talks about the struggles she’s experienced with partners who she could never truly connect with. Jesse too, talks about his unhappy marriage and how he and his wife will always regret their decision. That he has ‘stopped believing in romantic love, that he now believes that love is just a commitment.’ But what their time in Paris reveals to Jesse and Celine is how much their one night together has affected them over time. They now know how rare and special it is to truly connect and fall deeply in love with someone. Before Sunset reveals how Jesse and Celine’s love for one another, despite the romanticised notions, carries true meaning, that can apply to all of our lives. That those rare and special connections with people in your life are very few. It calls us to act on those special connections we have with those people as Celine and Jesse realise how important their connection really is. It is in the finale of the film that they must make the big decision of what should be, and how they will live and with whom they will share the rest of their lives. Will they capitalise on what they created 9 years earlier in Vienna, or will they watch each other slip away once more. Part Three (What is Now): 2012 (9 More Years Later) In ‘Before Midnight’ is what truly sets this trilogy apart from other typical romantic films as we finally see what comes after ‘happily ever after.’ We don’t just fade to black after the big romantic gesture, we see life. We see all the good that comes when we spend time with the people that we love but also the inevitable lows. We meet Jesse and Celine during the final day of their holiday in Greece. They have been together for a long time now and have had two daughters’ together and enjoy joint custody of Jesse’s son from his previous marriage. However, with the added pressures of life including parenting, career building and other obligations their relationship is not what it used to be. It has evolved into a partnership, a team, rather than being romantic lovers. It isn’t a particularly dramatic, overly exciting period of their lives, but this is why we rarely see this stage of a relationship on screen. We don’t receive the same rush of passion at the romance of a situation. We don’t feel the sexual tension as a couple are first attracted to one another. But this is
what makes ‘Before Midnight’ so special. It shows a couple that have passed these phases, they are simply dealing with the problems they are facing. But this is important as when we all eventually commit to a person or a relationship for the rest of our lives, what is left is to simply deal with the inevitable conflicts that will come along over time, as it does for anybody in a long-term relationship. ‘Before Midnight’ captures this in a long, devastating and heartbreaking argument scene between Jesse and Celine. A bold move by the filmmakers, to take a couple we’ve only ever seen in heartfelt, romantic circumstances and portrays them in a gritty and realistic fight scene. However, it is a masterstroke that leads to a touching message about the inevitability of time and portraying relationships more realistically than most of its predecessors. This scene is purposefully hard to watch but there is a subtle beauty in the way they work through their conflict. Their connection shines as they work through their difficulties by being honest and open with one another and it allows them to save their relationship, and strengthen it at the same time. This portrayal is obviously vastly different from most other films but as
Jesse puts it, “If you want true love, this is it, this is real life, it’s not perfect but it’s real.” Finally... Over 18 years we watched two people find each other, fall in love and watch their relationship and their love for one another grow. But we’ve seen it through life’s lens. Not through the lens of a fairytale, or a romantic comedy, or a Fifty Shades of Grey erotica. But through the lens that we will see, in our everyday lives. Someday, we will go on the same journey as Jesse and Celine. Some might already be on that journey. We will all have our romance; we will find that person with whom we have a deep connection or attraction for. Become lost in our own dream world of what could be. We will all be faced with the big decisions when it comes to that relationship, will we get down on one knee and propose? Will I invite them to spend the night? Will I ask them out on a date? Will I go in for the first kiss? We finally decide what to do. Then we accept those decisions and live with what is now. The ‘Before’ trilogy is a look at love that speaks to our hearts and our minds, and shows us the amazing journey that is to come for all of us, with that special person in our lives.
Before Midnight (2012)
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Ultraviolence, Homoerotic Country, and Power Electronics The end of the world (in a good way) in Fortitude Valley. By Lachlan Bond
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I did not expect my first interview at a noise rock gig to be about bagpipes and homoerotic country music. But the unquestionable link between black metal and Orville Peck style innuendo was presenting itself so clearly, in the form of Simmo, just reinforcing the beautiful absurdity of the Brisbane underground. “I wanted something to pass around the campfire…Bagpipes [didn’t exactly suit that.]” Simmo, the opening act that night at King Lear’s Throne, had an interesting rise to his current musicianship as a member of the Suicide Country Hour, a hardcore country band. Growing up primarily involved in the punk scene, especially in his 20s, Simmo had toured internationally with a punk act, making him knowledgeable in all things loud and abrasive within the underground. Before the bands started playing, I asked him about how black metal/hardcore/punk/whathave-you artists use their music to aggressively portray dark themes. “Well…[the playing] is easy [for the country music]. It’s about being able to explore those themes and address them…And in country music, you’re really talking about the same stuff. Suicide, drought, [the hardships are always there. In the music.]” He shared a story of how, after singing a song about a character struggling with depression, he had a mother come up to him from the crowd, asking him to talk personally with her son on the phone. Although humble, he was subtly happy with the impacts he was making through his music, smiling as he told the story. His catchy, flowing country set reflected his elate compassion to the music he makes—with comedic references to his everyday life and brooding, emotional ballads in equal allocation. Serving as a bizarre reminder that I was in the Brisbane underground scene, Simmo’s harmonious playing and silky voice was immediately followed by the band I was there to photograph. An experimental noise rock band by the name of Gallery of Violence. I can’t remember the exact state of the lead singer/guitarist’s shirt at the beginning of the performance, but by the end it had gashes large enough to show off tattoos of enigmatic spectres and violence in ink. Gallery are not your standard rock band. They’re a noise rock two piece, with guitar and drums (like Lightning Bolt or Hella), but also make use of an impressive assortment of pedals and electronic noisemakers. At one point, for instance, the lead guitarist played a cutting guitar chord, sampled it, looped it, then basked in the feedback of the amps as he reformed the otherworldly noises coming out of the amps through his pedals—adjusting different unholy parts of the noise with his right hand, his left hand, and his nose. This is, of course, as the drummer plays an off-kilter fusion of black metal and jazz drums in a contemptuous melody. Where the guitarist throws his body around the stage, flicking his hair in every direction and crushing his hand into his guitar, the drummer serves as a kind of eye in the storm. He is unlike any other drummer I’ve seen in the Brisbane underground. Where some bands will quite literally start dismantling their drum kit and leap into the audience, Gallery’s drummer waves his drumsticks calmly, like a magic wand, while somehow maintaining an inhuman kick drum pattern of doubles and triplets. One of the few times I could catch his face on video, through his hair, he displayed no reaction to the intense feedback of the amps he sat next to. At one point I think he nearly yawned (while playing the black metal jazz pattern perfectly). Unlike Simmo’s country-fusion songs that subtly tackle topics like depression and loneliness, Gallery approach songwriting with the same gall as 90s hardcore acts like Unsane and Mayhem.
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They are not afraid to supplement their symbolic nods to comic-book-like mutilation with quite disconcerting imagery similar to some of J.G. Ballard’s even more creepy and scary stuff. Unlike J.G. Ballard’s works, though, the violence in their music serves a clear purpose: “[We present a] more coherent version of a primal sound. [And really, it’s about] confronting the inevitable.” Gallery told me that they present their music as a way to explore and deconstruct the violence we see around us every day. They take the cores of different genres of music—the riffs of thrash, Zach Hill math rock drum blasts, and the esoteric static of Sunn O))’s black metal and mesh it into their own take on experimental noise rock. Just like their deconstructions of individual acts of bizarre and random violence in the world, they pick the most impactful snapshots of other genres and use them to support their intense and provocative sound.
But they never condone or support the violence of everyday life—they provide a means to understand it, and to euthanize it through their harsh, but technically and artistically impressive music. Their approach to violence, tackling macabre themes with surrealist smogs of feedback and static, provides a stark contrast to the actual guys in question. It was strange to see the contortionist, screaming guitarist walk out of the bar with a perk in his step, smiling and noodling with the band’s drummer. For people who had previously played in front of a projected arthouse film with decaying corpses (they said they wouldn’t do that anymore, now), they were surprisingly candid. Their chemistry as musicians, and as friends, serves as a parallel to the music they make. Just like the small slivers of peace they find in the violent world around us, they can take a moment in the middle of a pandemic and environmental disasters to smile in the face of adversity. It would be ridiculous to avoid mentioning the last act of the night, the grindcore/power-electronics trio Skirmisher, who have the innate ability to join harsh noise with the rock-influenced flow of noise pop. With the press of one button, the band’s lead singer / programmer unleashes a demented screech of distortion. Even at 11pm, the lead singer drew from some kind of a divine energy source to lunge into the audience, wailing, even going as far as to scream into a confused man’s face (a reminder that this is following Gallery of Violence and Simmo’s country set) and start rolling on the floor. Skirmisher recently played a skate park gig, and I can imagine that they bring the unbridled aggression of the twenty-something noise-skate-punk scene anywhere they go. I’ve included a picture of the lead singer thrashing. Ultimately, if you’re looking for art-house noise rock, homoerotic country, or power electronics, go to underground gigs up in Brisbane. My words cannot reflect the beautiful, spiritual nature of King Lear’s Throne on any given Friday night.
Gallery of Violence are amazing, make sure you can go see them if you get the chance. They have an upcoming EP, “House of No Nails”, and are playing at the Greaser Bar in Brisbane on the 30th of April (subject to change). GALLERY OF VIOLENCE: @galleryofviolence SKIRMISHER: @skirmisherpv SUICIDE COUNTRY HOUR (with Simmo): @ suicidecountryhour KING LEAR’S THRONE: @kinglearsthrone
What is Style?
The journey to discover what defines my style. By Kelsey King Style is subjective. Like everything, good style is everchanging and relies solely on the opinion of the beholder. My style inspiration originates primarily from my social media feeds. Although it’s cliché, defining your style is all about wearing what you feel confident in. I draw inspiration from influencers such as Devon Lee Carlson (@devonleecarlson), Emma Chamberlain (@emmachamberlain) and Ruby Lyn (@rubylyn_). What I feel most confident in changes day to day. I used to feel great pressure to dress to flatter my body, or fit the stereotypical feminine mould. These style icons of mine encouraged me to embrace and wear the clothing I wanted to, rather than focusing on how it may make me appear to others. Over the past year I have tried to build a timeless wardrobe with basics that will never go out of style. This makes styling new pieces easier as I always have something to pair it with. Of course, there are always trends in fashion but it’s important to know that they go out of fashion as quickly as they come in. Finding high quality basics that fit and flatter perfectly is the first step to building your basics. For example, pieces like high quality tank tops, t-shirts, dress pants and jeans are a great start. Along with this, sustainability is also something I consider when buying new pieces. Buying from smaller Australian brands is something that I consciously try to do when buying pieces online as handmade pieces are a far higher quality and usually sourced more ethically. It allows me feel like I am doing my part! My favourite Australian brands are With Jèan & Scarlett & Sam for more diverse pieces to add to my basics. High quality brands tend to be pricier, however this pays off due to the longevity of the use. To ensure I truly love pieces before I buy them and am not just purchasing due to unsustainable trends, I try to sit on pieces for a few weeks before purchasing. I challenge you to test the waters with your fashion sense. Reach for items that push your boundaries in order to find what makes you feel most you.
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Noodles, Anyone?
How a trip to Vietnam made me fall in love with a common cooking ingredient. By David Grobby Noodles, what do I know about them? Absolutely nothing. I am not a food expert or a food blogger by any means. My experience goes as far as the two minute noodle packets stored in my crusty cupboard. I barely eat them. Let’s just say it wouldn’t move me if noodles didn’t exist. So your probably wondering why I happen to be in the Noodle capital of Vietnam. I’m David Grobby and I’m here to share with you how I fell in love with noodles. It’s the 8th November, 2018, we arrive Da Nang City, compared to Hoi Chi Minh traffic; here is a walk in the park. The people somewhat seem to be easier going. I’m here with my brother Timmy and we see an endless amount of noodles stalls, noodle restaurants and noodle huts, but all I care for is Bahn Mi. After a 5 day Bahn Mi tour in Hoi Chi Minh what exactly am I looking for? Why of course, Bahn Mi! My obsession on Bahn Mi has me searching for nothing else, but that crusty bread. The delicious pate’, those condiments is something I can’t move away from. Da Nang central night market; picture a sold out footy arena, this is exactly what it’s like. This place is packed, food stalls, fruit sections and more. It’s eight o’clock we merge into the food court in hope for Bahn Mi. Food stalls jam packed full of customers. No menus, no app, just photographs and the price. But where is my beloved Bahn Mi? This iconic Vietnamese dish, all I see is pictures of noodles. Noodle this, noodle that. This is Vietnam, there has to be one Bahn Mi place here right? We approach one of the noodle chefs asking for Bahn Mi, and the response? No Bahn Mi! No Bahn Mi! Okay, maybe she’s having a bad day. How on earth did I know she didn’t have Bahn Mi? An absolute catastrophe! So many food stalls
and not one Bahn Mi joint, anything but this! We ditch the central night market and hit the streets of Da Nang. It’s eight forty five and I’m expecting to find at least one Bahn Mi joint. Restaurant after restaurant I see foggy windows from the boiling noodles, noodle after noodle. Almost feels like we are getting drowned by noodles, like Ragnar being drowned by snakes in Vikings. After endless rejections of Bahn Mi I come to the realisation there is no Bahn Mi. At this moment I’m giving up, our stomach’s churn desperately for food. I’m willing to settle for anything. At the end of an Alley Way I see a lady, standing in front of her restaurant, while she looks at me in hope for business. We decide to enter her small noodle joint, an open Pergola area to her home, behind the small hut is her lounge room where her family watches television. Two baskets full of thick hand made noodles. Between the baskets is a boiling pot. Mint leaves, pork, chilli, and of course the usual condiments. Not to mention her two children and a dog. I order the Mi Quang, consisting of chilli, lime and extra condiments. My brother orders the Cao Lau with sliced pork, mint leaves and chilli. Simple right? Our noodles arrive, the smell of herbs rises to my nose, I take my first bite, and the taste hits like a brick. This is moment that has changed my perception on noodles forever, a moment of realisation and discovery. For the very first time I have tried the true taste of noodles, that chewy texture is something else. Those electrifying herbs awaken my senses, this is something I’ve never experienced before, a moment I will never forget. Endless rejections, an alley way, a noodle hut in a small home, this is my story on how I fell in love with noodles.
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LOYSH CARTMER
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