Venue 264

VENUE

Concrete’s fortnightly culture pullout

music | stare long and hard at lana del rey | p. 7 fashion | look at the versace for h&m collection | p. 12 film | review the descendants | p. 18

Photo by Chloe Hashemi

issue 264 | 31/01/2012

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VENUE CONTENTS

ssue 264 | 31.01.2012 ditor-in-Chief | Chris King | concrete.editor@uea.ac.uk

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enue Editor | Alex Throssell | concrete.event.uea.ac.uk

When selecting the photos I wanted to use for this issue, I found my choices to be inadvertently quite artistc and oddly prophetic. Despite attempting to exude colourful vibrancy in this issue, the reality is that, as the picture on this page shows, beneath its pretty facade Venue’s dreams are well and truly crumbling. Is it disappointing that the Union have chosen to strip Concrete of its paid editorship next year, but as Concrete’s cooler older brother, Venue is going to try and stay aloof. I could say how the hundreds of hours of effort that go into each issue seem to go completely unnoticed, but I won’t. I could also carry on with this ridiculous cliche, but ... actually I won’t do that. No instead I’ll heed the advice of the now overused mantra and keep calm and carry on.

This issue of Venue genuinely looks amazing; its the cleanest and most professional I think it’s ever looked, so props go to all of my sub-editors who clearly understand the idea of going down in a blaze of glory.

Alex

Music | Editors | Alex Ross & Jordan Bright Music Contributors> Cheri Amour, George Hamilton-Jones, Sam Warner, Jordan Bright, Danielle Hutley, Matthew Weddig, Barney Horner, Hana Lockier, .

Wired | Editor | Josh Mott Wired Contributors> Leo Hunt, Oliver Balaam, Joe Fitzsimmons, Tom Mott, Callum Watson, Andrew Wilkins.

Fashion | Editors | Hannah Britt & Milly Sampson Fashion Contributors> Hannah Britt, Emily Pearse, Jess Beech.

Arts | Editor | Emma Webb Arts Contributors> Greg Materfield-Ivory, Katherine Holder, Bridie Wilkinson, Emma Webb, Harriet MacDonald.

TV | Editor | Matt Tidby TV Contributors> Beth Wyatt, Sam Richards.

Film | Editors | James Burrough & Anna Eastick Film Contributors> A.J. Hodson, Julie Sanderson, Joseph Murphy, Sam Warner, Meg Fozzard, Alek Stoodley, Tim Bates, Annie Rhodes, Kieran Rogers, Harry Denniston.

Competitions | Editor | Sam Tomkinson.

Photo by Chloe Hashemi

Creative Writing | Editor | Ella Chappell Creative Writing Contributors> Ella Chappell, Ellie Reynard, Geoffrey Delaney, James Sykes.

MUSIC

31.01.2012

concrete.music@uea.ac.uk

album reviews the kabeedies soap

Every artist gets it. The cold sweats in the night, looming sense of anxiety, trepidation and unease: the inevitable task of penning that second album. R&B deity Lauren Hill has to be the ultimate one album wonder with her (formidable!) debut The Miseducation of Lauryn Hill, only to fall out of the spotlight, not rating the music industry and/or celeb culture. Sure, the Sex Pistols may have released more records in the wake of their ’77 debut, but nothing comes close to matching the patriotic angst cool of their first definitive punk statement. Even local glamour pusses, The Darkness were hit hard by such a musical milestone and went from elaborate stage pyrotechnics to a fiery battle with drugs.

2012 sees peppy popsters, The Kabeedies take on the feat with the zealous vigour of teens but three years on from their debut release, Rumpus, the band have certainly grown from producing Fisher Price pop hits.

New album Soap is released this month on indie label Fierce Panda and sees the group dabble in a whole host of new sounds, not to mention new musical accompaniments (who knew the indie upstarts were all in

cloud nothings attack on memory

From the other side of the pond comes Attack on Memory, the third album from Cleveland, Ohio’s Cloud Nothings (it’s a Rock N’ Roll city). This instalment sees singer-songwriter-founder Dylan Baldi split session duties with other members of the band. Another important item of buzz around the record is the fact that the band decamped to Steve Albini’s (Big Black/ Rapeman/ Shellac) Electric Audio studio in Chicago to record. The result is a hot album that puts to bed reports of Rock’s demise.

The first track, No Future/ No Past, begins with a plaintive piano. The song has an interesting structure of extended build up that sits well with its slightly depressing failed relationship subject until the concluding outpouring. The drums sound excellently recorded throughout the album.

Airy and transient throughout, they leap out at the listener with force. The refrain of “No future and no past” underlines the

emphasis on the (tortured) present at the expense of the past and the future, a theme the album returns to with a fairly consistent air of striving.

Wasted Days continues to showcase Baldi’s writing chops. Notably poppier, it all hangs on the chorus of “I thought/ I would/ Be more/ Than this.” With unities of instruments and purposes it goes like a train. The buzzsaw rhythm guitar replete with Fender twang is an album fixture that complements the drums and bass groove in propelling the music forward. The interlude in this track is well judged and evidence of a willingness to abandon conventional structure to make a bolder statement.

The bass work is a very pleasing detail on the album, at times vying for leadership with the vocal like Bill Wyman on Jumpin’ Jack Flash. There is no bad track, but the concluding Cut You fading out feels like evidence of a faltering conviction. This album really excited Venue and leaves its predecessor in the dust but just as it’s the right record at the right time, it’s difficult to know how it will wear. To be enjoyed at full length.

George Hamilton-Jones

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favour of accordions and reversed mandolins nowadays?).

New single, Eyes is a wash of lush reverb and brass trills (but with somewhat questionable 90s intro phaser...) while opening track (and surely, single number two!?) Hang Ups of the West, could make you wonder if you popped Paul Simon’s Graceland into the CD player with its funk fused bass line. Vocally, The Kabeedies share some of the boy-girl call and response brilliance of bands like The Selector and The Specials. There’s clearly elements of that two tone delight in live favourite and former single, Santiago as well as Come Out of the Blue and, to grapple with a metaphor if you will, this album appears like a recording of two tones.

Fans will rejoice in the familiar gaiety of Elizabeth and chirpy choral coo of Drowning Doll but it’s moments like L.T, that show this band really trying to carve out something beautiful with Soap. With the sparse ambiance of a Vampire Weekend opus, L.T is both unique in its sound but, sadly, also on the album. Yet, as the band themselves sing, “the lieutenant brings, what the lieutenant brings” and in this case, he’s at the top of his rank. If the rest of their new material can follow suit, The Kabeedies are primed to be the local leaders of a powerful new aural army.

Cheri Amour

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31.01.2012

MUSIC

concrete.music@uea.ac.uk

album reviews lana del rey born to die

There’s not much to say when you have been both hyped up endlessly, and vilified more than Voldemort before your debut album has been put out there. Poor Lizzy Grant! But ironically, Born To Die leaves this reviewer somewhat stuck in that polarized opinion.

Not that that is necessarily a bad thing.

Lana’s debut opens with the eponymous track, her stirring voice subtly merging with the rich production and soft beat. The uniqueness of her style leaves you wondering wheat she will ponder next. Unfortunately, though continuing to hold her trademark style, the next few tracks seem to lose standard; on Blue Jeans her voice almost sinks into her trademark pout. But her breakthrough Video Games restores hope and Born To Die veers into a wonderful mix of “gangsta” and soaring dark melodies in tales of heartbreak and money. The lyrics seem to veer from a GCSE standard poetry competition, to the outright ridiculous: “said to be cool, but I’m already coolest,” she sings on National Anthem. But one cannot deny they are bloody catchy!

The album swerves episodically between

grimes

the big pink

visions

future this

The major pitfall awaiting any self-respecting music critic is the sudden, complete, inability to have a purely instinctive reaction to music.

Through picking it apart the joy that first piqued a love of music is too often lost. Records are no longer treated as art, but as science: with a prescribed formula to measure their greatness.

Visions is an album that is treated unfavourably by this process. It may be called shallow and unvaried in upcoming reviews but that is because it requires to be listened to without pretence. You cannot quantify pure, unadulterated beauty.

Visions is the third album released by Canadian Claire Boucher (who operates under the moniker Grimes). Fully embracing electronica, Boucher has fashioned a record that is recognisable, yet original in its own right.

Comparisons can be drawn with Kate Bush and Enya for her high-pitched delivery, while the music is best described as a potent mix of Blade Runner era Vangelis and the soundtrack to Nicolas Winding Refn’s Drive. It may be odd to liken a record to the music accompanying

two films, but not when you recognise that Visions is above all else atmospheric. In reality, deconstructing any meaning from the lyrics is senseless because not only are they almost impossible to discern, but the vocals are used only to add weight to the melody. While electronic music is often cold and industrial, Visions maintains a sense of warmth and colour throughout. It is likely, however, that this is an album that you will either adore or despise. As a result single Oblivion is an ideal point of entry.

Venue tipped Grimes for success in the last issue. We may just have been right.

Jordan Bright

As the band’s follow up album from A Brief History Of Love, this has definitely caused a stir and would have by no doubt either extremely satisfied listeners’ expectations, or in contrast completely failed them.

Stay Gold, the first single released from the album, is not the best of album starters, but nevertheless introduces the band with it’s characteristics being so similar to the likes of previous material. If the hit Dominos was a favourite from the first album, then this track shouldn’t disappoint.

The duo continue Future This with a similar electro rock/indie vibe, something that doesn’t take a lot of effort to listen to, and would be the perfect soundtrack to a lazy day with its relaxed feel; there doesn’t appear to be any particular urgency throughout any of the tracks within the album.

Hit The Ground (Superman) is the second released single, and happens to be the second track on the album. This would appear to be a good choice, with a continual quick, driving

filler songs and strong beautiful melodies.

On Summertime Sadness she genuinely sings from the heart, putting to shame her whiny ramblings on how “hard life was” on Radio.

Thankfully she closes with another authentic effort on Lucky Ones, proving her capability for Adele-esque emotional depth.

The great irony of Born To Die is that it stands out on its own conceited strive for authenticity. At the heart of it lies a good pop record, different from most of what lies on the Radio 1 playlist at the moment. But if you look within the record, it almost becomes a parody of itself. The key weight lies in the rich production. Keeping you engaged throughout, the unique mix of twangy guitars and Kanye West type beats are enthralling. At some points it even makes her voice unnecessary, opening hope for a few instrumental tracks instead.

In the end, you can understand the hype due to the freshness of the music. But at the same time, the character of Lana Del Rey is irritating in her desperation to sound genuine, something that you just cannot hear.

Nevertheless, Born To Die is quite a promising debut and hopefully represents a springboard that Lana will use to develop into something more substantial.

Sam Warner

drum beat present throughout, and a good enough chorus that could be considered “catchy” this is definitely one of the better tracks of the album.

As a listener, it can only be assumed that this wasn’t intended to be an immediate, hard hitting album, yet when given the time and patience to appreciate, it is definitely one that grows on you.

Similar to artists such as Passion Pit and Bombay Bicycle Club, this is the sort of album that I would recommend to fans of theirs and others similar, but isn’t something diverse enough to encourage listeners from other music genres.

Danielle Hutley

MUSIC

31.01.2012

concrete.music@uea.ac.uk

live reviews

reel big fish

the horrors

the waterfront

the waterfront

25.01.12

22.01.12

Although Reel Big Fish have maintained the pretenses of keeping busy, it’s been the better part of a decade since we’ve had any new material. Instead, their recent activity has been marred by repeated rereleases of old material through an excess of live albums and rerecorded best of albums and, worse, lineup changes. Although nothing new to Reel Big Fish, the most recent loss of long-time member Scott Klopfenstein has been among the most jarring. As such, Reel Big Fish is a band in an awkward phase of transition, although they aren’t actually doing anything new.

While Klopfenstein, who provided trumpet, backing guitar, and lead backing vocals has a perfectly competent musical replacement in Matt Appleton, the band’s first saxophonist in over two decades, where the loss is really felt is in the band’s chemistry. Klopfenstein served another important backing role as frontman Aaron Barrett’s wingman, helping deliver the jokes integral to the band’s sometimes absurd, sometimes dark sense of humour.

Wednesday’s concert shows that trombonist Dan Regan seems to have adopted this role, probably through seniority as the only other band member around since the 90s. While he still feels a bit awkward in his expanded role and the newest members rarely, if ever, participated in the jokes, the band’s sense of humour is still as lively as it’s always been, keeping all

the classic songs fresh with an enthusiasm only rivaled by the ecstatic crowd.

Reel Big Fish may have gotten stagnant, but they certainly haven’t gotten stale.

Despite starting the show the same way they have for years with a one-two punch of Trendy and Everything Sucks, the music is as undeniably catchy and fun as it’s always been, and the band knows it. They’ve had plenty of time to perfect the delivery of their much-loved music.

Between undeniable classics such as the fiery, disaffected Beer and the hilarious self-pity of She Has a Girlfriend Now as well as returns to older, deeper cuts (largely because of the new sax player) such as Join the Club and, strangely, Say ‘Ten from their classic debut album from the 90s, Turn the Radio Off. This shows Reel Big Fish as a band sliding quite comfortably into the position of a legacy act. Although recent lineup changes have noticeably altered the magic, they have the longevity to work with it and absolutely succeed.

Kicking off their encore with their biggest hit Sell Out, one of the most ironic one-hit wonders ever, and closing with their second biggest hit, their cover of A-ha’s Take On Me, Reel Big Fish proves itself to be a band not past its prime, but perpetually capable of enthusiastically providing its prime to its much-loved fans.

Matthew Weddig

Generally The Horrors are an easy band to review: hip young music journalists try to capture their essence by following the standard model of fawning over their rakish appearance and then gleefully listing the number of cool musical idols that the Southend band insist there are influenced by, submitting articles that are always replete with buzz terms to describe the swooning minimalist synth and guitar, like “woozy” or “hazy”.

With that in mind it was just before nine o’clock that the foppish five languidly mounted the low stage at the Waterfront, clad in their characteristic black drainpipes John Cooper Clarke style, following The History of Apple Pie’s stirring warm-up.

After singer Faris Badwan’s swift haughty greeting they kicked straight into Changing the Rain a woozy synth laden track.

The next hour featured a superb mix of Primary Colours and Skying, understandably forsaking the unsuitable ultra-goth garage rock of debut album Strange House, combining alt rock’s most critically acclaimed sub-genres of krautrock, psychedelia and shoegaze, taking cues from pop stylists Simple Minds, reverb heavy My Bloody Valentine and gloomy Spacemen 3 among many others.

They climaxed on an elongated rendition of Moving Further Away, plunging the packed room into a typically Can-esque extended instrumental and

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hazy crescendo of sound, led by guitarist Joshua Hayward’s incessant use of the pitch bending whammy bar in opposition to the debonair grace of bassist Rhys Webb.

The Horrors remain quite a unique live experience, harshly illuminating their sartorial spindly silhouettes by shining bright lights from behind to contrast with Badwan’s aggressive vocal assault on the crowd.

Although the tracks from Skying were tight and successfully realised in the live environment, they didn’t pulsate with the same vigour as Primary Colours gems Sea Within A Sea or Three Decades. But nonetheless the eager audience was sated after a long delay; many had been waiting for tonight since October after the band had twice pushed back the date.

While much ink is spilt by music journalists who accidently follow the typical Horrors model of review as outlined above, their writing is still good.

The same applies to the band themselves: although numerous influences are usually synonymous for derivative and unoriginal, they still manage to sound good. They breathe dynamic life into a faltering British guitar scene which critics continually insist is dying. Evidence to the contrary here.

Barney Horner

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31.01.2012

MUSIC

concrete.music@uea.ac.uk

pop vs reality after lana del rey’s hotly anticipated and roundly panned saturday night live performance aired last week,

the singer’s manufactured persona was called into question yet again. but is disbelief the scourge of pop music?

We all like a bit of pop. Not that ever so thirst quenching can of Lilt you just bought from the UFO, the other pop. You know, the music stuff. 2011 saw a true revival of the pop song and the charts were plagued with incessant dance thuds and chimes, David Guetta we’re looking at you. Although we are trying to ignore it, there is a slight chance that 2012 might do the same. To be a little less pessimistic 2011 did bring us some absolute classics that any LCR would feel hollow without: We Found Love (cheers RiRi), Superbass (Whad up Minaj), but with thoughts of summer already sneaking into the dusty corners of my brain one can only imagine who will be gracing the stages of all the festivals this year, fingers crossed for The Stone Roses. However there is one argument that hides behind this optimism. Pop singers; festival yay or festival nay? This may seem a

bit harsh, but when acts such as Girls Aloud, Pixie Lott and Chipmunk grace the Virgin Media stage and sound a little off it is hard to avoid thinking “I could do better than that” or “Get back in the studio love”. The truth is not all pop singers sound great live. We have come to accept this fact, but should we really settle for it? Most of us music fans can easily run off all those artists that blew us away at festivals, concerts, intimate gigs or even just a video that you saw on YouTube. With so much deliciously talent packed music out there, why then should we have to listen to artists that sound screechy, off pitch and just a little bit shit. One thought could be, if you are not ready to sing live yet, maybe hold off on that tour and learn to be at one with your vocal chords and know what they can and can’t do. It is true artists do grow as performers. Take Rihanna for example. The

memory of watching her perform Disturbia at the 2008 MTV Video Music Awards is more than disturbingly bad; it’s painful and cringe.

She ruined that song for my 17 year old self.

The performance was good, there were nice theatrics and the dancing was slick as oil, but she was a disappointment. Disturbia quickly got overtaken in the top 25 most played in my iTunes. But worse things have happened.

A few years back Ashlee Simpson got caught out on the infamous Saturday Night Live by her backing track playing the wrong song, the one that she had supposedly just sung to us…live. Whoops. But already in 2012 the SNL curse strikes again. This time the victim is internet sensation and big mouthed beauty Lana Del Ray. The entirety of Britain, I tell a lie, a fair few people loved Video Games and could not wait to hear more effortlessly haunting melodic notes fall from those lips.

On the back of the promo for new single Born To Die and album of the same title, SNL probably sounded like the most perfect performance slot ever. America waited with baited breath. She Sings. Oh wait. Hang on.

She sounds foreign? A drunken Bolshevik in some parts, the Queen in others. Hope and excitement quickly run and cover their ears, and disappointment makes itself comfy on the sofa next to you.

Maybe there will always be those certain songs you can never listen to again despite how polished and fresh they sound coming from your iPod on the walk to uni, simply because you cannot shake off that dooming feeling that what you are hearing is not real.

Shall we just be naïve? Seems a lot easier, did you know that Father Christmas is real?

Hana Lockier

MUSIC

31.01.2012

concrete.music@uea.ac.uk

dog is dead

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venue’s george hamilton jones chatted with nottingham’s dog is dead ahead of their headline show at the arts centre

You had the Your Childhood EP out on Atlantic last year and you’ve got a big slew of dates in February and March. Is an album in the offing?

Yes, we’ve already recorded over half of it.

We’re going to go back into the studio after the tour and finish it. We’re hoping to drop it in late August.

Judging by your touring schedule you’re a hard working band. What can the audience at the Arts Centre expect?

We really love playing live. It’s really important to us and it’s always been at the centre of what we do ever since we started the band. You can expect five people on stage, excited to perform, excited to travel to a new city. Hopefully that will come across.

Have you played in Norwich before?

Yes. We played a while back supporting a band called Viva Brother. It was a bit of a weird tour but the venue was really busy and we’ve had some tweets from people who enjoyed it. Norwich doesn’t seem to forget bands that come to play. I get the feeling people want to support bands that come to Norwich.

What was it like to appear on Channel 4’s Skins?

It’s really weird. At the time it seemed like an interesting opportunity, something out of the ordinary that you don’t get to do every day.

How it happened was the director rang up telling us he liked our single [Glockenspiel Song] and asked us if we wanted to appear in an episode with the plot inspired by our song. When we went down for the recording of the episode we didn’t really know what was going on. But it was fun and we have benefitted from it. Kids from all over the world

have been getting in touch with us telling us they saw us on Skins and they like our music.

It’s quite surreal really, I don’t really know why kids from Chile would watch Skins but they get in touch with us and tell us they like our music.

They’re quite quiet and modest but they’re very generous. They’re a great band to tour with and they’ve taken us to some huge venues but they don’t make a big deal about doing things like that for us, they’re just very nice.

So what kind of bands do you list as influences?

They remixed your new single right? Is that the B-side?

It’s an eclectic mix really, lots of different things from the 60s, 70s, 80s and 90s. A lot of the stuff we listen to doesn’t really show in the music: we listen to a lot of grunge bands.

We’re big fans of bands like The Flaming Lips, The Mercury Rev, Nirvana and Pixies.

Yeah and it’s amazing. The remix is going in the single bundle so it’s a bit like a C-side (laughs). Jack [Steadman], the singer, is a really good electronic musician as well as a great guitarist. In the end I think he could be more noted for that side of things because that’s where a lot of his brilliance is.

What is touring with Bombay Bicycle Club like?

It’s great, we love the band and we’re big fans of their music. And they’re big fans of us.

They’re really lovely guys, very supportive.

Dog is Dead play the Norwich Arts Centre on Saturday November 18th.

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N TA S

Wanted 6 Union Part Time Elected Officers (4 non-portfolio, Environment and Ethics) Contract period 1 year April 1012 - March 2013

We are looking for 6 UEA students of any age or nationality who have the dedication, energy and enthusiasm to volunteer help us take the Union forward in very uncertain times. If you are interested in making real change for students UEA gaining a unique experience that will set you up for virtually any career – then this might be the role for you.

You will receive training, be able to attend conferences and gain a variety of work-based skills, experiences and development opportunities.

Wanted Union Full Time Elected Officers

Successful candidates will be expected to:

Contract period 1 year July 1012-July 2013 Salary: 16k Hours of work: variable

Support a variety of activists and volunteers

We are looking for 4 UEA students of any age or nationality who have the drive, energy and enthusiasm to help us take the Union forward in very uncertain times. If you are interested in representing the interests of students to the university and wider community, and improving students day to day university experiences, as well as meeting new people, being challenged on a daily basis and gaining a unique experience that will set you up for virtually any career – then this might be the role for you.

Wanted 6 Union Part Time Elected Officers (International, Mature, Disabilities, LGBT,

(Academic, Communications, Community and Student Rights, Finance)

The Student’s Union is an £11mn turnover charity run by students for students. We employ 100 permanent staff and up to 500 student staff. With the decline in alcohol sales in the LCR and Pub, the introduction of £9k fees the future will be challenging. Our full time Officers will help shape the future direction of the Union.

Alongside you salary you will receive full training and offered fantastic development opportunities.

You will be expected to: Successful candidates will be expected to Lead Union Campaigns and Democracy Improve the day to day experience of students at UEA Represent Students at University Committee’s Be Trustee of the Union AND the University* Be a director of the Unions two limited companies Support and train a variety of activists and volunteers *Finance and Communications Officers

UEASTUDENTELECTIONS.COM NOMINATIONS ARE OPEN!

Become a member of the Unions Student Officer Committee Implement Union policy agreed by Union Council Be a Trustee of the Union* Lead Union Campaigns and Democracy to improve the day to day experience of students at UEA *2 part time officers are elected by the Student Officer Committee to sit on the Unions trustee Board

Womens’, Ethnic Minorities)

Contract period 1 year April 1012 - March 2013 We are looking for 6 UEA students to represent our Equal opportunities groups on campus. If you have the dedication, energy and enthusiasm to volunteer help us take the Union forward in very uncertain times. If you are interested in making real change for your students peers at UEA and gaining a unique experience that will help you develop real skills – then this might be the role for you. Our equal opportunities officers represent the voices of their peers through campaigns, awareness, and bringing their own experiences to the Union If you are a students who self-define as Gay, Lesbian, bisexual or transsexual, a student with disabilities, from British ethnic minority, International, mature, or a woman and want to ensure that your peers a represented effectively to the Union and the University then we want to hear from you.You will receive training, be able to attend conferences and gain a variety of work-based skills, experiences and development opportunities.

Successful candidates will be expected to; Become a member of the Unions Student Officer Committee Implement Union policy agreed by Union Council Leading Union campaigns based on the needs of their peers Support a variety of activists and volunteers

Wanted 4 NUS Delegates

Every year, the Union sends four elected NUS delegates to the National Union of Students’ National Conference. This year, it’s taking place in Sheffield from Tuesday 24 April to Thursday 26 April 2012. The role of an NUS delegate is to represent and vote in line with the policy of the Union of UEA Students. It’s a really good way to get involved with the national student movement, vote in the presidential and vice-presidential elections and represent the views of the Union on a national level.

The Union of UEA Students is a registered charity England and Wales no 1139778

Union Pages - Elections, Nominations 2011-12.indd 1

25/01/2012 15:22:38

WIRED

31.01.2012

concrete.wired@uea.ac.uk

resident evil 6: a return to racoon city?

Anyone who gives a damn about actionhorror hybrid games has been waiting for this day ever since they finally immersed Albert Wesker in lava. That’s right folks, Resident Evil is back and this time it’s for an actual proper console release, not a rehashed version of the Mercenaries mini-game on a certain 3D handheld that nobody cares about. Resident Evil 6 is shuffling onto an Xbox 360 and Playstation 3 near you, and Capcom have kindly released a three minute trailer to prove it.

Resident Evil 6 looks set to continue mining the vein of action-horror that Resident Evil 4 discovered, much to the chagrin of series purists everywhere. This means no door opening animations, no fixed camera angles, and no zombies. Well actually, no.

The trailer clearly shows that the parasite ridden humans of Resident Evil 4 and 5 are history, replaced with the classic shuffling undead of the early games. A small change perhaps, given that the zombies seem to act in the same terrifyingly fast, aggressive manner as the villagers in the newer titles.

In fact, it seems the development team have been watching 28 Days Later and making copious notes, as one of the shots in the initial trailer is a direct lift from the underpass

scene from Danny Boyle’s masterpiece.

Wired doesn’t intend to describe the entire trailer blow-by-blow, since if you’re interested you’ll get online and watch it. It is worth instead considering the recent history of the series. Previously the grand old man of horror games, increasingly irrelevant and talked about only in retro columns, the Resident Evil series was revived in 2005 by Shinji Mikami’s brutal reimagining of the games as gory, frantic action-horror. Resident Evil 4 was critically acclaimed and became a classic almost upon release, and is still one of the best games ever released for the Gamecube. Its genius lies in the incredibly tense combat, where the player cannot move while shooting and must constantly switch between manuverability and being able to defend themselves.

Combined with the terrifying infected villagers, who unlike zombies are able to run, climb, use weapons and even drive, Resident Evil 4 was a non-stop explosion of guts, flames and farm implements being used for unintended purposes.

Although the follow up, Resident Evil 5, was hotly anticipated, Wired found the fifth entry in the series less to his tastes, possibly due to the departure of series director

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Mikami. Although Resident Evil 5 wisely didn’t muck about with the core gameplay, the game was lacking the surreal touches that made Resident Evil 4 such a treat, such as the moment where the player was pursued by a gigantic stone statue of Napleon. The fifth instalment was also marred by the decision to set the game in Africa, which resulted in some stunningly racist set pieces; including a section where the white protagonist is assaulted by hordes of black men in tribal masks who are literally chucking spears.

Although charm is an incredibly difficult thing to quantify, Resident Evil 4 had charm in spades, while 5 felt charmless, created from a list of things that teenage boys like which was written on a big whiteboard in the Capcom offices. Unfortunately, the new trailer seems to be showing the same charmless things we’ve had from other games over the past few years, notably Gears of War. Grey industrial scenery, generic unpleasant monsters, muscular soldiers who spend half their time crouching behind cover. Here’s hoping the trailer is unrepresentative of the actual game, and that we get some of that old, crazy magic back.

Leo Hunt

retro column: silent bomber

a bluffer’s guide to sopa

A PlayStation One game released mere months after the PS2 hit shelves, Silent Bomber was largely ignored by critics who were awed by prettier, shinier but ultimately shallower launch games on the new platform. This was a tragic oversight because Silent Bomber, a Contra-style shooter, the likes of which we rarely see today, was a perfect send-off for the 32bit era.

You play as Jutah who, equipped only with a bomb launching glove and a floppy anime hairstyle, must save his space station from evil robots. Thankfully, the bare bones plot does not get in the way of what the game is really all about: fast and frantic combat. Think Bomber Man, with the aesthetics of Metal Gear Solid and the speed and fluidity of Ninja Gaiden.

Initially it is effective enough just to plant bombs directly on enemies with the snappy but satisfying lock-on targeting. It does not take long for this tactic to wear thin and that is when the game really comes into its own. It becomes less about shooting individual enemies and more about controlling the battlefield as a whole.

Setting up chains of bombs while using the responsive dash mechanic to avoid incoming fire, you soon realise it’s less of a

HR 3261, or the Stop Online Piracy Act, is a bill aimed at restricting online piracy and giving companies greater power in restricting the illegal distribution of their copyrighted material. While this sounds fine in principle, in its current draft, the bill not only fails to properly solve the problem it seeks to address, but also gives powerful companies potentially tyrannical rights to control the use of copyrighted material.

Under SOPA, companies would have the legal right to force the shutdown of any website they deem to be illegally displaying their copyrighted material. This would not only have disastrous impact on media news sites, such as The Escapist or Kill Screen, which rely on the ability to display copyrighted material to produce balanced and insightful journalism, but could also be fatal to YouTube and Wikipedia, where copyrighted material is often the basis of their content.

Regardless of this censorship, piracy will remain largely unaffected as file sharing can easily be done without the obvious display of copyrighted material, meaning it will still be incredibly hard to prove unlawful distribution. Therefore, SOPA will fail in the one thing it set out to do, but if passed in its current state, HR

shooter and more of a hybrid puzzle game.

Add to this a rock, paper, scissors mechanic where different enemies are susceptible to certain bomb types (gravity, electric or napalm) and you have an easy to pick up but difficult to master combat system that just keeps giving.

The designers at Bandai have crafted levels and bosses that take full advantage of their fantastic combat system with memorable enemy patterns and slow moving, dodgeable projectiles again strengthening the Contra comparisons.

Unlike Contra however, Silent Bomber is fully 3D, allowing level designers to go wild with three story combat puzzles and even a little platforming.

It’s not all great thought. The voice acting was uniformly horrendous and similarly, for a game about planting and detonating bombs, the audio design has little to offer. All of this considered, Silent Bomber is still a masterfully crafted game and, as the shooter genre has largely moved on from this model, it still feels fresh today.

Silent Bomber has been re-released as a PS1 classic for the PS3 and PSP on the PSN.

2000

Oliver Balaam

3261 could spell the end of the internet as a communication tool protected by freedom of speech, instead leaving the internet forever moderated by copyright lawyers.

Luckily, SOPA has huge opposition from many powerful internet figures and political lobbyists, including Google, Facebook, Wikipedia, the Business Software Alliance and the Consumer Electronics Association.

Thanks to the phenomenal outcry against the proposed bill, including a one day blackout by Wikipedia in protest, support for HR 3261 has plummeted in the United States House Of Representatives, with President Obama even expressing his intention to veto the bill if it made it into the Senate. This has resulted in a “shelving” of the proposed bill, to allow a review and redraft. It appears then, for now, we are safe.

However, it is likely that at some point, possibly in the near future, we shall see SOPA resurface. Freedom of expression is one of the core principles the web is founded on, and we need to ensure that this right is upheld, lest we lose one of the most important inventions of the century, and a life enriching medium.

Joe Fitzsimmons

11

31.01.2012

WIRED

concrete.wired@uea.ac.uk

appy corner: grand theft auto iii

under the radar: amnesia dark descent

The portable and handheld market is fast becoming the destination for all sorts of retro games, and the release of Grand Theft Auto 3: Ten Year Anniversary Edition for iOS devices is a prime indication of this. GTA 3 smashed onto our iOS screens on December 15 2011, weighing in at a very reasonable £2.99 from the App Store. This isn’t the first GTA to land on the handhelds though as Grand Theft Auto Chinatown Wars is a port of a Nintendo DS and PSP game. However Chinatown Wars relied on top-down gameplay, whereas GTA 3 is third person. Liberty City’s transfer from PS2 is great and it is all there to browse, cruise, complete missions and massacre in.

The sheer amount of gameplay in the average GTA is astounding, and to fit that into an iOS game is very impressive. The main question for most will be how the touch controls hold up against conventional buttons and joysticks. Having played through most of the story on the iPad 2 and an iPhone, the answer is: not bad. Arrows on the left steer the character (or car), and a set of buttons on the right handle everything from accelerator/ brakes to weapons and carjacking. The only

Amnesia: The Dark Descent is a deftly created realisation of our worst nightmares. Its trade is fear, and it provides it in excess. The kind of fear that claws down your spine, chills your bones, leaves you unsettled, and probably needing a new pair of trousers. It is telling that Swedish developers Frictional Games insist from the onset this is a game to be played alone, in the dark, with headphones, and with no reprieve or salvation. If you can manage it, then this is possibly the most terrifying game on the market and is the closest thing there is to a true incarnation of horror.

You are Daniel, and you begin by waking in Castle Brennenburg suffering from, wait for it...amnesia! Hurrah, one of the oldest tropes in the storyteller’s arsenal, and possibly the most tiresome. Except that here it works. Frictional don’t place too much emphasis on the fact that Daniel can’t remember and instead use it as an effective medium for the player to move the story along. Much of Amnesia’s horror is derived from the notion of total immersion, something which is facilitated by this effective storytelling method and a strong physics engine. The story is told in a series of flashbacks which do not interrupt gameplay but instead complement the atmosphere of Castle Brennenburg. The aim is to move through the castle towards the “inner sanctum”, solving puzzles, discovering the mystery behind your past, and generally exploring the grounds along the way. The castle

issue to be found in the otherwise watertight control system is that finding the right button in a squeeze can (and certainly will) result in many deaths. When escaping angry Triads in your shiny new “Stinger”, the last thing you want to do is misplace the handbrake button, instead hopping out of your car and being mown down by the persuing gangsters.

Aside from slightly annoying controllerbased hiccups, the game has a substantial amount to offer. Flipping through the hilarious radio stations and fake ads is just as fun as it was 10 years ago. While other notable additions to the iOS version that should greatly alleviate frustrate is the “Mission Retry”, which comes as a standard in modern GTA games but wasn’t in GTA 3, and an auto save mode. Although GTA 3 shows its age graphically compared with games like Infinity Blade II, as a port of the original it really is fantastic. For all of you that played and loved the PS2 version, this brings back waves upon waves of nostalgia.

Tom Mott

itself is immaculately constructed and has been painstakingly designed to be as terrifying as possible.

Perhaps the most innovative aspect of Amnesia is the lack of any combat or means to defend yourself. In other games of the horror genre, fear is generally abated through a swift shotgun blow to the face of anything that moves. Not so in Amnesia. Daniel must avoid his enemies by any means possible, whether this is hiding in a cupboard or running like crazy; the fear of being caught is a truly heartthumping experience. Hide in the dark for too long however, and Daniel’s sanity will start to wane, causing the screen to blur and eventually he will go mad. Meanwhile your only friend in the game, a lantern, has the unwanted effect of attracting the local population of monsters. This interplay of light and dark forms one of the key mechanics of Amnesia, and with the choice of retaining either your sanity or your face, it makes for an interesting balancing act.

The only criticism that can be levelled at Amnesia is game tim; it takes roughly 6-8 hours to complete, which is slightly on the short side, however this means it grabs you by the neck and does not relent, never once outstaying its welcome. And at £12.99 Amnesia is an experience no horror fan should miss.

Callum Watson

wired’s top five video games that should be films 5. assassins creed

The Ubisoft mega-franchise offers a rich narrative tapestry for cinematic adaptation.

Following the escapades of the two assassins Altair and Ezio throughout the Renaissance era would be a visual breath of fresh air from most current adventure films. The game’s strong emphasis on free-running and swift sword fights would no doubt keep audiences on the edge of their seats. However, the reconstruction of 15th Century Israel and 16th Century Italy would be a huge financial challenge for film makers. Incorporating the right costumes and dialects would be crucial in creating the perfect historic atmosphere.

No doubt the content and story is all there waiting for adaptation, but whether movie companies would risk taking such a large project on is another question.

4. uncharted

The Uncharted series is now easily seen as one of the best reasons to own a PlayStation 3. Cinematically, the game itself couldn’t seem more like a high-octane film if it tried.

The graphics and storytelling have their own sense of Hollywood production that sets Uncharted well apart from many games on the market. As a film adaptation, it would seem foolish for the film-makers to wipe the slate clean and change things up because so much of the groundwork has already been laid out. Its success would depend on how well the film keeps what already works with something that will draw in a wider audience.

The comparisons to other adventure films like Indiana Jones will no doubt help with its mass appeal but when the voice acting and animation is already so good, it’s hard to see a film adaptation being just as perfect.

3. shadow of the colossus

Team Ico’s legendary PlayStation 2 game definitely fits the bill for a game that would make an epic film. The endeavours of a young man attempting to resurrect his dead girlfriend by destroying 16 large monsters called colossi would most certainly make for a visual treat. The mystical world that the game places itself in would be a surreal

detachment from the chaos of most modern films. Arguably, the game’s premise is a little too basic to stretch out for a full length feature but its simplicity could be its greatest asset.

The fight scenes between the hero Wanda and even just a select few colossi could be some of the most exciting action sequences in a video game film adaptation and would certainly resonate well with fans of Japanese cinema and sheer artistic excellence.

2. metal gear solid

Konami and Hideo Kojima have teased with the idea of a Metal Gear Solid movie for years. Early speculations have included Hugh Jackman taking on the main role as Solid Snake to rumours that even David Hayter, the voice behind the spy, had drafted his own script for the film. Regardless of what is or is not happening Metal Gear Solid should almost certainly see itself translated to film. Solid Snake’s adventures in any of his four games would be perfect for the big screen with their sublime blend of action, stealth and intriguing stories. Hideo Kojima

is notoriously known for drawing out long cut scenes within his games so the cinematic framework for a film is already there, begging for someone to take it on.

1. half-life

The closest you’ll ever get to “playing” a film.

Released in 1997, this masterpiece remains as timeless as ever. Half Life arguably reinvented the first person shooter by incorporating a terrific story with socio-political zeal, aliens that look like ball bags, and a man with a briefcase and the most chiselled jaw known to Black Mesa. At once both episodic and cohesive, Half Life plays like clockwork where the action and suspense never lets up and you’re always left wanting more. As a film, there is so much potential for Half Life to satisfy all of the diehard fans as well as any fans of horror, action or adventure. With a sequel considered equal to if not greater than its predecessor, there is universal scope for a Half Life film, one that would write itself.

Andrew Wilkins

FASHION

31.01.2012

concrete.fashion@uea.ac.uk

the hotlist smokin’ THE NEW

Olivia Lopez Blogger, 19, owns her own vintage store.

Jealous.

CRUISE COLLECTION

SEASON’S COOLEST

12

FROM VERSACE FOR H&M IS SIMPLY MAGNIFICENT. FROM THEIR DRESSES IN THIS

CANDY-COLOURS

TO THEIR FUN,

FRUIT-PRINT TOPS, YOU MAY FIND IT DIFFICULT

TO STOP AT BUYING JUST ONE ITEM. THE COLLECTION IS FULL OF VERSACE’S SIGNATURE COLOURFUL PALETTE AND MANY OF THE

Prints The bolder, the better.

PIECES ARE ADORNED WITH THE BRAND’S FAMOUS GREEK

KEY MOTIF.

THE PRINTED SHORTS

A MUST HAVE FOR THIS SUMMER. TEAM THEM WITH A PLAIN WHITE T-SHIRT FOR AN INSTANTLY

The New Burberry Campaign Featuring Birdsong’s Eddie Redmayne.

Phwoar.

THE FRUITY THEME CONTINUES WITH THE COLLECTION’S CASUAL PUMPS.

THE FRONT OF THE SHOE GIVES THESE CUTE PUMPS A

ARE

FUN AND VIBRANT OUTFIT. THE GREEK MOTIF PLACED AT

TOUCH OF SOPHISTICATION. THEY ARE PERFECT FOR DAYS

OUT, AND THE PRINT WILL TAKE YOU THROUGH BOTH SPRING AND SUMMER. WHETHER YOU’RE WALKING ON THE BEACH OR

chokin’

SHOPPING IN DOWNTOWN NORWICH,

Muffin Tops We ate too many Snickers... and now we’re paying for it.

THEY WILL INSTANTLY BRING SUNSHINE TO YOUR MOOD

EVEN IF IT’S CLOUDY AND RAINY OUTSIDE. THE CRUISE COLLECTION ALSO EXTENDS TO ACCESSORIES. THEIR

DESIGNED BAG Kim Kardashian We wish that she would just go away.

BEAUTIFULLY

HAS A FRESH SUMMER LOOK, GREAT FOR VACATIONS, WITH PLENTY OF

ROOM FOR ALL YOUR ESSENTIAL HOLIDAY ITEMS. ALSO EXQUISITE, THE GRECIAN-STYLE EARRINGS ARE SUBTLE IN

THEIR ELEGANCY.

ESPECIALLY FABULOUS ARE THE

HOOPED EARRINGS

WITH VERSACE’S FAMOUS GREEK MOTIF. THE PRICING OF THE COLLECTION IS VARIED, SO WHETHER YOU ARE

Flatcaps If you’re under 40...just don’t.

LOOKING TO SPLURGE A LOT OF MONEY OR NOT WANTING TO OVERSPEND, THERE IS DEFINITELY SOMETHING FOR

EVERYONE’S PRICE RANGE.

Emily Pearse

FASHION

Photo: Laura Smith, Styling: Jess Beech, Model: Charlotte Cox, Dress: Topshop

concrete.fashion@uea.ac.uk

Photo: Laura Smith, Styling: Jess Beech, Model: Charlotte Cox, Dress: Topshop

13

31.01.2012

glam on a budget My instant reaction upon being invited to my boyfriend’s family parties is usually one of fear. The idea of being silently judged by his family is too scary for words. There is also the antagonising question of what to wear to create the right impression. So, naturally, panic sank in when I was recently invited to his cousin’s 21st birthday. The cousin in question is a cast member of The Only Way Is Essex and therefore the party was going to be covered by magazines. Outside would be swarming with people taking photos. A fashion crisis. What does a poor student wear to this kind of glamorous affair?

After a few deep breaths and the realisation that a vajazzle kit and a push-up bra was not

the way to go, I thought up a few ideas on how to get a glamorous dress on a budget.

Firstly, look no further than your wardrobe for your trusty black mini dress. The LBD is as classic as it gets, and with its streamlining abilities it effortlessly creates the perfect base for an accessories frenzy. Rifle through your jewellery boxes or the Topshop sale to find chunky chains, embellished collars and lashings of beads. Putting your hair up will draw attention to your added neck detail.

You can also go for statement-coloured shoes and bags. Avoid black shoes or accessories with a black dress; the introduction of colour adds an instant lift to a monochrome outfit.

If you must have a new dress for the

occasion, go for an unusual variation of the LBD which will not date. “Mullet dresses” (long at the back and short at the front) are everywhere this season. Maxi and midi dresses can also be found with cut out detailing on the waist, exposing just the right amount of skin. If you are going to go for a detailed dress, keep accessories to a minimum to make your dress the focal point. A cuff bracelet and box clutch will be just enough detail, and do not forget a pair of leg lengthening nude heels.

If black is not your thing, base your look on a timeless era. The 1920s will always be iconic, and with Baz Luhrmann’s adaptation of The Great Gatsby coming out at the end of the year, a dress in this style will see you right

through. Tiered or drop waist beaded dresses in soft flowing fabrics and creamy peach colours will always look gorgeous. You can even play around with beaded headbands with feather detailing. These kinds of dresses can be found on a budget in shops such as H&M and in the sales of more expensive shops. Just be careful with chiffon and sequins as delicate fabrics pull easily and sequins can fall off. There is nothing worse than a dress which looks tatty.

Glamour really can be done on a budget, and often without looking any further than your own wardrobe. Classic is the key; you do not have to spend a fortune to make a good impression.

Jess Beech

ARTS

31.01.2012

concrete.arts@uea.ac.uk

literary festival: john burnside

The first speaker of UEA’s Spring Literary Festival was the winner of this year’s Forward prize and T.S. Eliot prize: John Burnside.

Having accepted the latter award just 24 hours before his appearance here, Burnside read from his winning collection, Black Cat Bone.

Despite a few issues with finding the right pair of glasses to read with, and the occasional string of coughs, Burnside read thoughtfully and clearly. His deep Scottish accent wrapped its way around the words as he delivered his poems, letting them linger in the ether for the audience to breathe in. An accomplished writer, Burnside has published novels (his latest of which won the Costa Book award this year), short stories, and two memoirs but he is perhaps best known for his numerous collections of poetry. Having been shortlisted for the T.S. Eliot prize twice in the past, Burnside’s poetry has become a permanent fixture in the British literary landscape. His twinning of everyday detail with lyrical imagery grants his poems a deeply penetrative quality within an almost dream-like narrative. Reading from his poem Late Show, Burnside described “birds that look like friends I had in school/are dancing in a field of moss and thaw/and, as I watch, the darkness gathers round me/slowly, warmth and quiet in its gift”.

After the reading, Burnside took part in a question and answer session with the audience, many of whom were on the university’s creative writing MA programme and had not had chance to speak with the poet in the day due to his train being delayed.

The discussion ranged from writing technique to Burnside’s relationship with Norway; having been invited to a literary event there years ago, he described being lost without a compass and driving on the wrong side of the road. In his response to questions about the practice of writing Burnside preached what he practices. Describing the quest of writing as “to say it without saying it”, he espoused the philosophy many great writers employ that less is often more, emphasising the significance of the words left out and the precision of the words left in. Burnside’s considered approach to writing was reflected through his affable demeanour and the lecture afforded literary enthusiasts a chance to hear from and interact with a poet of great importance, as well as further cementing UEA’s reputation among the creative writing community.

Greg Manterfield-Ivory

an inspector calls: theatre royal J.B. Priestley’s An Inspector Calls, set in 1912, explores the issues of class and social responsibility. Director Stephen Daldry – also the director of Billy Elliot (both on stage and screen), and the heavily acclaimed film The Hours, offers a novel take on a well-loved classic. With such prestigious credentials, an audience would expect An Inspector Calls to be of the same calibre.

Indeed, there were many things to commend in the show. One could almost justify watching this adaptation purely to see the beautifullycrafted set. In a play which at its heart has the didactic message: we are all responsible for each other, the set really enhanced the initial “them and us” standpoint of the Birling family.

Levels were cleverly manipulated to physically mirror the class system present in Edwardian England. The Birlings’ house is

elevated off the ground, and opens out like a dolls house when the Inspector arrives: symbolic in addition to being a great set-design feat. The dramatic use of lighting onstage was also highly effective, especially the use of sepia “nostalgic” lighting in the closing scene.

However, other features of the play could not boast the same intricacies. The use of “dramatic music”, for example, was over-used throughout the play, and did not seem to have the desired effect upon the audience. At one point, the Inspector had to shout over the music to get heard, and, as it seemed far too melodramatic for the scene, sniggers could be heard from the audience. Furthermore, there were a couple of moments in the play where there was such a long pause before the Inspector spoke, that it would appear that he forgot his lines. However, although the Inspector failed

to impress, the actress Kelly Hotten who plays Sheila Birling was outstanding.

To conclude, Daldry’s An Inspector Calls is highly recommended to anyone interested in set design, but for those more familiar with the play, this adaptation requires one to go in with an open mind. Daldry’s adaptation transforms Priestley’s play from a classical piece of naturalistic theatre to a rather non-naturalistic performance. His actors break the 4th wall (they face the audience when they speak rather than each other) and the play heavily relies upon smoke machines and clever set design in an attempt to render this an original adaptation.

Nonetheless, it was highly entertaining and, for the most part, did Priestley proud.

Katherine Holder

14

bicentary of charles dickens’ birth prompts celebrations of his work 7th February marks the 200th anniversary of one of the UK’s most celebrated writers, Charles Dickens. With a vast collection of fiction, non-fiction, short stories and plays that are responsible for some of the most iconic and beloved literary characters, Dickens and his work have transcended their time. His continuing popularity proves that there is still an audience for the 19th Century author.

The stories and characters that epitomise a Victorian England have been reintroduced over and over to new generations. They remain present in bookshops, as his books have never been out of print, allowing new readers to discover the Dickensian world.

His tales are constantly used and adapted for television, with his serial style of writing easily turning from chapters to episodes.

In film we see his stories being used with new advances within film. Classics such as A Christmas Carol are told through many different incarnations, such as animation, by The Muppets and in a 3D motion-capture blockbuster.

It’s no wonder that the world’s media and cultural institutions are celebrating this bicentenary by uniting to create a large retrospective of the writer and his work called “Dickens 2012”. Started in November and finishing at the end of the month, it is an international campaign and involving hundreds of organisations. It’s size, and the passion that drives it confirms that Charles Dickens remains present in our culture, and proves the timelessness of the writer and his work.

Bridie Wilkinson

15

31.01.2012

Hi Mark! Are you having a good day?

Hello, nice of you to ask! Yeah I’m having quite a nice day, just sat having an all-day breakfast here with my friend Alec, and I had a bath this morning as well which was nice and relaxing. So, so far it’s gone well!

What do you think of our fine city?

I think it’s very nice, quite an underrated place actually. I came to UEA a lot when I was at University; I went to see quite a number of bands there. Norwich is one of the places where I get my best audiences as well, I always sell more tickets there than almost anywhere, for reasons I’ve never understood I’ve always been quite popular in Norwich!

You’ve appeared on a few panel shows – Mock The Week, Have I Got News For You etc – which one was your favourite?

I’ve only done it once but my favourite was probably Would I Lie To You? It’s nice because you’re not trying to get your jokes in and there’s not pressure to prepare loads of material. Its basically like playing some sort of party game at Christmas, if you’re family was really, really witty!

ARTS

concrete.arts@uea.ac.uk

mark watson interview Generally he’s less horrifying in some ways, more horrifying in others!

You’ve also written three novels, with a fourth coming out soon. What do you find harder, being a writer or a performer?

It’s hard to compare because they’re both such different skills. I think there are times when you are more in the mood for sitting down and thinking, and then there are times where you’re more in the mood for the adrenaline of performing. Overall I think I find it easier writing, performing is quite hard.

You have been known to perform with a Welsh accent that’s not entirely yours – what’s the story there?

I’ve faded the accent out now, really, but I first started doing it when I first began stand-up to hide behind; it made it a bit less stressful if I felt like it wasn’t really my voice. It was a

way of protecting myself. Also things were funnier in a Welsh accent! I am half-Welsh, my mum is Welsh so it wasn’t a complete lie; the accent came quite naturally to me, but it was a bit of lie and in the end I got sick of it.

I heard you’re a Bristol City fan – that’s a shame, isn’t it?

I was born in Bristol and brought up there, and they were the local team I watched as a kid, and I believe that once you’ve got a football team you should stick with it, even though its not brought a lot of success in 25 years! My father-in-law supports Norwich and I’ve become more and more jealous of him as they get better and better. But at least we don’t have to play them now that they’re in the Premiership!

You’re also a husband and a daddy – how do you balance it all?

Quite badly really, but I’m working on

You’ve just released your first DVD – congrats! What has that been like for you?

It was a nice feeling, lots of people have DVDs out at the moment and I was starting to feel quite left out! It’s quite a grown-up feeling, it’s like I feel like a real comedian now I suppose. What is nice is that it hasn’t affected me too much, I was worried that my mum would keep playing it at Christmas and all the family would have it, but luckily it was kept quite hush hush.

What’s next for you, Mark?

I’ve just done a Channel 4 show, a series about advertising, which will be on next month. I’m touring Australia in March and April which is very nice, I’ll be on tour quite a bit again this year but I’m hoping to do more writing projects, and also trying some other stuff, like hiking and just proper life activities! I’m going to try and work a bit less this year and relax more, and do stuff like drink wine!

What’s Frankie Boyle like in real life?

He’s obviously less evil in real life than he makes out! He’s got one hell a beard these days (although I haven’t seen him for a few months so he might not now) but when he’s fully bearded he can be ferocious! He’s quite softly spoken and you wouldn’t think that, with that heart of darkness lurking in there.

Interview by Emma Webb

this week in arts history

... 1922

James Joyce’s modernist epic Ulysses was published in Paris on 2nd February 1922.

Ulysses by James Joyce is considered today to be one of the most important works of modernist literature. It was originally published in a series of episodes from March 1918 to December 1920 in the American journal, The Little Review.

In 1920 Harriet Shaw Weaver, a political activist and magazine editor planned to publish Ulysses in England as a complete book but many printers Weaver approached declined to print her edition of Ulysses, due to its obscene content. Two American publishers, one being B.W. Huebsch, who had published other works by Joyce such as Dubliners and A Portrait as an Artist as a Young Man were also interested in the publishing of the book, if Joyce were willing to make certain editorial changes to limit the profanities within the text. He refused and so Huebsch too declined to

it! It’s quite difficult because obviously at the moment I’m touring, I have to try and hope that because I’m there during the day sometimes, it makes up for me being in places like York in the evening. It makes you quiteunpopular with your family! It’s a great job in most ways but the downside is trying to balance it with having a civilised life, seeing mates as well, just things that normal people do.

publish it.

On 6th April 1921, Joyce visited Sylvia Beach at her bookshop Shakespeare and Company, one of her two independent bookstores on Paris’ Left Bank, which during the 1920s was a popular gathering place for writers such as Joyce, Ezra Pound, Ernest Hemingway and Ford Madox Ford.

Joyce told Beach the unfortunate news about his English and American publishers and Beach offered to publish Ulysses under her Shakespeare and Company imprint. By mid-April, Beach secured a printer for the job and proposed to print 1,000 copies. When Joyce told Weaver the news she organized Egoist Press to publish an English edition, to be produced after the French edition sold out. Beach and Joyce planned to publish the book in October 1921 and decided to offer the book to

subscribers, hoping to acquire enough advance funds to cover the printing of the edition.

1,000 copies of the book were published on the 2nd February 1922 (Joyce’s 40th birthday) and by 1930, Shakespeare and Company in association with the Egoist Press produced 28,000 copies. Ulysses was banned in the United States due to its obscene content until 1933 by a group called the New York Society for the Suppression of Vice but nonetheless, Ulysses was successfully smuggled into the States and by 1930 the book had readers in Europe, North America and beyond. Today Ulysses is hailed as a classic which, for all of its obscenity, is cherished by academics and will remain in print for good.

Harriet MacDonald

CREATIVE WRITING

31.01.2012 concrete.creativewriting@uea.ac.uk

poetry corner SPOTLIGHT Q&A with UEA writers.

This week - Ella Chappell what are you studying?

Creative Writing: Poetry masters. what’s your favourite word?

Fat. I realised that Slyvia Plath uses it quite often. It’s one of those words that isn’t immediately “poetic” but can be used in really surprising yet simple ways. how do you defeat writer’s block?

Stop overthinking and trust your instinct.

Particularly with poetry. But then editing is required later to clarify everything. what inspires you?

The connections between people. Places; real and imagined. Inexplicable things.

Everything. who are your favourite writers?

My favourite novelists are Jeffrey Eugenides, Alan Hollinghurst, Jonathon Franzen, Flaubert. With poets its harder to say. Hugo Williams, Ted Hughes, Ginsberg, Tim Lilburn. to kindle or not to kindle?

Not to Kindle. If you sit on a book or drop it in the bath, it won’t break. Plus why would you need to take 10,000 books around with you? do you prefer handwriting or typing?

Typing. I’ve got into the habit of it. But I always have a notebook with me. what’s the weirdest thing that’s inspired you?

That bit of skin above your lip. where do you write?

Mostly at home but I often have something going round my head when I’m out and about that will slowly

16

“ “ ” “ ” ” “ in the shadow of an aircraft

compost heap

holder

by Geoffrey Delaney

by Ellie Reynard

We hide in the field that was carved from planes laying bombs listen as cows lull the sun to sleep talk about doing over.

We were always soldiers there gunning for it from the lobby Mum draped our scarfs around us tied your laces for you too her eyes teary from the nip.

I zipped my own coat in the end remembered sticks for swords honed you a cardboard shield forgot to take your gloves then fought too hard to see you cry.

Mum rumbled and flung the word again as she packed kisses round your fingers kneaded at your puckered skin whilst I picked at the foot I’d scraped flying over kerbs to get you home.

I’d washed your cheeks with gritty snow fretted aloud about what Mummy would say whether she’d let us come again.

I learn to drive us there we slosh through craters of drying rain you teach me all the clouds’ proper names.

Though we weren’t to come again we visit on the promise of cigarettes

words

Down past my shrubs and fig, my unproductive veg, Down past your herbs and our need for separate beds, Past the lawn you sowed and I refuse to mow And the shed not for me but you wanted anyhow, Past the trellis where the wind piles up the leaves, To the bottom at last, where the bin is, plus Our steaming heap of old compost. We sling in peelings, Parings, weeds, harsh words, apostle spoons, regrets; All, all our sins. It is writhing with worms and yet It is at bottom, warm as breath; soft as velvet; Moist as a kiss and dark as our rich secret.

the times, they are unchanging

by James Sykes

Nothing has changed for a thousand million years.

A thousand million years old and Awaiting another thousand million years to pass, Nothing has changed.

Stone golem on the hillside.

Why! The people weep.

Why have you watched a thousand million years and Deigned not to move a single muscle?

Why have you wept a thousand tears?

Why have you loved a thousand loves in the way only a man can love?

Why have you plagued the angels and skies and sickly fluorescent stores with your silent stares?

Why have you asked a thousand questions and refused to answer a million?

Why! The people weep, and Nothing has changed for a thousand million years, Except everything else.

by James Sykes

There are certain words and certain phrases That you have turned and made your own, and They have settled like stray leaves in my hair.

I have tried them on my tongue But they have not fit, and They leave me with a bad aftertaste, or Sometimes in instantly regretted conversation, Lodged in my oesophagus shortly after use.

Well, if you wish to choke me with your affectations and Terms of endearment, Bear with me while I cough and suck on the air, but I will stand here and allow it to happen.

creative writing events

Poetry, Prose and Translation with Michael Hulse, George Szirtes and Judith Baumel.

The second event in a mini-series of Poetry and Translation readings, hosted by the School of Literature, Drama and Creative Writing in collaboration with the Alumni Association Annual Fund.

An opportunity to hear a mixture of prose in translation and original poetry from two of the UK’s leading poets and translators in addition to a rare appearance, by US poet, Judith Baumel.

The Drama Studio. Monday 6th February, 6:30pm.

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31.01.2012

TELEVISION

concrete.tv@uea.ac.uk

the sweetest sound sebastian faulks’s best-selling novel birdsong finally makes it to the screen. was it worth the wait?

Literary adaptations are always a difficult issue. For years, fans wait for their favourite novels to make the transition to the screen, so when the time does come, expectation is at its highest and the slightest deviance from their vision of the book can quickly cause disappointment. Therein lies the problem of adaptation; as each reader has their own unique experience when reading a novel, no adaptation is ever going to please everyone.

But Birdsong certainly gave it a good go.

The BBC drama introduces viewers to Stephen Wraysford, a young Englishman who lodges with the Azaire family in Amiens, France, in 1910. Here in the sweltering summer heat, Stephen embarks on a passionate affair with his host’s wife Isabelle,

blissfully unaware of the impending World War and the chasm it will create in the heart of Europe.

The first, obvious point to make about the adaptation is that it rejected the chronological narrative of the book, instead alternating between the pre/post-war scenes. Although this was unnerving at first, fears that this interchanging style would be to the detriment of the quality of the piece were unfounded.

The scenes changed fluidly and purposefully; the contrast between the old Stephen and the new, his apparent coldness in the trenches contrasting with the exhilaration he felt when he was with Isabelle, made the programme more moving throughout. One skilful example was the juxtaposition between Stephen and

new girl, old tricks?

As I was talking with a group of friends (no no, honestly), one of the girls participating in the conversation (honestly) brought up New Girl. After quoting several lines from Zooey Deschanel’s character Jess, one of them remarked that it “just makes [her] feel happy”.

This is exactly what New Girl aims to do. It doesn’t by any means reinvent the sitcom genre or provide any scathing satire; but then that’s not at all what it’s trying to do.

If New Girl was a foodstuff, then it would be cheddar, brie, stilton, and double Gloucester all stacked on top of each other before being covered in a sugar and glitter coating. It can be very cheesy, but also quite sweet.

It follows the eccentric and loveable Jess who dumps her boyfriend after discovering that he is cheating on her. She then does what every sane person in this situation would do, and moves in with three strangers she met on the internet.

The three strangers are Nick, Schmidt and Coach (who is later replaced by Winston). The three men fulfil classic male sitcom archetypes; one nice and sensitive, one overtly sexually promiscuous, and one sporty and shouty.

They’re not the stars of the show however.

Jess would be the result if you were to put 30 Rock’s Liz Lemon and Friends’ Phoebe Buffay into a blender. And, no, by that I don’t mean she resembles a cocktail blood and skin mush.

She’s kooky and she sings constantly, and is ultimately a charming and lovely character to follow.

In short, the “new girl” in question is what makes this programme so endearing; whilst the show doesn’t break the mould, and it may not be rolling-on-the-floor funny, it’s a pleasant little half hour of television which, for most people, will make them “feel happy”.

Sam Richards

Isabelle finally giving into their desires and Jack Firebrace hauling an injured Stephen out of the tunnels, the exchange contrasting Stephen at his most exuberant and his most vulnerable.

Nevertheless, the adaptation was mostly faithful to the book, keeping key scenes such as the pre-war trip to the water gardens and the emotional exchange between Stephen and his fellow soldier Douglas; the former, despite his efforts to remain detached from his comrades’ fates, consoling the latter, as he lies with his stomach ripped open.

The acting, too, was first-class. Eddie Redmayne’s performance has been criticised by some viewers, but, judging by the comments of many others, he may be in the

curious danger of acquiring his own fan/stalker club. Redmayne certainly looked the part, but he also managed to capture the essence of Stephen’s complicated personality. He is not a typical protagonist, making it essential that he be shown as a character deserving of the viewers’ sympathy. Despite the constraints of adapting such an emotionally in-depth novel, Clémence Poésy was a delight as Isabelle, and Joseph Mawle deserves a mention for his performance as Firebrace, bringing the popular character firmly to life. Birdsong was an emotional ride, but one worth it for the stunning visuals and excellent performances.

A very worthy adaptation.

Beth Wyatt

FILM

31.01.2012

the descendants Directed by Alexander Payne, The Descendants is about a father, and land baron, who is forced to reconnect with his two daughters after his wife becomes comatose following a motor boating accident.

Simultaneously, he has to decide the future of the large expanse of Hawaiian land he and his fellow descendants have inherited.

Warning: this film is a real tearjerker.

Something about the tragedy of the plot juxtaposed against the beauty of the Hawaiian landscape and serene Hawaiian music brings a tear to the eye without anything having been said. The film maintains this surreal atmosphere throughout, always toeing the line in the sand between utmost peace and tragedy. Special mention should first go to the use of music and cinematography because it is this element that allows the mostly underplayed, subtle emotions of the characters to become more poignant.

George Clooney delivers a delicate performance as Matt King, the father.

Originally appearing as somewhat deflated, unlikeable and helpless in the face of familial adversity, that is, his two daughters, the way in which he deals with the matters at hand (not wanting to give too much away) eventually reverses these initial opinions about him. He sacrifices his own right for revenge and people’s negative opinions of him in order to allow their positive opinions of his wife to remain intact. One such character is King’s father-in-law, who barrages King with insults, only for King to remain silent, allowing him to uphold his decent opinion of his daughter as a martyr.

Shailene Woodley plays King’s daughter who goes through a similar transition. First, she appears unlikeable, obtuse, belligerent and selfish but, when certain revelations are made clear, her actions suddenly become reserved and mature. Woodley excels in her role and is one of the driving forces of the movie, appearing fiercely independent, often rude, opinionated and yet devoted to

concrete.film@uea.ac.uk

her father in his time of desperation. She goes against the usual cliché of the spoiled daughter, playing with our expectations of that particular role. King states early on that “people think that just because we live in Hawaii we live in paradise.” Interestingly, all of the characters in the film seem to fall prey to this kind of ideology. One obvious example is Elizabeth, who was entirely sunk in this kind of Hawaiian formula and subsequently brings about most of the emotional trauma in the movie. It is interesting, and genius, that we are never given a scene with Elizabeth in which she is conscious (except for one shot of her motor boating across the ocean, seemingly away from her family). This leaves her character in a state of fragmentation and we, as the audience, like the characters, are left to rebuild her personality, leaving a good question: is it better, knowing she may die, to reimagine her as a Hawaiian paradise, or as a flawed person, someone who has made mistakes and hurt the lives of those around her, even in a comatose state?

What was admirable about the writing of the film was how believable the decisions of the characters were. Their actions and

18

decisions are imbued with a kind of Hawaiian passivity. This is not to say their reactions are boring, far from it. In fact, the passivity of the characters makes it all the more gripping and morally satisfying, highlighting the characters subconscious pursuit of an ideal Hawaiian paradise over futile and pointless conflict.

One problem might be the running time. The final shot is brilliantly conceived but would have been more poignant had it ended a tad sooner, when emotions were running. People who have seen the film may disagree, arguing that the ending is a moment of peace and, therefore, doesn’t need to come earlier or be emotionally charged in order for it to be poignant.

It was refreshing to see a simple, down to earth tale told and acted well with no need for flourishing stylistic choices like its fellow Oscar nominees. All in all, it is a gently brilliant film which is equally funny, relaxing, gripping, tear jerking and frightening in a way that deconstructs the stereotypical Hawaii we see in travel brochures and holiday programmes.

A. J. Hodson

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31.01.2012

like crazy

Having been simmering away quietly since its triumphant airing at last year’s Sundance Film Festival, Like Crazy has finally been released in the UK. At only 90 minutes long, it’s a short, sharp and sweet look at a long distance relationship pushed to its limits. Anna and Jacob meet while Anna is studying in America and she makes the fateful decision to stay with him during the summer, instead of returning to England after her visa expires.

US immigration catches up with Anna and she is forced to fly home and banned from re-entering the United States. The film tracks Anna and Jacob’s progress over the next five years as they attempt to make their

j.edgar It is probably fair to say that in recent years Clint Eastwood’s output has been, well, subpar. Come on, Invictus was not exactly his opus. But although J. Edgar is not a concrete return to form, it holds its own. It charts the story of J. Edgar Hoover’s strong-willed determination as he builds up his baby: the FBI. Raised by a repressive mother, played coldly yet masterfully by Dame Judi Dench, Edgar is forced to face the conflict between duty to

FILM

concrete.film@uea.ac.uk

coriolanus

relationship work and try to get the ban lifted.

The film is shot in a way which makes it feel extremely intimate and raw, with lots of lingering close-ups and scenes continuing long after many directors would have called “cut”. Furthermore, much of the dialogue was improvised by the actors, all of which contributes to the overall feeling of reality that permeates the film.

Like Crazy is not your typical Hollywood rom-com, but rather an achingly honest portrait of an imperfect love story.

Julia Sanderson

As Ralph Fiennes and Gerard Butler, covered in dirt, sweat and blood, grapple violently on the floor, in a surprisingly similar manner to Alan Bates and Oliver Reed wrestling nude in Women In Love, it should be clear that this is not your standard Shakespeare adaptation.

This is the Bard’s dense, convoluted and relatively unknown Roman tragedy shifted to what looks like the modern Balkans and stripped down to its barest essentials. Its themes of class, democracy and the nation state make it a surprisingly contemporary film, fitting perfectly into a world of violent protests and the Arab spring.

Fiennes does a perfectly adequate job

his country and the gentle push of love that tries so very hard to conquer his steel heart.

The key force of the film lies in DiCaprio’s performance, capturing Edgar’s essence and resolve while never faltering away from that classic Leo touch. The constant flicker through time periods could be seen to detract from the flow of the film. However, it actually accentuates the multifarious nature of our anti-hero. DiCaprio also generates superb chemistry with Armie Hammer, who portrays Edgar’s only true love, Clyde Tolson.

But while it boasts complexity, the film lacks direction in parts: screeenwriter Dustin Lance Black tries to cram in too many key points from Hoover’s life, dragging the film on laboriously at certain instances.

However, J. Edgar ranks itself as one of Eastwood’s finer films of recent years.

We see the portrait of an intricate man slowly expose its colours, while never fully revealing to the world what lay behind. Some secrets are best left hidden.

Sam Warner

behind the camera and an exemplary one in front of it, turning a pitiless, fascistic brute into a disturbingly charismatic figure; his eyes alone carrying a singular determination that is almost terrifying. He has brilliant support from the likes of Jessica Chastain and Brian Cox, and even Gerard Butler turns in a fine performance as his sworn enemy. But towering over the film is Vanessa Redgrave as Coriolanus’ manipulative mother, chewing up every inch of the scenery and reminding those who’d forgotten that when she’s on form, no actress on the planet can touch her.

Joseph Murphy

ranter’s corner I’m not the first to rant about Hollywood remakes of foreign language films, and I definitely won’t be the last. Let me draw your attention to a certain case study: The Girl With The Dragon Tattoo. It’s not that I think it is a bad film or that it is worse than it’s Swedish predecessor. It’s just the same.

Rooney Mara’s performance as Lisbeth is equal to Noomi Rapace’s and Daniel Craig’s to Michael Nyqvist; even the settings and dialogue look and sound like they have been directed lifted from the original.

I shouldn’t be feeling this cheated by this repetition because the clue is in the word remake, but Fincher promised that this would definitely be putting his stamp on the film and I failed to see that at all. The defence from Hollywood is that they truly believe that they are doing the foreign film directors a favour because after seeing the remake, people may then watch the original.

What makes this argument ridiculous is that this particular film is a crime thriller, so why would anyone watch exactly the same film again when they knew who the murderer was, just in a different language?

Audiences are not stupid and can manage to read subtitles. $10,000,000 worth of people coped and they shouldn’t have to pay to see the same movie once again.

Meg Fozzard

FILM

31.01.2012

the sitter

concrete.film@uea.ac.uk

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the popcorn chart

leonardo dicaprio’s top 5 performances

Take Superbad, add kids. This is the premise behind The Sitter, and it actually works pretty well.

Jonah Hill is predictably comfortable in his role as the not-so-cool college kid Noah Griffith. Guilt-tripped into babysitting three excessive children he regularly doles out excellent one-liners. His ability to bring the laughs is especially impressive compared to the unfortunately bland performances given by his three charges. Landry Bender is clever in her role as a young girl obsessed with make up, clubbing and being ‘hot’ but Max Records feels pointless as her elder brother and Kevin Hernandez’ character

are too extravagant to be really enjoyed.

Where in Superbad Jonah Hill seemed to have great chemistry with Michael Cera and Christopher Mintz-Plasse, nothing of that level is ever achieved in The Sitter, and this ultimately lets it down. It also tries to give itself a more serious side as the children all confront and overcome their respective disfunctionalities, but it’s hard to take these scenes seriously and they ultimately fall flat.

Despite these shortcomings The Sitter is a genuinely funny film, and well worth watching if you’re a fan of Jonah Hill.

Alek Stoodley

competition Venue has 3 copies of Woody Allen’s Midnight in Paris on DVD to give away. To be in with a chance of winning, just answer this question:

what’s eating gilbert grape? (1993)

DiCaprio had been in a couple of films before this, (Critters 3, anyone?) but this was his real star-making turn. In a role perhaps as far away as possible from the suave star of historical drama and epic adventures we know him for today, he plays the title character’s mentally disabled younger brother, Arnie. In a role that could so easily have been annoying, a young DiCaprio found the perfect balance between frustratingly limited and disarmingly endearing. Find a copy of this indie hit, and you won’t believe it’s him.

titanic (1997)

What is the profession of Owen Wilson’s character?

Email your answers to concrete.film@uea.ac.uk

Yes, it’s a cliché, yes it’s a film any one of you could have predicted would be on this list, but the numbers don’t lie: a worldwide gross of $1.8bn, 11 academy awards from 14 nominations, and the defining image at the centre of it isn’t the team of treasure hunters, it isn’t the ship’s brave Captain, it isn’t even Rose. It’s a young man, named Jack, standing on the prow of the boat, shouting ‘I’M THE KING OF THE WORLD!’ You could take so many other elements away from this film and still have it work. You couldn’t take DiCaprio.

gangs of new york (2002)

Midnight in Paris is out on DVD on 6 February, courtesy of Warner Home Video

In a film containing Daniel Day-Lewis’ chillingly real portrait of Bill “The Butcher” Cutting, it’s amazing that anyone can even remember DiCaprio was in this movie.

But, look a little closer, and you begin to realise, in the quieter scenes without giant meat cleavers, gang warfare and attempted assassinations, the whole thing starts resting on DiCaprio’s performance. Without a believable character arc, a mooring rope to

guide us through the chaos, a film like this could have never survived its own three hour run time. More than any other film on this list, it shows DiCaprio’s much understated ability to work in an ensemble.

blood diamond (2006) While perhaps not the most popular drama he’s been in, Blood Diamond makes quite a good case for being DiCaprio’s most important. It’s an American film that really captures the scope, majesty, and poverty of Africa, with Dicaprio playing a diamond smuggler looking for a ticket off “this godforsaken continent”. It’s a powerful piece of work, with the constant reminder that, while you might see more distressing films, which hit closer to home, this film will always seem closer to reality.

inception (2010) It’s another ensemble cast, featuring talent from all over the world, turning the likes of Joseph Gordon-Levitt and Tom Hardy into mainstream stars, but this was still a film that was DiCaprio’s to lose. An “intellectual thriller” in every sense of the word, Inception gave us a fresh idea (what if people could sneak into someone’s mind and steal their ideas?) and promptly flipped it on its head.

The idea being to go so deep into someone’s subconscious you could implant an idea and make it look natural. Yes, its got an incredible 3D action sequence. Yes, it has a minibus taking an age to fall off a bridge. It’s also got a man fixedly staring at a spinning top, while holding a gun next to his head. Which of those images do you remember best?

Tim Bates

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31.01.2012

FILM

concrete.film@uea.ac.uk

david cameron:

film preview

bringing an end to british national cinema?

As if the state of British cinema wasn’t miserable enough, what with the abolition of the UK Film Council (UKFC) last year, the Prime Minister David Cameron, that esteemed pioneer of the arts, has waded in to suggest that the British film industry should be backing “commercially successful pictures”. With the phenomenal box office success and Oscar glory poured upon British films of recent years, such as The King’s Speech, it is plain to see that Cameron believes that a film can only be valued by how much money it makes, and that the way to utilise this brief spell of success is to repeat the same formula again and again. But what exactly is this mysterious formula for mainstream appeal? The suggestion that the success of any given film can be predicted is absurd. One of the wonderful things about film as a medium is that it is unpredictable, and still has the power to enthral and astound audiences that may believe they have seen it all before.

When the demise of the UKFC was announced, a victim of the coalition government’s first round of cuts, it looked like the beginning of the end for British national cinema. The quality and sheer volume of original, exciting and well-made films, such as Nowhere Boy and This Is England, that may not have seen the light of day if it wasn’t for funding from the UKFC is enough to make any film fan mourn the death of such a body. Funnily enough, Slumdog Millionnaire and The King’s Speech, two British films that went on to enjoy huge success, both critically and financially, were considered to be so vastly unappealing from a commercial point of view that they had a hard time finding funding in the initial stages of their production. These are the kind of films whose success Cameron wants to see replicated in the future of British cinema, yet these are the kind of films that owe their existence to funding from the UKFC, which Cameron’s government have now extinguished. Talk about shooting yourself in the foot.

“the

the hobbit: an unexpected journey

Rather than throwing money at those who already have it, or at the plethora of scripts for period dramas about various members of the royal family that are surely flooding production offices around the country in the hopes of becoming “The King’s Speech 2”, funding needs to go towards nurturing those filmmakers who may not have the means to visualise their ideas yet. There is a definite threat that our cinemas may become overwhelmed by a slew of homogenised, mediocre films with a quintessentially “British” feel, due to the success of recent films that have ridden a wave of nostalgia all the way to the Oscars. If David Cameron, in his infinite wisdom of what makes a financially bankable film, were to have his way, the stagnation of our film industry would be assured. Thankfully for us, the entire fate of film doesn’t lie in his hands, and with the recent success of films made by independent British filmmakers such as Paddy Considine and Steve McQueen, the end is far from nigh.

Annie Rhodes

advent of regression”

venue explores the nostalgic nature of contemporary cinema

If you journeyed through the screens of a multiplex during last December, you could be forgiven for believing that time had been reversed to a more primitive age in the lifecycle of cinema. For row upon row, audiences could be seen re-embracing a lack of sound and re-indulging in the genius of film’s ancestral pioneers. This began when the end of 2011 saw two major releases indebted to cinema’s past, in the form of Michel Hazanavicius’ “silent” film The Artist and Martin Scorsese’s 3D vehicle Hugo. Revered for oozing a love, albeit self-referential, of cinema, the two undeniably exhibit a sense of history through their content, style and themes, pleasuring spectators through nostalgia.

Welcome to the advent of regression.

Since Alan Crosland’s The Jazz Singer and the emergence of sound in 1927, silent film has not been prevalent in populist cinema. Yet The Artist is a contemporary film that

With Peter Jackson back at the helm and Martin Freeman due to give a joyously apt performance as Bilbo, the first slice of the two part adaptation of J.R.R Tolkien’s much loved predecessor to The Lord of the Rings trilogy is set to be a breathtakingly magical cinematic event. Said to be “more light-hearted” than the previous films, The Hobbit follows Bilbo as he is swept up by Gandalf to join a throng of Dwarfs on an adventure to re-capture their treasure, pillaged by Smaug, the infamous dragon (voiced by the sublime Benedict Cumberbatch). The story will stick closely to the original, with Bilbo and the 13 dwarfs encountering carnivorous trolls, bawdy goblins, ravenous wargs and, of course, the riddling Golem in the depths of the Misty Mountains, where Bilbo first finds “the Ring”. There’ll also be an array of familiar faces as Andy Serkis, Ian Mckellen, Orlando Bloom, Cate Blanchett and Hugo Weaving all reprise their original roles. There is a trailer online, and undoubtedly there will plenty of sneaky tidbits released for fans to salivate over as the year progresses, but still, December has never seemed so far away.

relies on visual storytelling, utilizing the techniques that were apparent throughout the silent era: close-up profiles, title cards et al. And similarly, the cinematic techniques applied to Hugo are also firmly attached to the past, seeing that 3D has been used as a format since 1903, initially by the Lumière brothers in their picture L’Arrivée d’un Train. Despite the technological advances since that time, the way in which Hugo uses its three dimensional scope relates more to the genesis of film and its circus origins than any modern paradigm. It is used as an ode to, and literal representation of, the theatricality and trickery of early fantasy cinema. If anything, this suggests that, in an era of post-modernity, the medium’s bonds with its past are stronger than ever.

“Out with the old, in with the new” is a mindset exclaimed poignantly by one title card in The Artist, but the popularity and critical successes of these two films suggest that the new can learn from the old. It is at this year’s Academy Awards where a celebration of nostalgia, that the advent of regression, may be fully realised. The two films have a combined 21 nominations, and wins for either may be the greatest tribute of all to those films, filmmakers and eras that preceded them. In an age of digital technology, where 35mm film and projectionists are dying breeds, it is a romantic thought that fragments of the past remain within, and influence, the present. Dare we ever forget it.

Kieran Rogers

Here’s a checklist of things you might want to have sorted before re-visiting Middle Earth this December: 1. Get fitted with this season’s mithril (silky beige.)

2. Practise your troll impression. This may sound churlish, but it could be very useful in tight spots.

3. Sharpened Glamdring, ready for any goblins. You might want to practise warg-skinning, too (this one’s more for the ladies.)

4. Must-have: map of the Misty Mountains. (Beware of alliteration.)

5. Lose any excess finger weight: you don’t want to have to leave behind any jewellery you might find on the way because you have stubby digits.

6. Brush up on riddles. Rumour is Golem has. Don’t be scared to play dirty.

7. Make sure you’re fine with riding a really big eagle.

8. Learn dwarf names. There are thirteen of them, so memorise them by pairing them off, (Dwalin/Balin, Fili/ Kili etc.) Don’t forget: Thorin’s the boss.

9. On the off-chance that you escape giant spiders only to be captured by conniving elves, check whether you can fit inside a barrel (standard size): a useful escape method.

10. Top up asthma inhaler for dragon smoke.

Harry Denniston Visit the website for Anna Eastick’s review of War Horse and Annie Rhodes’ review of Shame www.concrete-online.co.uk

COMPETITIONS

31.01.2012

concrete.competitions@uea.ac.uk

across 2. Savoury pudding from Scotland (6) 6. Former F1 world champion who has recently signed for Caterham (4,9) 8. Zn on the periodic table (4) 10. What singer is the biopic ‘Walk the Line’ based on? (6,4) 11. What television quiz show does Alexander Armstrong host (9) 12. Northern most US state (6) 13. Film with the most 2012 Oscar nominations (4) 14. What is used within a Twitter message to identify a keyword or topic of interest (8) 17. Metonym for the headquarters of the Metropolitan Police Service (8,4) 19. Developer of the Wii (8) 21. Fear of spiders (13) 22. A travelling amusement show (8) 23. Which soul singer recently split up with supermodel Heidi Klum (4)

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31.01.2012

LISTINGS

concrete.listings@uea.co.uk

January/February 2011

Tuesday 31st

Wednesday 1st

Waterfront Gigs: Clap Your Hands Say Yeah (7:30pm) Price: £12.50 The Waterfront

Hypnosis show: An Evening of Mind Bending with Wayne Goodman and Doug Segal (7:30pm) Price: £6 UEA LCR

Drama: ‘Coffee and Cropped Laurels’ by Joe Wright (6:30pm)Price:£6.00/£4.00 (Concessions) UEA Drama Studio

LCR Club Nights: Chase & Status DJ Set & MC Rage (10pm) Price: £10.00 NUS / £12.50 non-student UEA LCR

Waterfront Gigs: Roots Manuva (7:30pm)Price: £15.00 The Waterfront

Films: Harry Potter and the Deathly Hallows parts 1 & 2 (7:30pm)Price: £2.80 Lecture Theatre 1

BRETT GOLDSTEIN: GREW UP IN A STRIP CLUB (7:30pm) Price: £10 Norwich Theatre Royal

Waterfront Gigs: Lester Clayton (7:30pm) Price: £5.00 The Waterfront

Waterfront Gigs: Chantel McGregor (7:30pm)Price: £10.00 The Waterfront

LCR Club Nights: Hogwarts (10pm)Price: £3.50 UEA LCR

Sunday 5th Waterfront Gigs: Kina Grannis @ WF Studio The Waterfront (7pm) Price: £10.00

Friday 10th Waterfront Club Nights: Color presents INTO THE JUNGLE (10:00pm) Price: £8.00 The Waterfront

Monday 6th

Thursday 2nd

Tuesday 7th

LCR Gigs: Kaiser Chiefs (7:30pm) Price: £25.00 UEA LCR

Waterfront Gigs: My Ruin (7pm) Price: £13.00 The Waterfront

THE WEBB SISTERS (8:00pm) Price: £12.00/£10.00Concessions Norwich Arts Centre

LCR Club Nights: Superheroes (10pm) Price: £3.50 UEA LCR

Saturday 11th

Sunday 12th

Waterfront Gigs: Alesana + We Came As Romans plus support from iwrestledabearonce and Glamour Of The Kill (6:30pm)Price: £12.00 The Waterfront LCR Club Nights: A List (10:30pm) Price: £4.50 UEA LCR Love Looks: Expressionist Nudes (11:00am - 3.00pm) Price: Free Garden House

Friday 3rd

Wednesday 8th LCR Gigs: Kerrang! Tour sponsored by Relentless Energy Drink (New Found Glory/The Blackout/letlive/ While She Sleeps) 7:00pm) Price: £20.00 UEA LCR Omid Djalili Stand Up Comedy (7.30pm) Price: £20.00 Norwich Theatre Royal

Waterfront Gigs: Sonic Boom Six @ The Waterfront Studio (7:00pm) Price: £8.00 The Waterfront

Monday 13th LCR Gigs: Big Country (7:30pm) Price: £22.50 UEA LCR

Saturday 4th LCR Club Nights: A list (10:30) Price: £4.50 UEA LCR The Floating Greyhounds + Barcode Generation (8:00pm) Price: Free The Brickmakers

Thursday 9th LCR Gigs: Mastodon (7:00pm) Price: £17.50 UEA LCR MISS 600 + the Testosta Tones (8:00pm) Price: £5.00 Advance/ £7.00 DOOR Norwich Arts Centre

Tuesday 14th Waterfront Gigs: Ghostpoet (7:30pm) Price: £11.00 The Waterfront LCR Club Nights: Anti-Valentines (10pm) Price: £3.50 UEA LCR

Photo by Harriet Jones