Venue - Issue 278 - 22 January 2013

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VENUE Issue 278 Tuesday 22 January 2013

The Sci-Fi and Fantasy Issue

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VENUE

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CONTENTS

Tuesday 22 January 2013

ISSUE 278

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Editor-in-Chief | Amy Adams Venue Editors | Rachael Lum and Matt Tidby Music | Editors | Hayden East and Sam Warner Music Contributors> Melissa Taylor, Ayoola Solarin, Henry Burrell, Sidonie Chaffer-Melly, Danielle Hutley, Beth Webster, Harry Denniston, Hayden East and Sam Warner Fashion | Editors | Jess Beech and Lucy Jobber Fashion Contributors> Amy Cullen, Emily-Claire Tucker and Hatty Farnham Film | Editors | Kieran Rogers and Andrew Wilkins Film Contributors> Nicole Harmer, Fiona Grundy, Emma Holbrook, Katryna Coak, Ayoola Solarin, Saul Holmes, Bex White, Charlotte Flight and Alex Dobrik TV | Editor | Ellissa Chilley TV Contributors> Lydia Tewkesbury, Jack Parker and Jim Britton Creative Writing | Editor | Matthew Mulcahy Creative Writing Contributors> Thomas High and Holly McDede Gaming | Editor | Oliver Balaam Gaming Contributors> Joe Fitzsimmons and Oliver Balaam Arts | Editor | Hatty Farnham Arts Contributors> Flo Reynolds, Kirsten Powley, Thomas High and Hatty Farnham Competitions/Listings | Editor | Amelia Edwards

From the Editors Greetings and Salutations, Dear Reader!

Anyway, we’d like to take this opportunity to thank our charming section editors for once again working hard, and indulging us with this theme. Further, a massive thank you to all those who submitted illustrations for this issue. We hope you’ll agree that they are all wonderful.

Regards, Rachael and Matt * potentially an understatement

Illustration: Nicholas Tregidgo

Our fangirl-ish insanity has finally reached the apotheosis of its genius, with the materialisation of this unusual issue.

As you may have gathered from our previous editorials, we have a slight* penchant for the worlds of sci-fi and fantasy, and this issue signals the point where we finally fell through the rabbit hole, as it were. Here’s a fun UEA fact: our Narnia-like university is the same age as one of our most beloved, fantastical characters- Doctor Who will celebrate its anniversary this November, just months after this dystopian military base of a University enjoys its 50th birthday.

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sci-fi and fantasy SCIENCE FICTION IN ROCK MUSIC From Jeff Wayne to Elton John, rock music owes much to science fiction, Melissa Taylor writes.

Since Apollo Eleven’s moon landing in the historic summer of 1969, Science Fiction themes have invaded their way into popular music. Unsurprisingly, the years following Neil Armstrong’s giant leap were saturated with songs concerning space exploration.

Perhaps the most prolific of Sci-Fi loving musicians is the epic David Bowie.

Released just a few days before the moon landing, Space Oddity pokes around the headspace of lonely astronaut, Major Tom. Despite Tom’s early promise, he sadly meets his demise whilst floating round his tin can: “Ground control to Major Tom, your circuit’s dead, there’s something wrong, can you hear me, Major Tom?” However, Bowie revives the character again in the classic Ashes to Ashes and lesser known Hallo Spaceboy.

David Bowie’s love affair with Sci-Fi

continues on his 1972 concept album, The Rise and Fall of Ziggy Stardust. With just five years until the end of the world, decadent glam-rocker, Ziggy Stardust tries to instil society’s faith into an alien Star Man who will save them all. Sadly the aliens tear Ziggy apart during the emotive Rock and Roll Suicide, but it was a valiant effort.

Arguably the most epic of Sci-Fi inspired music is Jeff Wayne’s 1978 concept album, The War of the Worlds.

The album retells H. G. Wells’ novel of the same title; written in the late nineteenth century, it is considered one of the earliest examples of Science Fiction literature.

The winning combination of 70s obsessions with concept albums and Science Fiction helped Wayne’s masterpiece become the 38th bestselling

album of all time. The album’s prologue features Richard Burton reading the opening of H. G. Wells’ masterpiece before the iconic violin phrase takes over. Undeniably, the best part of this album is the electric guitar solos which play the part of the heat ray; visualising the alien destruction is effortless.

Clearly, something would have been amiss if 70s pop darling, Sir Elton John, had not jumped on the musical, SciFi bandwagon. 1972 saw the release of Rocket Man, a track similar in tone and theme to Bowie’s Space Oddity. Like Major Tom, Elton’s astronaut is just a lonely, average man who misses his better half: “And all this science I don’t understand, it’s just my job five days a week”.

Although the cultural interest surrounding space travel makes sense

in the Cold War context of the mid to late twentieth century, the influence of Science Fiction in popular music is still present. The Killer’s Spaceman offers up another possible insight into the psyche of astronauts; though not as memorable as Bowie’s or Elton’s classics, it’s sufficient for bopping along too. Muse do much better; Supermassive Black Hole is almost always played at any indie night.

Katy Perry, however, has a lot to answer for. Not even the presence of the super-cool Kanye West can redeem the shockingly awful E.T.: “Wanna be a victim, ready for abduction, boy, you’re an alien”. Not only are the lyrics poorly worded to a cringe-worthy degree, it goes against everything Science Fiction has tried to teach us. Did you not watch Signs, Katy?

THE SCIENCE FICTION AND FANTASY SOUNDTRACK Ayoola Solarin takes a look at the importance of music in science fiction and fantasy film and television

Scores or soundtracks are not thought about much by the average film goer, but it is the music that fundamentally holds the movie or show together. This is especially the case when it comes to the Sci-Fi and Fantasy genres, as the score gives the feeling of being in endless Outer Space, in the dystopian world of 3013 or more generally, just straightforward, imminent danger.

Though soundtracks go somewhat underappreciated, many people forget how important, iconic and epic theme songs and scores can be. Let’s face it, if you were watching The Matrix without any of Don Davis’ music in the background to accompany those highspeed chases and slow motion fight sequences, you would be wishing Neo had taken the blue pill and the film had ended an hour earlier.

Sometimes after watching a film or a TV show, you don’t even realise that a certain song has stayed with you.

Occasionally you will find yourself playing air-guitar to Remy-Zero’s track Save Me, the theme song for Smallville and when you switch to BBC One and hear that familiar Doo-Wee-Ooooh, you

know that The Doctor is off in his blue box to save another world.

Most Sci-Fi and Fantasy films bring back memories of childhood and it is the familiar songs that make the most poignant scenes recognisable. John Williams’ Flying Theme for E.T: The Extra Terrestrial will forever bring to mind the image of a silhouetted E.T. and Elliott flying on a bike across a giant, shining moon, a thought that never fails to bring a tear to even the most cynical of eyes.

Much in the same way, Alan Silvestri’s famous Back to the Future Overture allows for a

subconscious sigh of relief as once again Marty McFly has travelled safely back to the future with the crazy Doc in tow.

Although better described as Fantasy than Science Fiction, The Lord of the Rings trilogy is another example of how soundtracks set the atmosphere for a film, as Howard Shore’s perfectly-toned score takes you through a glorious range of emotions that can’t quite be put into words.

If you do

however want something to sing along to, the Rocky Horror Picture Show soundtrack with tracks like The Time Warp and Sweet Transvestite and the musical episode of Buffy the Vampire Slayer, Once More With Feeling, both provide fun and surprisingly timeless songs which have a novelty that does not ever wear off.

In more recent times, many contemporary artists have taken to creating scores or inputting into Sci-Fi and Fantasy soundtracks. Daft Punk’s score for reboot Tron: Legacy was the best part of the whole film and while you may not think kindly of the Twilight saga, the soundtracks have produced great songs from the likes of Muse, Bon Iver, The Black Keys, Florence + the Machine and more.

In hindsight, you may not quite know the difference between Star Wars and Star Trek, but you will find you can instantly recognise the theme song to The X Files, and dark and intense scores for films like Inception (Hans Zimmer) and Alien (Jerry Goldsmith) will stay with you long after the credits have rolled – or the show has been cancelled.

MUSIC

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david bowie

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Following the announcement of Bowie’s first album in 10 years, Henry Burrell explores the impact of one of Britain’s most iconic musicians During an interview to promote his 2002 album Heathen, David Bowie remarked: “As you get older, the questions come down to about two or three: how long?

And what do I do with the time I’ve got left?” Some 11 years later and that still seems the perfect way to view the man’s career – and what a career.

Often with music legends, there is little benefit from trawling back over their best hits, because it all becomes gushing and meaningless. Somehow we all know that Bowie is one of England’s greatest exports, yet he has never quite attained the universal adulation of a band such as The Beatles.

But in order to work out why this is, just give a listen to Where Are We Now?, his surprise new single.

Eerily thematically similar to his comments from a decade ago, pianos twinkle and drums brush by. Let’s not get carried away – it is not a masterpiece. But it becomes so much more than the sum of its parts in the context of the man who wrote it. A self-proclaimed isolated man who writes about feeling abandoned, his early preoccupation about other worlds with songs like Life On Mars? and Space Oddity show this imbedded feeling of being the outsider.

Though a megastar in the 1970s, looking back, Bowie might have easily become a parody of himself (he nearly did by the early 1990s). Branding yourself as Ziggy Stardust and singing about space adventure only works when you are a songwriting genius.

Sidonie Chaffer-Melly on the top five moments in Bowie’s career The Death of Ziggy Stardust Bowie threw the music world when he announced his retirement onstage at the Hammersmith Odeon in 1973. The rise of Ziggy Stardust had been monumental, but Bowie had become increasingly unhinged behind his flamboyant alter ego. He sent thousands of glitter-strewn teenagers into mourning, only to return the following year under his own name.

The Man Who Fell to Earth Playing alien Thomas Jerome Newton, Bowie is in his element. Filmed at the height of his cocaine addiction, he certainly looked the part. Gaunt and deathly pale, he captured his own fragility and put it to use in the story of a stranded extra-terrestrial trying to get home.

Performing Starman on Top of the Pops, 1972 Wearing a skin-tight multi-coloured cat suit, Bowie burst into living

rooms across the nation. Camp as anything, he divided many with his eccentricities. With his arm flung around guitarist Mick Ronson’s shoulder, Bowie ushered in the era of Ziggy Stardust and with it a new generation of Glam Rock devotees.

Ashes to Ashes music video The iconic video to Bowie’s 1980 single has been plumbed for meaning and symbolism repeatedly. Featuring Bowie in a Pierrot costume that became representative of his Scary Monsters phase, it depicts a series of strange and bleak landscapes.

Releasing Where Are We Now at 66 After 10 years of silence, a new Bowie single was released into the world without warning. It transpires that he had been working with the producer that brought us twelve of his records, including Heroes. Bowie proves that at 66, he still has the ability to shock as much as he did 40 years ago.

He further matured with the albums he made with Brian Eno in Berlin. Heroes stands as one of the most life-affirming songs ever written and helped him break away from the image that made him, but had begun to suffocate his creativity.

As the subject of media attention, David Bowie has ticked all the boxes: cocaine addiction, a failed marriage, and creative blocks – yet somehow, as he emerges once again, he effortlessly commands the utmost respect.

The obvious thing to do now would be to compare his mastery of music with the banality of X Factor or One Direction, but to do so misses the point. Bowie has grown in our hearts as gracefully as his music first won us over, to the point that in absence, everyone misses him dearly. The overwhelming response to the news that he recorded a whole album, The Next Day, in secret, is testament to that.

Bowie is an artist who, while controversial, has never been a villain. Where Lennon and McCartney have their detractors, in life and in death, Bowie exists as Ziggy and David, in fiction and in fact. It’s the very fact of his continued existence, and the elegance of his maturing understatement, that have ensured he continues to mean the world to many. His artistry and words seem ever more personal. Perhaps the beauty of our relationship with him is that it feels like such a god-awful small affair.

Danielle Hutley ranks the top five tracks in Bowie’s back catalogue Rebel Rebel Released in 1974 on the album Diamond Dogs, reached #5 in the UK charts. As the last track written in the glam style that made him famous, Rebel Rebel was definitely the memorable tune to use as a stylistic farewell. Perhaps its iconic opening riff explains why it’s been covered so many times?

Lady Grinning Soul This is the final track on album Aladdin Sane, released in 1973, and was actually the B side to the US release of Rebel Rebel, never released as a single on its own. This is one track that really showcases Bowie’s extreme vocal range, emphasising the gender-confused image that he was portraying at the time.

Modern Love A typical feel-good 80’s track widely used in film soundtracks, it’s a classic which is hard to dislike.

Released as the third single from album Let’s Dance in 1983, Modern Love reached #2 in the UK charts.

Space Oddity Released in 1969 to coincide with the Apollo 11 moon landing, who wouldn’t love a song about a fictional astronaut? Featured on Bowie’s titular album, the track reached #5 in the UK charts. The opening lyrics “ground control to Major Tom” have immortalised Bowie, and if you have not heard the line, then where have you been?

Life On Mars First released in 1971 on the album Hunky Dory, Life On Mars was later released as its own single in 1973, where it reached #3 in the UK charts.

Over 30 years after its debut, a television series inspired by the song was produced and titled under the same name.

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DAUGHTER NAC 14.01.13 Beth Webster 2013 is shaping up to be a big year for London-based three piece band Daughter, with their debut album If You Leave being released on 18 March and tours announced in both Europe and the US later this year.

They kicked off their UK tour at the Norwich Arts Centre, with support from Icelandic singer, Lay Low. It was clear to see why she was chosen to be the support act, as her soft tones and haunting lyrics complimented the sound of the night perfectly. Lay Low’s

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live review

performance did the job of warming the audience up perfectly, especially as she engaged with them and encouraged a sing along during one of her songs, as well as performing one of her songs in Icelandic, providing something a little different but enjoyable to the evening.

When Daughter finally took to the stage it was clear how nervous they were, especially lead singer Elena Tonra - something which she later joked about on-stage. Despite this, they recreated their studio work to near perfection, opening with In the Shallows before moving onto their latest release, Run, which set the standard for the rest of the gig. The audience were also treated to two previously unheard songs – the second, Lifeforms being the definite better of the two. The song not only perfectly demonstrated Elena’s

admirable vocal skills, but also showed off the talents of drummer Remi Aguilella, thoroughly impressing the audience and increasing anticipation for the album release in a few month’s time.

The band’s first single Smother, released in October 2012, was another memorable song of the night, as it showed how far the band has progressed since their formation in early 2011.

The final song of the night, Home, was also played well and enjoyed by the audience, and Love was an unexpected highlight of the gig, particularly as it is one of the band’s lesser known songs.

However, Youth was by far the best song of the night, with the otherwise static audience singing along. Guitarist Igor Haefeli repeatedly floored the audience with his guitar playing, and Elena’s

mesmerizing voice is even better live.

Overall the gig was highly enjoyable, with the venue of the Norwich Arts Centre fitting the night perfectly.

The old church contributed to the relaxed yet almost eerie atmosphere of Daughter’s music, and also lending amazing acoustics to the band’s already brilliant performance. The lack of an encore, however, left some fans disappointed at the end, and meant that the night didn’t end on as much of a high as it perhaps should have.

The night was slightly brought down by the apparent lack of interest from the audience, with many people talking during songs, but the gig was still impressive and nothing could take away from the skills of Elena, Igor and Remi, that were consistently shown throughout the evening.

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album reviews

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A$AP ROCKY LONG LIVE A$AP Hayden East

LongLiveA$AP begins with the sound of thunder – hardly a reserved opening by any standards. Then again, Rakim

EVERYTHING EVERYTHING ARC Harry Denniston

Everything Everything’s debut Man Alive impossibly managed to live up to their namesake as a blisteringly intelligent and self-assured body of genre-busting songs. As such, Arc has a strong lineage to continue, and it comes so close.

The band has refined their sound to a potent mix of experimental-pop and muscular R’N’B, and openers Cough Cough and Kemosabe display the full

Mayers isn’t exactly the embodiment of modesty either; in recent interviews he proclaimed: “I want people to say he’s the best artist – not the best rapper of his generation, but the best artist”. And while his long-delayed major label debut does not quite step toe-to-toe with his ambition, it certainly makes a strong case for his status as one of hip-hop’s most exciting prospects.

Developing on the success of 2011’s mixtape LiveLoveA$AP, Rocky further demonstrates his innate ear for fresh sounds by continually making smart production choices. From long-time collaborator Clams Casino’s thick haze to some unlikely reggae-tinged arena-rave courtesy of Skrillex, the album manages to stay on trend whilst satisfying both the commercial and alternative crowd. Not so successful however is the Santigold-featured Hell, potential of this exhilarating formula.

The former is a stunningly-crafted blast of a song, the latter a bombastic pop juggernaut. Singer Jonathan Higgs’ lyrical and vocal dexterity never ceases to astound; in no other modern pop song will you hear a singer chastising himself for too much ‘genuflecting in a penitent way.’

Arc finds the group more explicitly disillusioned and dystopian than on their debut, the overall tone a shade darker. Choice Mountain is sad, staccato and utterly beautiful, and showcases their knack for writing dazzling melodies that sound genuinely original; while Torso of the Week is twisted and sneeringly aggressive, but still bizarrely playful. Duet and Feet for Hands both have a peculiar and refreshing feel to them, and are ultimately songs that only Everything Everything could pull off.

Sadly however, some songs have the tendency to trail off towards the end, and Arc and The Peaks both drift by relatively unceremoniously. Luckily tracks like the astounding Armourland steer the album back, dancing between genres from verse to chorus, and Don’t Try closes perfectly; another epic and rabble-rousing gem of pop-songwriting.

Arc is ultimately incredibly adventurous in its attempt to push forward put brains into a kind of popular music that is genre-busting and unconventional. The fact that it manages to achieve this, although perhaps not quite as expertly as expected, makes it a dazzling record.

in which her vocal appearance comes off flat and discordant to Rocky’s aesthetic.

Goldie marks an upgrade of his trademark sound: all screwed vocals, throbbing bass and high frequency beats – a scene of psychosis, if you will.

Unfortunately, it exposes the record’s sole weakness and a recurring complaint amongst those familiar with his work.

In the aftermath of Kendrick Lamar’s good kid, m.A.A.d city, Rocky is surely conscious of his sub-par lyricism, and it shows: ‘yes, I’m the shit, tell me do I stink?’ he asks – a line narrowly saved by the track’s playful instrumental.

Closer Suddenly teases with some rare depth though, detailing a childhood of struggle and adversity only for him to concede: ‘this ain’t no conscious rap.’

Frustratingly it relegates Rocky merely to hit-maker status – noteworthy enough, but barely indicative of his potential.

YO LA TENGO FADE Sam Warner

It is fair to say that Yo La Tengo have become true veterans of alternative rock. After releasing their debut Ride The Tiger in 1986, Georgia Hubley, Ira Kaplan and co. rode a wave of critical success that never magnetised to the mainstream. Despite a few low points the band have returned with their first studio LP for four years, Fade, which continues in their old vein – albeit in a more condensed manner.

LongLiveA$AP does, however, do well to embrace its expensive nature. With a string sample reminiscent of classic RZA and roll call of hip-hop’s most exciting up-and-comers, 1 Train is the most ambitious posse track since Kanye West’s Monster. Making up for in flow what he lacks in lyrical insight, Rocky’s verse certainly holds its own; but top marks go to Danny Brown, whose outrageous wit and delivery elevates him from his peers.

Album highlight, Fuckin’ Problems hosts more established household names, but what is most evident from LongLiveA$AP’s veritable guest features is Rocky’s unwavering confidence amongst such heavyweights. Indeed this Harlem rapper is fully aware of his strengths, and with a tasteful and endearing work as this, the bravado isn’t entirely unfounded.

Opening with Ohm, there is a striking chord of richness in the joyous reverb of guitars, but it is underlined by a foreboding melancholy when “nothing ever stays the same”. This is a band trying to push forward, an attribute that continues on Paddle Forward.

But by tasting new things Yo La Tengo do not avoid their own ethic, with layered instrumentation providing a veneer of varying emotions. Kaplan and Hubley’s soothing voices still break through the mechanics, with penetrating and unavoidably deft lyricism on tracks like Cornelia and Jane and The Point of It. The album lacks the 10-minute long instrumental jams that characterised earlier works, yet it still plays around creatively. Cornelia and Jane’s rural feel is a lovely melodious gem, Hubley’s voice holding you through the song’s peaceful chaos. This seems to characterise most of the album – a cradling journey that is inoffensive and accessible. Songs such as Well You Better could easily soundtrack a Wes Anderson film, its approachability also suggesting something deeper.

Fade is very much to the point, but not in a straight way. It combines a comfortable folky feel with trademark reverb guitars and layers that have come to define Yo La Tengo. Its inventiveness is contained, but this adds to its accessibility, marring it a different but overall strong effort from one of America’s most enduring bands.

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SMOKIN’ Princess Leia The most iconic fantasy babe.

Pouting Spocks Frankly out of this world.

Anne Hathaway Amazing in Les Mis, and looking amazing at the Golden Globes

CHOKIN’ Dolores Umbridge

The Oscar Fashion Predictions 2013 Emily-Claire Tucker looks at the influence of Oscar-nominated films on the latest high street fashion This year’s Oscar nominations are dominated by two films: Steven Spielberg’s historical drama Lincoln and the big budget, celebrity-packed Les Misérables.

Whilst we can’t say that Abraham Lincoln-style mutton chops won’t make a huge reappearance in men’s fashion, it’s probably a safer bet to say that the decadence of Les Misérables is far more likely to influence this year’s fashion. Love her or hate her, Anne Hathaway has become the face of the Oscars, gracing the covers of dozens of fashion magazines ever since the first trailer for Les Misérables went viral.

If you, like many, aren’t drawn to the all-singing, all-dancing extravaganza, maybe you can at least appreciate that Hathaway has bought back short hair with a vengeance. With her Hepburnesque features, Anne has made a huge statement out of having her hair chopped in the name of art, it’s just lucky they left out the part of original novel where her

character sells her two front teeth to try and earn some money – that may have been more difficult to pull off.

The outfits that have been worn by the entire female cast of Les Misérables for screenings and premieres have been flawless so far, which has lead to great hype over the dresses which will be worn for the Oscars on the 24 February. Whatever the others may wear, we can be sure not to be disappointed

by Helena Bonham Carter, whose love of tartan, bold prints and disregard for any sort of convention always makes for an intruiging red carpet outfit. How the huge success of this film will affect high street fashion is hard to tell, although it’s unlikely the 18th century ball-gown is

Amy Cullen

Shorts Please stop wearing them in the snow.

We could go on forever about this guy’s lack of style.

concrete.fashion@uea.ac.uk 22.01.2013

going to start cropping up in Topshop.

Another Oscar-nominated film Anna Karenina, which was released in late Autumn of last year had a huge and unexpected influence on winter fashion, with huge Russian-style fur coats and hats being the flavour of the season.

For the rest of winter we can assume that the decadent fabrics – furs, silks and velvets – that became popular with Anna Karenina, will be with us for the rest of winter thanks to Les Misérables.

Whatever may happen in Spring fashion is still yet to be seen, perhaps a full blown fashion revolution in the style of Les Misérables, or a boom in tiger prints due to the Oscar nominations of Life of Pi, one thing is certain – the outfits worn to the Oscars next month will shape the years ahead for those who wear them.

A split that’s just a little too high or a neckline just a little too low or even just playing it safe with an outfit can give the press a licence to destroy an actress, and that’s before they even make it to the acceptance speech.

Re-creating Authentic Parisian Chic

Someone drag this woman back into the twentieth century.

Gollum

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FASHION

So you’d like to dress like a fashionable Parisian?

Beyond the big tourist-y boulevards, Paris is brimming with hidden second hand stores; the difficulty lies in knowing exactly where to look. A useful first point of call is the website www. paristopten.com which lists their top 10 second-hand and vintage clothing stores across the city. Most of the stores listed are ideally located in the heart of Paris and close to the Metro.

Number five on their list is Guerrisol, a very large store filled from front to back with sartorial treasures at very cheap prices. However, as the website suggests, “you’ll need patience to find ‘the’ item of your dreams!” You will find two store fronts on Avenue de Clichy, one main store and one additional store just for the men. The Avenue takes its name from the closest station, Place de Clichy, on the Metro lines 2 and 13. In the main store you can find great bargains, such as

skinny-cut Dolce & Gabbana jeans, an oriental style Gucci skirt or even a faux fur Russian style hat all for a mere €5 each. The list is as long as your patience!

The offerings are equally as appealing for the men. You may find fitted dinner jackets for €5, heavily discounted Zara shirts and a colourful collection of ties to go with them. With only minor exceptions, the majority of the collection is clean and of excellent quality.

Other one-off gems can be found around Barbès-Rochechouart station on the Metro line 2. Try not to be dissuaded by the swarm of unlicensed dealers and the knowing officers manning the station entrance; try to think of it as cultural zest. One particular shoe store just shy of Le boulevard de Rochechouart stocks suede wedge boots for €10.50 and suede pumps for just €5.

There is only one thing left in order to fake being Parisian and that is simply to wear the attitude!

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Country Chic

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Photographer: Chloe Hashemi Stylist: Hatty Farnham Models: David Barwill, George Stables, Sally Grice, Ellen Thornton, Laurel Brown, Elliott Habgood.

Hatty Farnham on how to stay cosy and stylish this winter 1) Unisex Staples Whether it’s a wax jacket, a quilted Barbour, or a pair of Hunters; country essentials are pretty much the same for girls and guys. It’s not all about the labels and you can find some pretty nifty high-street versions of all the above from Topshop, Miss Selfridge and ASOS, for example. The beauty of Hunter and Barbour brands, however, is that their clothing is made to keep you warm and dry, and will see you through many winters before showing the slightest wear.

2) Fur Trimmings Use a fur collar to liven up last year’s coat, or a fur headband to keep you toasty. Head bands or ear muffs, as opposed to hats, help to avoid flat hair and look great with high ponytails. Real fur is not encouraged, but you can pick up cheap (and guilt-free) alternatives at Norwich Market or in high street shops such as Accessorize or Ark. 3) High-Waisted Jodhpur Pants Zara and Banana Republic sell thick black jodhpur pants which work well as leggings underneath boots, or with a pair of chunky heels on a night out.

4) The Coloured Chino Contrast autumnal colours with red or navy chinos, and wear with a sweater in the day or a shirt at night. Clashing socks and rolled up trousers look great with an oversized Barbour.

5) A Touch of Tweed I’m not suggesting you should grace the streets of Norwich in full hunting garb, but tweed-style clothing can be both classy and well-tailored. Real tweed can be very itchy and very expensive, but the high-street offers a plethora of skinfriendly alternatives. Zara’s fitted women’s blazers (adorned with elbow patches, of course), H&M’s tweed-print cigarette pants, and Topman’s tweed ties, for example, add a quirky touch to dull winter colours.

6) The Riding Boot Elegant, timeless, and gloriously cosy; knee high leather boots are essential for surviving Norwich’s snowy mornings.

The boot should fit snuggly around your calves, and this means being fussy until you find the perfect fit. Dune, John Lewis and Russell and Bromley use gorgeous leather and classic design.

7) The Chelsea Boot The all-rounder. Black or brown, the Chelsea boot is comfy, affordable and appropriate for almost every occasion. I wear mine with jeans to the library, with a skirt and tights to dinner, or with a dress and bare legs to the LCR. 8) Boyish Brogues For men or women, nothing looks cuter than a pair of tan brogues under turned up jeans in the winter or with bare legs in the summer.

9) Wonderful Wool Sling a long woollen scarf around your neck for a suave look.

Burgundy is preferable but not mandatory. You can pick up woollen or silk scarves from vintage fairs around Norwich, but just make sure you wash them first. Alternatively, the Cable Knit is still going strong. Wear with red chinos, dark jeans or leggings and you will look snug as a bug.

10) Canine Company If you’re committed to looking the part, you should consider finding yourself a furry friend.

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FILM

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REVIEWS LES MISÉRABLES (12A) Dir. Tom Hooper 157mins Starring: Hugh Jackman, Anne Hathaway, Russell Crowe

Nicole Harmer As the Westend’s second longest running musical with an audience of 60 million worldwide, Tom Hooper’s stage to screen adaptation is a highly anticipated challenge.

In short, the plot follows convict Jean Valjean’s (Hugh Jackman) extensive game of hide and seek with policeman Javert (Russell Crowe) in a live, entirely sung script, set against the backdrop of 19th century revolutionary France. Atop of this, the working class Fantine (Anne Hathaway) tries to support her daughter Cosette (Amanda Seyfried) as she grows up and falls in love with revolutionary Marius (Eddie Reymayne), who himself is pined after by caring ragamuffin Éponine (Samantha Barks), daughter of shameless inn keepers the Thénardiers (Sacha Baron Cohan and Helen Bonham Carter).

The opening sequence of the film, saturated with CGI, is laughable, but this is automatically redeemed by the heartpounding musical score which continues to give you shivers throughout. The town scenes, which attempt to add a Tim Burton-

esque aesthetic to keep some of the fantasy of its stage equivalent intact, tend to look more like the crooked house of a nursery rhyme than the actual streets of France.

Furthermore, the characters seem to merely have had their clothes hacked with scissors and their faces smeared with grease. When examined close up, this tends to remind us of why the visual element of the story works better on stage.

Despite being set in France, there are a variety of accents floating around. Sacha Baron Cohan, while providing some fantastic comic relief, switches from Bruno to Ali G in the space of a few words, whereas Hugh Jackman momentarily develops a Scottish

flair in “Who Am I?”,’Russell Crowe is dull and unthreatening with a voice like a broken dog whistle, and Amanda Seyfried is merely a doe-eyed squeaky voice.

In spite of this, there are some amazing performances which more than justify the film’s nine BAFTAs and eight Academy Award nominations. Hugh Jackman is, in spite of his momentary crisis of nationality, perfect, changing from crazed homeless man with a stick (a very odd scene), to heroic and loving parent, all sung with a subtle richness and inherent kindness. Anne Hathaway bares her soul, with no tear or snot bubble supressed, in what has quickly become an iconic performance of “I Dreamed a Dream”.

What the film allows, that the stage does not, is uncomfortable images of characters at their most broken, adding layers of grit, with Tom Hooper putting his own cinematic edge on the world-renowned musical.

The magic of Les Misérables, thus, remains strong. Eddie Redmayne’s rendition of “Empty Chairs at Empty Tables” is utterly bewitching, as is his performance with Samanatha Barks in “A Little Fall of Rain”.

Every choral scene delivers the essence of musical brilliance, comradeship and spell bounding poignancy, reaffirming that Les Misérables is more than just a musical of misery. It leaves you singing for revolution and love.

as the 14-year-old Lucas, who has to take control and get his mother to safety. And this acting ensemble is completed with Ewan McGregor, whose performance as a doting husband and father is quite extraordinary, providing many tear-jerking scenes. The emotionally raw and painful moments that these thespians convey are powerful, and that they manage to connect with the audience is a significant part of the films success.

Furthermore, what is so astonishing about The Impossible is that it is based on a real story, a fact that remains touching from the offset. It is hard to fathom that this story really

happened and affected so many. Criticism that the film chooses to portray only a British family within a global disaster is too harsh, as the film provides a respectable and captivating account of the wider conflict. While the Bennett family are the protagonists of the film, the focus constantly widens to show the destroyed country, and the valor and kindness of the Thai people who helped the victims and the survivors of the tsunami.

The realism created is where the magnificence of the film lies, and is key in portraying the tale of the Bennett family and so many others. The technical aspects of the

film are amazing. For instance, submerging the audience into a tidal wave by use of sound creates a disturbing yet remarkable depiction of the tsunamis destruction. Footage of survivors being swept inland by the wave, in addition to multiple scenes of devastation, is distressing, but the scale of filmmaking on display is quite incredible, and equally commendable.

Overall it is very clear that The Impossible is a global story. While following the main family, it also shows how the wave affected everyone, and that it is a story not just of nature, but of humanity.

THE IMPOSSIBLE (12A) Dir. Juan Antonio Bayona 114mins Starring: Naomi Watts, Ewan McGregor

Fiona Grundy As the news emerged that a film would be portraying the events of the 2004 tsunami, The Impossible was already met with doubts that it may be too soon. However, fears that the film may be tactless or glamorised can be diminished, as director Juan Antonio Bayona creates a sensual experience that envelopes the audience within the story of a family caught in the turmoil of the infamous Boxing Day tsunami.

Based on the accounts of a Spanish family, The Impossible follows the relocated and renamed British Bennett family as their Christmas holiday to Thailand is overturned by the giant wave, separating the mother and son, Maria (Naomi Watts) and Lucas (Tom Holland), away from the father (Ewan McGregor) and the youngest boys Thomas and Simon. In the aftermath, they begin their emotional journey to try and find one another.

What makes The Impossible so extraordinary and engrossing are the performances, pivoting around Naomi Watts, who justifies her Academy Award nomination as a character who struggles to keep going with a surplus of injuries. In addition, Tom Holland is sublime

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NEWS

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Katryna Coak

QUARTET (12A) Dir. Dustin Hoffman

97mins

Ayoola Solarin Quartet proves to be a wonderful directional debut for seasoned but sensational actor Dustin Hoffman. The story takes place at Beecham House, a retirement home for musicians. The residents, which include three of four members of an operatic quartet: Wilf (Billy Connolly), Cissy (Pauline Collins) and Reggie (Tom Courtenay), are in the midst of preparing for a Gala that will help keep the retirement house running for another year. It is at this time the legendary Opera singer and fourth member of the quartet, Jean Horton (Maggie Smith) arrives and causes quite a stir.

Past romances and rivalries come to light and old friendships are renewed as

the assortment of veteran entertainers show they are far from has-beens. Maggie Smith gives another grand performance, providing the usual air of grace she gives to every role - but it is really Pauline Collins that steals the show. Through the quirky character of Cissy, Collins portrays how challenging growing old can be, especially when having the spirit of a nineteen year old.

The film is both charming and meaningful, discussing the emotional, mental and physical struggles that come with growing old. It shows just how much older generations have contributed to society as many of the actors in the film are real life singers, musicians and performers who most definitely still have a lot to offer.

Quartet will inevitably leave you wanting to make the most of your younger years but also reminds you that even as you get older, it is never really over, not even when the fat lady sings.

It seems like Quentin Tarantino’s latest release Django Unchained is causing quite a lot of controversy in the news this fortnight. Although not yet released in the UK, its American audience have had time to absorb and respond to the director’s latest work, which isn’t shy on bloodshed.

After the recent shootings in America, the age old question about whether violence in films encourages violence in real life has been recycled yet again.

This is not the only headache Tarantino has had to face recently as Django Unchained action figures have produced outrage from US African-American activists. The dominant theme of slavery within the film has been translated into action figures, one of which is labelled ‘House Slave.’ This has led some civil rights activists to call for a boycott on the buying of these action figures due to the fact that they are said to be “a slap in the face of our ancestors.” The general response to the movie has been positive, despite Tarantino’s continued infatuation with contentious words. The production and selling of these figurines, that some have viewed as a mockery towards slavery,

AWARDS SEASON

GOLDEN GLOBES REVIEW

GOLDEN GLOBES: WINNER’S LIST

Emma Holbrook It took three years for the Hollywood Foreign Press to grow tired of Ricky Gervais’ edgy (petty) Golden Globes hosting routine, which largely focused on offending as many people as he could in one evening, but his successors were well worth the wait.

The ingenious decision to make Amy Poehler and Tina Fey the hosts of the 2013 ceremony paid off, with the two best friends delivering a hilarious opening monologue that explained Meryl Streep’s absence – “she has the flu…and I hear she’s amazing in it” – and supported Kathryn Bigelow, director of the controversial Zero Dark Thirty, because “when it comes to torture, I trust the lady who spent three years married to James Cameron.”

Although their presence was relatively minimal, there were understated moments of hilarity dotted throughout the ceremony, which included Poehler sitting on George Clooney’s lap and Fey crashing the Best Actor in a Mini Series nominations as a “professional volleyball player battling restless leg syndrome.”

The evening did not provide any real

has caused some retailers to come under the firing line as well.

Exciting news! Jurassic Park 4 has been confirmed with a release date set for 2014.

Despite secrecy over what the plot will involve, early scripts apparently contained gun-toting human-dinosaur hybrids (and they say Tarantino is violent). There is no word yet on whether Steven Spielberg will be directing, or if his involvement will see him strictly glued in the producers chair. To coincide with this news, and to get people into the mood, the original Jurassic Park will see its re-release in 3D this summer, as the $914,691,118 it made during its original theatrical run clearly wasn’t enough to please Universal pictures.

On a similar note, it seems that plans for a re-make of Godzilla (also to be released in 2014) will be underway this year with Aaron Taylor-Johnson rumored to play one of the secretive leading roles.

Although problems have been brewing behind the scenes, the film is still due to be completed on time. We will also have the pleasure of watching Aaron TaylorJohnson in Kick-Ass 2, which hits our scenes in July of this year.

shock winners; potentially due to the fact that this awards season boasts an unusual variety of films all in equal contention for the top prizes.

However, Argo was the slightly unexpected Best Drama winner, with its d i re c t o r, Ben Affleck scooping the Best Director gong from

underneath Steven Spielberg’s nose. But the inevitable moment of drama came during Jodie Foster’s brave but somewhat baffling “coming out” speech, as she accepted the lifetime achievement award.

Whilst Foster has been lambasted for never actually uttering the words, her rhetoric retained a rich sincerity that nonetheless should be admired.

The stand-out speeches belonged to Jennifer Lawrence, who thanked producer Harvey Weinstein for killing whoever he had to kill to get her up there; an eloquent Anne Hathaway; and Adele, who won for Best Original Song - and in characteristic fashion declared that she had spent the night “pissing herself laughing.”

The thoroughly enjoyable ceremony allowed Tina Fey and Amy Poehler to prove there can be a happy medium between a sycophantic and meanspirited awards show and that unpredictable and comfortable humour are not mutually exclusive. Though in terms of the Globes predicting the outcome of the Oscar race, next month’s ceremony still remains a relative mystery.

Best Picture, Drama Argo Best Picture, Musical or Comedy Les Misérables Actor, Drama Daniel Day-Lewis, Lincoln Actress, Drama Jessica Chastain, Zero Dark Thirty Director Ben Affleck, Argo Actor, Musical or Comedy Hugh Jackman, Les Misérables Actress, Musical or Comedy Jennifer Lawrence, Silver Linings Playbook Supporting Actor Christoph Waltz, Django Unchained Supporting Actress Anne Hathaway, Les Misérables Foreign Language Picture Amour

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2013 : A SPACE ODYSSEY

A promising look at the year’s science fiction films

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THE TOP FIVE SCI-FI FILMS

Charlotte Flight With several long awaited high profile films set for release, 2013 looks to be a vintage year for science fiction. For many, JJ Abrams’ Star Trek: Into Darkness is one of the most anticipated films of the year.

Speculation surrounding the sequel to Abram’s successful 2009 reboot of the Star Trek franchise has been high ever since the casting of Benedict Cumberbatch as the villain in 2011. Very little is actually known about the film. Although the recently released trailer gave small glimpses of footage, there was nothing to indicate the direction the plot will take.

This ambiguity has kept Trekkies new and old salivating for more and is sure to make Into Darkness one of the most successful films of the summer when it is released 17 May. Another keenly awaited release is Guillermo Del Toro’s Pacific Rim, due for release 12 July. In production since 2010, Rim is Del Toro’s first film in several years after attempting and failing to get the likes of The Hobbit and HP Lovecraft’s At The Mountains of Madness made. Indeed, many people seem to be pleased that Del Toro managed to get his “beautiful poem to giant monsters” made at all. Whilst plot details remain reasonably sketchy, the basic premise appears to be that aliens are attacking Earth and must be stopped by massive robots. Following the release of the trailer last month, fanboys everywhere were exclaiming “Aliens being fought by.... human operated... GIANT ROBOTS!” What more could one want?

The next year will also see the

adaptation of Orson Scott Card’s bestselling novel Enders Game. The film follows an unusually gifted child who is sent to a military school in space to prepare for an alien invasion. Meanwhile, there is also the release of Alfonso Cuaron’s Gravity to look forward to.

The film, starring George Clooney and Sandra Bullock, depicts two astronauts as they attempt to return to Earth after their space shuttle is damaged by debris.

The director of District 9, Neil Blomkamp, releases his follow up Elysium, which once again sees issues of equality explored through the genre of science fiction.

Alternatively, this year will also provide opportunity to see if M. Night Shyamalan will continue to prove that The Sixth Sense was a complete fluke with After Earth, which sees Will Smith and his son Jaden exploring a planet that was evacuated by humans more than a thousand years ago.

For those worried about the void left by the end of the Twilight franchise, never fear as Stephanie Meyer’s The Host, which explores the path of a parasitic alien as it takes up residence in a human, is due for release in March.

The next 12 months is set to see a wide array of sci-fi releases, some with more promise than others. Although you can never quite predict the success of a film until its release, the sheer number of science fiction films on the horizon implies that 2013 will be a good year for the genre.

Alex Dobrik A SPACE ODYSSEY 1. 2001: (Stanley Kubrick, 1968)

deeply personal yet oddly de-humanising through a near total absence of dialogue.

Humanity delves into its past to open up the future, all the while observed by the cold, logical stare of HAL. Watch with an open mind and then re-watch it again, just in case it didn’t make sense the first time around…then maybe give it another go after that too.

ENCOUNTERS OF THE 2. CLOSE THIRD KIND

maybe not all aliens want to kill/enslave/ eat us. Well, that and the mashed potato mountain. This is also more adult in its themes (for those of us who like that sort of thing) with the film not being about aliens but about obsession and pursuing your dreams no matter the cost. Truly riveting film making.

3. ALIENS (James Cameron, 1986)

this is edge-of-your-seat film making; think intelligent and artistic Michael Bay and you are as close as you can get to Aliens, as a group of marines and Sigourney Weaver’s Ripley are sent to a distant planet to investigate a suspiciously silent colony. Being a mother figure has never been so badass.

WARS EPISODE V: THE 4. STAR EMPIRE STRIKES BACK

sequence is not a masterpiece in drama and tension, that the two revelations at the end didn’t leave you gobsmacked when you first saw them and that you weren’t willing Luke to lift that X-wing from the swamp. Still not convinced?

What about arguably the most famous moment in cinema, *obvious spoiler* “I am your father.”? Thought so.

RUNNER 5. BLADE (Ridley Scott, 1982)

look human) intent on escaping their inevitable death. Beautiful, poignant and eerily sad, (you look into those eyes and tell me they aren’t human) this film has rightly gone down as one of the greatest sci-fi movies of all time. A sequel is scheduled for an unknown date as scifi fans watch with apprehensively held breath.

Perhaps the hardest to like in this list but undoubtedly the greatest sci-fi film of all time; in 2001 Stanley Kubrick goes, in two hours, from the birth of modern man to the creation of a new species.

What occurs in-between is a gripping and awe inspiring adventure that is at once

(Steven Spielberg, 1977) Why Close Encounters over Steven Spielberg’s mega hit sci-fi film E.T.? As it came before everyone’s favourite extraterrestrial, it introduced an astonished world to the ground-breaking notion that

This was a toss-up between Ridley Scott’s sublime, scary and intense first film and James Cameron’s shoot-‘em-up sequel, but the latter just about edges the contest through its gun-toting mayhem and explosive set pieces. Impossible to dislike,

(Irvin Kershner, 1980) World famous, endlessly quotable and a magnificent film to boot, the fifth (or second) Star Wars film is undoubtedly the best of the lot. Don’t believe me? Well watch the original three again (not the others) and tell me that the Cloud City

Ridley Scott’s essay on what makes us human was a box office failure; but don’t let that stop you from seeing this magnificent film. Harrison Ford’s Deckard reluctantly stalks the streets of a dystopian Los Angeles, hunting a group of violent replicants (robots that

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THE TOP FIVE SCI-FI ALIENS

Saul Holmes

1. ALIEN/XENOMORPH The titular character of

2. E.T. E.T., the Extra-Terrestrial, is

the polar opposite of Ridley Scott’s silent killer. A friendly little blob with large eyes and pale skin of a classic cinematic alien, what makes E.T. so special is his bumbling, well-meaning personality and his family friendly appeal, all held together by Spielberg’s magical direction. From the moment he is left behind to the heart wrenching goodbye with Elliot, it is impossible not to find E.T. a charming character and a real gem of the sci-fi genre.

II 4. AUDREY How many singing alien plants have

appeared in cinemas over the years?

Probably not that many. How many of them have been good? Only Audrey II, from the film adaptation of the interesting sci-fi musical The Little Shop Of Horrors.

The design of Audrey II might at first seem ridiculous (a giant green head full of teeth resting precariously on a stalk), but the looming threat of the creature is genuinely intimidating and the sassy command of “Feed me!” is endlessly quotable.

5. YODA A list of the top five aliens in science fiction movies would not be complete without this little guy. Brilliantly entertaining both as a charming tired old puppet in the original trilogy and a lightsaber-wielding CGI badass in Revenge Of The Sith, Yoda has always proved to be an entertaining and original character. As well as being immensely complex, Yoda is shown to have several different sides to his personality (wise tutor, weary warrior, cantankerous old man) throughout the Star Wars franchise, and even that only feels like the tip of the iceberg.

the Alien franchise has proven itself to be an exciting action sci-fi staple throughout its various cinematic outings, even including the questionable crossover series with the Predator franchise.

However, the Xenomorph was never more terrifying than in the original Alien film, isolated and hunting down the crew of the Nostromo.

The costume, designed by H. R. Giger, is equally as beautiful as it is grotesque and terrifying, and actor Bolaji Badejo captured the movement and behaviour of the ultimate predator perfectly with his smooth, stalking movements; turning a silent hunter into an enthralling character in its own right.

3. PAUL As a recently created character, Paul

has a lot to prove in order to make it on to this list. What makes him so special is the obvious contrast between his classic sixties, B Movie-esque facial appearance and his swearing, binge drinking, drug taking persona. Seth Rogen’s voice acting is impressive and stands out even amongst the notable cast, meaning Paul earns his place as the titular character of the film.

Paul is the complete antithesis of any alien character in cinema, but remains a charming and engagingly benevolent protagonist in a film which is full of clever references to other sci-fi films.

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SCI-FI?...

WHERE WE’RE GOING WE DON’T NEED SCI-FI!

Is contemporary science fiction facing a worrying plight into style over substance?

Bex White As a genre, science fiction can be portrayed quite negatively by the media, with ‘sci-fi geeks’ being ridiculed for their in-depth knowledge of films and television shows. Nevertheless, this geeky audience is on the rise, with more and more of us seemingly becoming selfconfessed movie nerds. Why then are there less and less science fiction films being produced that are genuinely worth watching?

As long as cinema has been around there has been science fiction. In the beginning, filmmaking pioneer George Méliès tested the limits of the medium,

result, the value of Inception is lost in a crowd of mediocrity, and science fiction loses another chunk of its integrity. Not that there is anything overtly criminal about a staple as historic as Star Trek, but the characters have been explored.

Surely, reproducing a franchise with slightly different storylines, and the use of improved computer effects, will only create something that is extremely similar to the original?

At first glance there are some promising films coming out in 2013, such as Tom Cruise’s Oblivion and Cloud Atlas, but even these two examples are based on a graphic novel and book

creating works of science fiction that paid incredible attention to detail. With the use of ground-breaking techniques that included the painting of individual film cells, Méliès was able to stretch cinema to places it had never been, to worlds that could only previously be conceived through literature. The genre progressed and continually formed masterpieces through its imaginative storylines and sets. However, in today’s contemporary cinema, with all our improved technology, all we can boast is the re-hashing of old ideas, and sequels, spin-offs and prequels to science fiction films once considered original.

The very definition of science fiction is that there are endless possibilities, though in recent years there has been only one film that has, in this writer’s opinion, abided by that mantra: Christopher Nolan’s Inception. And yet, despite the construction of such an amazing concept, a film as great as Inception is pushed alongside yet another Transformers sequel, or a reimagining of a worn franchise such as Star Trek. As a

respectively. As far as original scripts go we’re not seeing much, and even when we are the majority aren’t quite box office hits.

Following the announcement of Star Wars VII, news websites and online forums were besieged by rumours surrounding the monopolistic franchise, leaving the rest of the sci-fi universe over-shadowed and overwhelmed. As an audience, do we not deserve more than to hear about a series that continues to exist for profit, and will consistently achieve a profit no matter the weight of its promotion? Where are the ideas, the substance and the satire that once formed the genre?

All of this is not to say that science fiction has completely lost its worth.

Classic sci-fi is still constantly informing shows such as The Simpsons and Family Guy, but can we really see this happening with, say, Prometheus in twenty year’s time? And, truthfully, the harsh question to ask is whether parody and homage are enough to sustain the genre’s respected roots?

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STARGAZING LIVE Lydia Tewkesbury

Stargazing LIVE is a total nerd-fest in all the best possible ways. It isn’t often you get to see such unashamed enthusiasm for something “science-y”. Even a definite outsider, someone who found the GCSE immensely confusing and has remained intimidated by a world of facts, wouldn’t fail to enjoy the learning experience of Stargazing LIVE. As a viewer you’re not left lost in confusion within the first five minutes, and it even appeals to fans of the sci-fi narrative (very real potential for life in space, anyone? Did you know that Jupiter has a frozen moon? And that said moon has an ocean flowing beneath its icy exterior?) The show takes topics that some would perhaps feel were beyond them, and makes their discussion so interesting you actually remember them after you turn the TV off. (Seriously, you’ll be telling so many people about that moon thing.)

The show is largely presented by everyone’s favourite northern professor: Brian Cox, the scientist of the show, and Irish comedian Dara O’Briain, as the avid enthusiast. It’s a cute combination if you’re into slightly awkward, ohGod-it’s-live discourse and the constant

cutting off of interviewees who, in general, have the decency not to look too annoyed. And actually, Brian Cox really can teach. He’s got the Attenborough hypnosis trick down, and is as captivating as he is informing until you find yourself incredulous that a time existed when you didn’t think that particle physics was

important. While Cox is certainly at the heart of the programme, information comes from all areas. Who can fail to be eternally jealous of Liz Bonnin, sent out to NASA to play with the astronauts; she certainly won the segments’ raffle this series. Not that they don’t let Dara have his fun. Watching him play with the

multi-million dollar space shuttle that will be wending its way to Mars (and coming back again! A massive deal we are taught) sometime around 2020 – this was entertainment of another kind. The show being live, you do perhaps start to wonder what would happen if he broke the contraption mid-programme; the lady from NASA certainly looked a little anxious. And if all these are not awesome enough, there is, of course, the always welcome guest that is Brian May’s hair.

Stargazing LIVE uses a plethora of interesting and varied sources, creating a stream of knowledge the audience can’t help but follow from an enthusiastic desire to add to the new file of information they are developing. For someone like me who has trouble concentrating with shows such as this, building that sense of genuine curiosity is crucial – and in my opinion they capture that perfectly.

So why not take this opportunity to become a budding astronomer? If we do all turn out to be Martians, which Stargazing LIVE teaches us is totally possible, we’re going to be well prepared.

Catch up with the series on iPlayer now.

would certainly suggest an even more extreme take for the upcoming three 60 minute tales.

The original episodes are now available on 4oD to watch once again, as you may have noticed from a string of

adverts on 4 channels prepping fans for series two, and they are still as bizarre as they were the December before last.

Episode one, “The National Anthem” covers an amazingly odd question: would a politician actually do anything

their people demand? The question is posed when the Prime Minister is to have intercourse with a pig in exchange for the safe return of the Princess from kidnappers. Episode two, “15 Million Merits” is much more about the human desire for entertainment, and how easily we are all lost in TV. It follows prison like existences, where cycling on exercise bikes earns you merits, so you can skip adverts from a constant bombardment of information.

With a cast including Daniel Kaluuya (Psychoville) and Rupert Everett (My Best Friend’s Wedding) “15 Million Merits” does not disappoint. And last but not least at all, episode three; “The Entire History of You” is the only of the three not to be written by Brooker, and depicts a future where a small “grain” can re-play all our memories. Hard hitting as well as comic in places, Toby Kebbell (Dead Man’s Shoes) and Jodie Whittaker (Venus) deliver stellar performances as their relationship is tortured by the artificial ability.

Watch series one on 4oD, and keep an eye on those untrustworthy screens for the upcoming series two.

BLACK MIRROR Jack Parker Black Mirror, the dark satirical three part series by cynical and brilliant comedian Charlie Brooker, will return soon with another Channel 4 series. The original 2011 series presented a twisted reflection (or “black mirror”) of our own society, or at least where it’s future could head, and was hugely popular, gaining well over two million on-demand views, as well as winning a Golden Rose Award.

The black mirror of the title is very literally describing the abundance of televisions, monitors, and phones that society now relies upon, and the shows expose extremes of how our harmless technological dependence could end up being truly disastrous. Brooker has been quoted as saying, “Half of the things in the first run of Black Mirror seem to be on the verge of coming true. They’ve got prisoners in Brazilian prisons pedalling on exercise bikes ... and Google Glass looks like copyright infringement as far as “The Entire History of You” is concerned. Thankfully no-one carried out a hideous form of blackmail involving a pig. Anyway, if the stories from the second run start coming true then we’re REALLY in trouble.” Such a statement

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INBETWEENERS USA - series review Jim Britton So the first and only season of MTV’s Americanised remake of The Inbetweeners is now available in all its glory on 4oD. The most amusing aspect of the transatlantic version is how embarrassed Channel 4 seem to be of its existence; there has been such little fanfare and promotion this side of the Atlantic that it’s possible you had no idea it existed. Consider yourself lucky, for this rehash is cringeworthy for all the wrong reasons.

You will recognise the characters due to their simple archetypes carried over from the British version; normal Simon, uptight Will, sex obsessed Jay and nice but dumb Neil, yet the remake manages to remove all the little character quirks and charm that made the original quartet believably funny and reduces their American counterparts to ridiculous caricatures that you’ll be sick of within the first five minutes. It’s remarkable in the early episodes just how closely the show follows the template of the British version, entire scenes are reenacted with the clumsy rewriting of British slang; “bus wankers” becomes “bus turds” for example, and the plot fails to deviate even slightly from the established

sequence of mishaps we know all too well.

In fairness, later episodes do try and take the show down a different route through some original storylines but the writing is so pedestrian and the performances so misjudged that it ultimately becomes somewhat depressing. There’s a mean spiritedness here that marks this as a more brutal, less nostalgic representation of teenage life than the original, which at least offered an honesty and familiarity that made you want to like its characters.

The remake draws its characters in broader, more obnoxious strokes; Joey Poliari, as lead and narrator Will, is egregiously miscast, his smoothness and deadpan delivery meaning you won’t buy into him as the socially awkward misfit for one second, and as for Zach Pearlman’s interpretation of Jay ... well, he makes JarJar Binks look like a subtle and intelligent screen presence.

The glut of US remakes of hit British shows can be attributed to the success of The Office, currently in it’s ninth season, yet when the end result is this it’s hard not to question the point. American comedy is capable of producing wonderful original

work as Community, Parks & Recreation and Modern Family, yet also material as limp and soulless as this. If you’re filled with morbid curiosity, give it a watch, but

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if you’re a fan of the original and good comedy in general, I’d stay well away.

Available to watch on 4oD or DVD now - if you dare.

16 The Wrinkly Wrinkle

CREATIVE WRITING

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themed submissions

Science-Fiction

By Holly McDede Yesterday, when I was a youngster, I went to the Senior Citizen Home Complex as I often did back in the olden days. I’d go there so often I knew the old ladies and old men better than the youngsters of my previous age.

The old wrinkle I knew best was an old woman named Eleanor, a name given to her at birth so the world would know she was old as all Hell. She had almost no room in her head for more memories, but you could tell she was intelligent, once. I taught her words like “Yo” and “Your mother” and in return she taught me “Ouch, my back” and “Dearest, why, I never!” We spent many jolly hours this way. But not too many hours, because she was old, and above all else she wanted to take naps.

On the first day of June, my mother was arranging a high school graduation in my name. Being home schooled, I would be the only one graduating. My mother invited the whole town, and for weeks before the event, I moaned, groaned, and demanded happiness medication. I’ve always hated graduating from high school. Graduating from pre-school was enough for me.

On the morning of the First of June 2011, during old woman nap time, I poked Eleanor in her wrinkle. “I’m mad! I’m damned mad!” I told her. “I have to graduate from high school tonight. You are lucky you are so old, Eleanor. You don’t have to graduate again.”

“Yes, I do,” the wrinkle said. “Dying is a lot like graduating, and I should be doing that at any moment now.”

I had a super cool and hip idea just then. I almost fell down, because it was so heavy with awesome, and other youthful phrases I enjoy tossing around from time to time when there is nothing else to do. “Why don’t you go in my place?” I said.

The old woman took a nap that lasted about five hours. When she woke up at last, she said, “I can’t go in your place because we look different. I am so old that, not only does my back hurt, but it has entirely unattached itself from my body and walked away.”

“Listen,” I said. “You do not know this, because you are blind and can’t see anything, and because you are half-brain dead and cannot realise anything, but there is a costume shop I know of that sells backs for old women

like yourself to put on when they are being Young People for Halloween. Besides, youngsters are usually so unhappy it is as though all the lights in the world are off. So, no one will see, especially not beneath the dark shadows of their eyeliner.”

“I suppose I will go in your place then,” she said.

“I suppose I should go in your place then,” she said again.

I had to stop her, and say, “You just said that.”

She said, “Said what again?” Then, she fell asleep.

It was very late in the evening, around the time when all the young folks roamed the streets, looking for walls to graffiti and toilet paper to put on trees, when Eleanor and I began the transformation. We crept into my room. I took out the nakedness I planned on wearing that evening to my graduation. I did not intend to wear clothes, because I was young and young people are whores. The old wrinkle put on my nakedness, and nearly exploded with nakedness. I brought out my iron, and ironed out the wrinkles from her skin.

Wearing her skin, I was old and dainty enough to require clothing. Inside an ugly old person sweater made out of goat hair, I was feeling so happy and warm that I barely noticed when my mother entered the room.

She was coming to say good morning. I told her that I enjoyed her spirit.

“You are a nasty little girl,” my mother said. “Making fun of me like that. I’m leaving.”

“Okay,” I said. “I bought you some socks yesterday, and some underwear. I also made you a sandwich to take with you. Don’t forget to wear the underwear! I don’t want you getting into any trouble, little lady.”

“Just nasty, simply nasty,” my mother said, running from my room, leaving me to grow older and older.

There was still another problem. Eleanor, now Ellie, had problems, and this was a problem, because she was supposed to be young and young people have no problems.

“How should we get rid of all your problems?” I said.

“Shut up,” she said, now that she was mean.

“We could disguise your problems so that no one sees

them,” I said at last. “You should scream as you graduate.

No one will look at you, because that would be giving you what you want, which is love, acceptance, and attention.”

“Yo hip mama slam me a pancake,” Ellie said. “This plan sounds sick.”

By this, she meant that it sounded good. When you are young, getting sick is good and fun, because you’re not going to die. When you’re old and sick, that’s it. Bye, bye, bye.

I attempted to call Cindy, my best friend who was to attend my graduation, to see if Ellie really looked young.

But I was so old, I no longer knew how to use my cell phone. I stood there, for several minutes, tapping the buttons, babbling about how this didn’t look anything like World War II and how, in my day, we had George Washington and not phone numbers. Eventually, Ellie dialed.

When Cindy came in, Ellie began to scream, hoping to wear her scream like an invincibility cloak. I began to die of a heart attack. When I had turned 18, I could vote.

At 21, I could drink. At Old Person Age, I was legally and medically old enough to die. Thank you, government!

“I thought someone was graduating today,” Cindy said. “But yet I see no one here.”

Then Ellie said, “I’m right here!”

Cindy walked out of the room to look for Ellie. “Bye Cindy dearest,” I said. Then I looked at the new born teenager. “Have a happy and wonderful life,” I said to Ellie, whose future lay before her. I explained to her that this was certainly not the end; that now she would go on to bigger and better things than screaming.

My mother came in to sweep my dying body away with the broom. She turned to Ellie. She demanded, at once, “Tell me what college you want to go to and what you want to do when you grow up!” Ellie screamed some more, and my mother fled the room. I figured I should give my dying speech. I said, “Ellie, I hope you enjoy your youth, for it truly is the best time of your life, whether you know it or not and whether or not it actually is.”

I took a quick nap to take a break from dying, and then closed my eyes and graduated.

FOR THE NEXT ISSUE, WE ARE LOOKING FOR WORK ON THE THEME OF

DREAMS PLEASE SUBMIT ALL WRITING BY

29 JANUARY

CREATIVE WRITING

22.01.2013 concrete.creativewriting@uea.ac.uk

www.concrete-online.co.uk

Through the Hourglass

17

By Thomas High Francesca stared up at the brightly-coloured banner draped across the ceiling and sighed. “Hourglass Innovations welcomes you home, and hopes you had a rip-roaring time!”

Featured by the text was an image of two young children, grinning inanely and pointing at a cartoon dinosaur.

Francesca looked away from the banner, and gazed back down the corridor that she and her luggage had just trundled down. “Mum?” she called out. “Dad?” A door opened and the face of Francesca’s mother peered out. “He just wants to have a quick look at the controls, dear.” She smiled meekly and gestured behind her.

Francesca stormed back up the corridor, the sound of her luggage’s squeaky wheel echoing off the bare white walls. Her mother slid back the door and Francesca barged through, into a room quite different from the corridor outside. In this room, the walls were covered in all sorts of gauges, levers and readouts, producing a variety of beeps and whirrs and filling the room with activity.

Two men were stood in one corner, huddled around a particular control panel and chatting to one another. One, Francesca’s father, wore a loud Hawaiian shirt, beige shorts and sandals, whilst the other was in uniform- dark blue pressed trousers and a matching blazer- a white stylised hourglass printed on the back. Standing in the centre of the room was a woman in the same uniform, who beamed at Francesca as she came through the door.

Her father was in the middle of a conversation. “And this one here?” he said, pointing eagerly at a flocculating needle.

“That, sir,” answered the man in uniform, “regulates the polarity of the neutron flow.”

“Wow,” Francesca’s father breathed. “I didn’t even know neutrons had a polarity!”

“Dad!” Francesca shouted, and her father turned around.

“Oh? Hello, sweetheart!” he grinned. “The pilot here was just showing me the controls.”

“You do this every time! Let’s go, or we’ll never get home!”

“We are the last one’s out, dear,” Francesca’s mother shrugged at her husband and tapped her watch.

“Goodbye, sir,” said the pilot, sharing a discrete look with his female co-worker.

“Call me Brian!” the holidaymaker replied, hauling his own luggage from the floor beside him and taking his wife’s suitcase from her hands. The family left and made their way back up the corridor, with Francesca several steps in front. Brian took great bouncing strides as if he were measuring distance; the light floral dress worn by Francesca’s mother billowed around her ankles.

They passed beneath the banner, and Brian let out a booming laugh. “Oh, that’s good! Rip-roaring time! Time!

Do you get it, Sue?” “Yes,” replied Francesca’s mother, making a grab for her own suitcase.

“Or, how about this: ‘Welcome home, we hope you’ve had the time of your life’? I could write for these people!”

Francesca broke her stride and began going through

the pockets in her jeans, feeling for her passport. “I don’t think they could work a dinosaur into that one, dad,” she mumbled.

Brain stopped too. “What’s got into you?” he asked. He figured that his daughter’s bad mood would have subsided once he left the controls.

“We’ve had a 400-year time-leap,” Francesca sighed.

“I’m just tired, okay? Sorry.”

The long corridor opened out into a large hall filled with passengers packed together in a queue that crisscrossed throughout the room, holding its shape in an array of colour-coded barriers. The walls were adorned with posters of a similar style to the banner in the corridor- the same cartoon dinosaur returned on a poster with the caption “Journey to the dawn of time”. There was a pictiure advertising the pyramids with a set of black hieroglyphics, and another which looked completely blank from some distance away, but closer inspection revealed its single feature: the silhouettes of two men in thick overcoats trudging through what must have been a harsh blizzard.

And a striking image of a city ablaze, with “London’s burning!” in bright bold text above the flames. Francesca focused her eyes on the walls as she and her parents reluctantly joined a line of fellow time-travellers, and stood between a set of green barriers marked “Immigration and Customs”.

The three stood still without saying a word. The line didn’t move. Sue leaned across one of the barriers and looked ahead in the queue. “Looks like the customs desk is having some trouble,” she said.

Francesca followed her mother’s gaze. In the opposite corner of the room was a desk at which people’s luggage was inspected. She couldn’t make out exactly what was going on through the crowd, but there was definitely a disturbance of some kind. The line had its shape, and a man was holding up a heavy-looking metal object up to a light and peering at it closely. Francesca sat down on her luggage and stared at the shoes of the people in line beside her.

“Some trip, eh?” Brian broke the silence.

“Yes, it was fascinating,” replied Sue. “What did you think, Francesca?”

“It was fun, sure.”

Brian began regaling the newly formed memories of his trip. “Could you believe it when they took us 2015, and showed us how obesity stopped being a problem after the London Olympics? Wasn’t that amazing?”

“Yeah,” said Francesca.

“Incredible.”

“I thought you liked ancient history?” said Brian.

Sue leaned across to her husband, her eyes still watching the gathering crowd at the customs desk. “I think she had her heart set on the lunar landing,” she whispered.

Her mother’s words carried to Francesca’s ears, but she didn’t reply. Instead, she looked up from the floor and watched the queue make its way around the room. She examined the faces of her fellow passengers, and wondered if anybody was here twice. She wondered if there was

another Francesca here on this same day, aged 25 or maybe 40. That was the trouble with time travel. It had the potential to get very confusing; not to mention the difficult job it gave immigration at times.

A tone sounded. “Oh,” exclaimed Sue, her hands clasped in front of her. “We have movement!” Francesca turned around.

“Hourglass Innovations apologises for the delay at customs,” a loudspeaker declared throughout the hall, “and apologises for any inconvenience it may have caused.”

Behind the customs desk, Francesca watched a man being led through a door by two officials, and the cluster of people surrounding the area quickly reformed into an orderly line. At last, the queue began to move forward.

Three quarters of an hour later, the line had snaked around enough for the family to be in front of the customs desk themselves. The officials there took each of their bags in turn and began rifling through them, taking a particularly long time with Brian’s luggage; they held each of his numerous souvenirs up to a light and examined them closely before smiling and returning them. Francesca leaned over the desk, where there was a large box marked “confiscated”.

The strange metal object was in there, but Francesca didn’t get a good look at it. “Have a safe journey,” they were told before being ushered on.

At last, there was immigration. Another official looked at Francesca and then her passport. “Francesca,” they smiled.

“That’s a pretty name. I think you’re the only person with that name we’ve seen today.”

“No,” thought Francesca to herself. “I’m a smart kid.

When I’m 25 I definitely won’t be here.”

GAMING

22.01.2013 concrete.gaming@uea.ac.uk

www.concrete-online.co.uk

Preview: Dead Space 3

@Concrete_Gaming

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Oliver Balaam Heavily inspired by sci-fi greats such as Aliens and Event Horizon, Dead Space was born in the pitch black shadow of the works it aped. Thankfully, from these stylish but derivative beginnings its sequels and prequels have constructed an expansive fiction that rivals, and arguably surpasses, those that originally inspired it.

Dead Space 3 represents a notable departure for the series, leaving behind the dank industrial interiors of previous instalments and relocating to the bright frozen planet of Tau Volantis (think Hoth but with more reanimated corpses). Some fans are concerned that it’s lost some element of its survival horror identity in the process. They’ve got a point: with the addition of human enemies to the fray, the introduction a cover system and the option to play the entire campaign co-operatively, the game is beginning to look more like a straightforward shooter than a survival horror title.

Thankfully, judging from our time with the game, fans needn’t be worried.

While the bright sweeping vistas of Tau Volantis do provide incredible spectacle, the planet also offers dark caves, blinding blizzards and interior locations more suited to tense horror than action set-pieces. Developer

Visceral’s use of light, shadow and fog is particularly praiseworthy, creating the same jump scares and visual trickery that was in previous titles achieved with creaky piping and industrial decay.

Central gameplay mechanics have also been significantly tweaked for the first time since the series inception.

Isaac’s new dodge ability increases his survival odds but importantly, doesn’t make him mobile enough to make the player feel empowered, it’s still very much a desperate fight for survival.

Weapon upgrade paths have also been redesigned, now allowing players to create their own armaments by combining different frames, ammo types and attachments. The system shows real flexibility, allowing players to craft a tool of destruction to suit their play style. Possible combinations include incendiary buzz saws and electrified rivet launchers but we had the most success combining a pulse rifle with a force gun, allowing both long range accuracy and gory short range crowd control.

Speaking of long range combat, cover based shootouts featured prominently in the demo we played and while they functioned well enough, they weren’t exactly Gears of War. Hopefully they

will feature infrequently in the full game.

We also played the demo cooperatively and while it doesn’t do wonders for the pacing, it’s a great way to enjoy the bigger action sequences.

If players want to go alone they’re not stuck with an AI partner as they would be in recent Resident Evil titles but their would be partner is intergrated into the narrative. Visceral have done a great job of making either play style feel like a complete package.

Visceral have expressed plans to manipulate players by showing them different, hallucinatory versions of the same scenes. IO Interactive pioneered this technique in Kane and Lynch when they showed one player a room full of civilians while portraying those civilians as pig-headed enemy police officers on the other players screen, resulting in a bewildering and needless massacre, antagonising co-op players in the process. If used inventively this can be a very interesting narrative device but we will have to wait for the finished product to judge its execution.

Dead Space 3 makes some radical changes but they feel like natural iterations rather than betrayals of the genre, we can’t wait to get our hands on the finished game next month.

Review: Hundreds Joe Fitzsimmons The iOS is often attacked as a platform consisting entirely of shallow casual games, with the likes of Angry Birds and Plants Vs Zombies often attracting just as many haters as fans. This is a reputation perhaps undeserved.

Despite the relative simplicity of the iPhones user interface, games have been popping up on the App Store recently, with a staggering amount of depth and replay-ability.

Developed by Semi-Secret Software, Hundreds is a prime example of what makes the iPhone such a unique device for gaming. Striking the perfect balance of easy to pick up yet hard to master, it is the perfect time waster for that long train journey or break between lectures.

The concept is straight forward. The player is presented with a number of circles. Every time they touch them, they increase in size and a number on them goes up. You win the level by reaching a collective score of 100.

There is only one challenge, if two circles touch whilst one is increasing in size, the level is lost.

At first then, it would seem that there is not much to Hundreds, but that’s when the curveballs start coming.

The game gradually ramps up the difficulty through the introduction of new puzzle elements, such as blocks that obstruct the movement of your circles and rotating blades that puncture your circles, forcing you to start again.

It’s more challenging than most of its contemporaries, but never so much that it becomes frustrating. The ability to immediately restart the levels, coupled with their briefness, also helps, as it means the flow of gameplay in never interrupted. In essence, Hundreds is simultaneously a puzzle game and a test of the players reflexes. Forward thinking is required to plot out the where each circle will need to be in order to safely increase its size. Fast fingers are also

crucial, as often it is milliseconds that separate success and failure.

Naturally the graphics aren’t going to challenge the likes of Infinity Blade, but the minimalist art design suits the overall style of the play. The contrast of black, white and red and the use of glowing geometric shapes is reminiscent of the interior design of an apple store and ensures that the screen is never so cluttered that the player becomes unsure as to what is going on.

The soundtrack, on the other hand, is abysmal. Consisting of 30 second loops of dull elevator music it is both irritating and forgettable, and will no doubt have players quickly reaching for the mute button.

Hundreds is an interesting addition to the iOS. The grating soundtrack and fast difficulty hike may turn some off, but its unique play style and depth will no doubt reward players who are up for something different.

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@concrete_arts

Thomas High

The books you read as a child have had more of an impact than you think.

From Alice in Wonderland to The Very Hungry Caterpillar, children’s literature is deeply engrained in our minds and our culture, their characters and stories influencing generation after generation.

The children’s literature module at the UEA School of Literature, Drama and Creative Writing is among the most oversubscribed in the faculty, indicating that the exploration of these texts from a new perspective, other than being read to at bedtime, is an idea which appeals greatly to many students. In fact, some

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ARTS

concrete.arts@uea.ac.uk 22.01.2013

ARTS NEWS:

NORWICH DISCUSSES CHILDREN’S LITERATURE students on the children’s literature module last semester did not want the discussion to end after 12 weeks, and have begun a new initiative to open up the examination of children’s literature to all UEA students and to the wider community.

Next month sees the beginning of an exciting new discussion group, for adults to explore children’s literature and its cultural, historical and social impact alongside UEA staff and students, and the Norfolk and Norwich Millennium Library. Hosted by Dr B.J. Epstein, organiser of the children’s

literature module at UEA, and students of the module, the group will hold its first meeting on 13 February at 5:30pm in the training room at the Forum. The group is open to everyone, whether they are from UEA or outside university.

The first session invites attendees to bring along one of their favourite childhood books in order to share and discuss it with everybody. The following sessions will have the group read the same children’s book together each month and discuss it. Such texts will range from undeniable childhood classics like Peter Pan, to modern publications

like A Monster Calls. So, if the idea of exploring children’s literature from a fresh new perspective appeals to you, come along to the first session and don’t forget to bring that favourite book!

For more information about exactly what the group will entail, please e-mail Dr B.J. Epstein at B.Epstein@ uea.ac.uk and keep an eye out for posters advertising “We Need to Talk About KidLit”. And be sure to follow @NorwichKidLit and @bjepstein on Twitter to join in the discussion of children’s literature from wherever you are!

INTERVIEW: Venue talks to Asye Tary, the writer of Minotaur Theatre Company’s Shackled Hatty Farnham Venue: When did you start writing plays?

Asye: Me and a couple of mates used to write for our own amusement - proper Drama geeks, so I guess it started at school.

I wanted to take it more seriously and do it at degree level and UEA was pretty much the only place that offered a decent course in scriptwriting for theatre specifically.

Venue: Last year you won the Minotaur creative writing competition, is playwriting a career you intend to pursue?

Asye: I would love to, yeah. It’s not a career I think would be easy or even realistic to follow. But there’s something encouraging about seeing a piece of work you wrote in your bedroom being performed in a studio by actors.

Venue: The plot is quite dark, what inspired you to write the play?

Asye: It’s all based on real events. Pretty much everything you see and hear actually happened, except for a couple of changes to details like names. There’s one monologue in particular that even feels verbatim - that was intentional. It’s very naturalistic. I guess if you described the plot to someone, it sounds like this incredibly depressing kitchen-sink drama. It’s not! It’s actually quite funny in parts. Because of the darker themes it deals with, I think it has to be. I like to think it’s a play that doesn’t feel sorry for itself.

Venue: How involved are you in casting and direction?

Asye: Involved enough that I’ve got an idea of how the show will turn out, but there’s also enough distance for me to feel like I’ll

be watching someone else’s interpretation of it. After talking with the director, Lizzy Talbot about it, I felt completely comfortable to leave it in her hands. There are few other really great people looking after it too. I’ve only seen one rehearsal so far and it’s all I get until opening night!

Venue: What moment of the production is most enjoyable for you?

Asye: That’s hard to answer until I’ve seen it on its feet. In the performance there’ll be moments that turn out differently to how they’re read in a script, but I’m looking forward to seeing the more comedic parts. I think the juxtaposition of the humour with some of the darker moments will heighten it. It’s like comic relief. The main character has a couple of cracking monologues. He’s middle aged with cancer, and the ultimate lad.

Venue: What part of the writing and production process to you find most daunting?

Asye: The writing isn’t particularly daunting – it is probably the easiest part because if you can see it, all you have to do is put it on paper. Sometimes the production process can be a bit daunting because I hope people will get the culture of it. But then I think the production team and the cast are wicked so fuck it, I’m just going to enjoy the show.

Elizabeth Margereson

Venue: Is it difficult coming back to UEA and working with students you know?

Asye: Not at all! If anything, it is easier that I know them because the trust is already there. I miss UEA a lot so it’s been wicked to come up and hang out in the studio again.

Jerusha Green

ARTS

22.01.2013 concrete.arts@uea.ac.uk

Kirsten Powley

It takes a fairly closeted person to have not heard of Virginia Woolf. She was born in January 1882 and lived in Hyde Park – and so begins the jealousy. Woolf was a highly influential figure and became an exponent of Modernism, an ambiguous literary movement in the early twentieth century. Although an experimental movement anyway, Woolf was a connoisseur of the art: her novels were famed for their use of stream of consciousness where she roots around uncompromisingly into the deep, inner thoughts of her characters.

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ARTS HISTORY: THE LIFE AND WORKS OF VIRGINIA WOOLF

The success in Woolf ’s life was enough to make any mother proud.

She was in the Bloomsbury Group, started writing for the Times Literary Supplement – a connection she maintained through her writing career – and gave lectures at Cambridge University. This woman was not short of talent, and even in her essays, such as “Mr Bennett and Mrs Brown” and “The Art of Biography”, her wit and vivacity shone through. Sadly, with such genius can come insanity, and Woolf always claimed herself mad. From the death

Venue’s favourite fantasy novel Woolf ’s Orlando Flo Reynolds

@concrete_arts

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of her mother when she was only 13, Woolf suffered periods of depression which continued throughout her life.

The topic of suicide and psychological conflicts were a theme in her books, particularly Mrs Dalloway.

To the Lighthouse (1927) is one of Woolf ’s most well-known novels, highlighting the complexity of human relationships and the themes of absence and loss of family members. However, the slightly more plot-driven Mrs Dalloway (1925) is where Woolf really showcases her talent for writing. The disturbances

of her characters’ personalities almost make them seem more real as people than you believe you are.

On the 28th March 1941, Virginia Woolf committed suicide by drowning herself. When reading her novels, the imagery of water is constant, creating a more sombre but moving tone to her work. Woolf was a talented writer who tackled significant issues, but she enjoyed the simpler things in life too: “One cannot think well, love well, sleep well, if one has not dined well”. Well said, Virginia.

It might sound unlikely, but it has to be Virginia Woolf ’s Orlando. Woolf described this book as “a writer’s holiday”, and it is similarly fun to read.

Taking the form of a tongue-in-cheek biography of a young Elizabethan noble, from the reign of Elizabeth I, right up until the time Woolf was writing, the novel is a journey through time, space, gender, and the difficulties of writing epic poetry.

Orlando ice-skates on the River Thames, is unlucky in love, experiences an impromptu change of gender overnight, travels to exotic lands, stays with gypsies, marries a sea captain, meets poets and paupers… it might

all take place on planet Earth, but the hero/ine’s extraordinarily long life and experience of difference historical periods – coupled with Woolf ’s ironic humour and incandescent prose – make this just as captivating, and fun a romp as more modern works, such as Douglas Adams’ The Hitchhiker’s Guide to the Galaxy.

Add to these terrestrial capers a healthy dose of gender deconstruction and feminism (testament to Woolf ’s surprisingly avant-garde politics), and you have yourself a book that will redefine your expectations of both Woolf and the novel, and a taste of some of the earliest humourous sci-fi there is.

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concrete.competitions@uea.ac.uk 22.01.2013

ON CAMPUS

happening this fortnight Allegri Quartet Concert Tuesday 29 January, 7.30pm

On Tuesday, January 29, one of UEA's professional Ensembles in Residences, the world-renowned Allegri Quartet, will give a concert of Beethoven's String Quartet Op.95, Shostakovich's String Quartet No 11 and Beethoven's String Quartet Op. 131 in UEA School of Music.

Founded in 1953 by Eli Goren, William Pleeth, Patrick Ireland and James Barton, the Allegri Quartet is Britain's longest-running chamber music ensemble, sustained over six decades by successive generations of the finest international

LISTINGS

performers. Their reputation for distinctive and stimulating interpretations is rooted in tradition yet alive to contemporary trends. A commitment to refreshing the repertoire has led the Allegris to give more than 60 world premières since 1964, including specially commissioned pieces by leading composers such as James MacMillan, Colin Matthews and, most recently, Anthony Payne.

The Allegri Quartet concerts starts at 7.30pm on Tuesday January 29, with doors opening at 6.45pm. Tickets cost £4£7 and are available now from UEA Box Office (booking fee for online purchases) 01603 508050. Tickets will also be available to buy on the door on the night of the concert.

For more information about the Allegri Quartet concert, visit: www.uea.ac.uk/music/music-events/ event-calendar/allegri-quartet-concert, e-mail: musicevents@uea.ac.uk or follow @UEAConcerts on Twitter.

International Students Society Indian Head Massage Wednesday 23 January, 7 pm

UEA’s International Student Society is offering a lesson in the art of Indian Head Massage, to take place in Congregation Hall, 01.07. The class will be taken by a professional teacher, and participants will receive a head massage as part of the lesson. Snacks will also be provided.

Indian Head Massage has been

practised in India for over a thousand years. It is a massage system which focuses on the head, neck and shoulders.

Head massage can help to reduce stress, relieve sleeplessness and promote a general feeling of wellbeing.

Tickets cost £1 and will be on sale on Tuesday 22 January in the Hive.

Shotokan Karate Club Japanese Calligraphy Class Sunday 27 January, 11am The Shotokan Karate Club is hosting a lesson in Japanese Calligraphy, or Shodo, which is to take place in the LCR from 11am to 12.30pm. The class is to be led

by Stephen Grayston-meijin, founder of Shindu-Ryu Karate-Do. Participants from outside the club are warmly encouraged to join.

Tickets cost £8, payable on the day.

LISTINGS

22.01.2013 concrete.listings@uea.ac.uk

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www.concrete-online.co.uk

22 January - 4 February Gigs

Drama and Comedy

23 January Steve Cropper and The Animals & Friends Price £20 Advance 7.30pm UEA LCR The Joy Formidable w/We Are Animal Price £12.50 Advance 7.30pm The Waterfront 25 January Pams House 17th Birthday and UEA Reunion Price £12/£10 NUS Advance 9pm UEA LCR 26 January Differential Presents the Big C – Featuring Purple Havana and Special Guests @ The Waterfront Studio Price £5 7pm The Waterfront 29 January Rue Royale@ The Bicycle Shop Price £5 7.30pm The Bicycle Shop

Theatre 24 January – 26 January Shackled presented by Minotaur Theatre Company Price £6/£4 Conc.

7.30pm UEA Drama Studio

Comedy 23 January Mark Thomas – Manifesto Warm Ups Price £10 8pm Norwich Arts Centre The Showstoppers Price £15/£13 Conc.

7.30pm The Playhouse Lucy Porter: People Person Price £14/£12 Conc.

8pm The Playhouse

1 February

Club Nights Aussie Beach Party LCR Price £3.50 10pm UEA LCR A List Price £4.50 10pm UEA LCR

Miscellaneous 22 January

16 January

Polly Toynbee Price £14/£12 Conc.

7.30pm Norwich Arts Centre UEA Salsa All-Day Festival Price £25/£10 NUS Advance 11am-1.30pm UEA LCR

30 January Reality TV – Flashy Vs Trashy LCR Price £3.50 10pm UEA LCR 80s Night + Hit Parade Price £4.50/ £3.50 NUS 10pm The Waterfront

1 February

2 February

30 January Henrik Freischlader w/Albany Down and Nina Baker @ The Waterfront Studio Price £11 7.30pm The Waterfront 31 January We Are The Ocean w/ Yashin and Straight Lines Price£12.50 7pm The Waterfront

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1 February

2 February

COMPETITIONS concrete.competitions@uea.ac.uk

across

www.concrete-online.co.uk

22.01.2013

the sci-fi and fantasy crossword

4. The first book of the Inheritance series (6) 5. Illegitimate son of King Arthur (7) 7. Dalek battle-cry (11) 10. A long and eventful journey (7) 11. Subterranean Race in The Time Machine (8) 12. The Dread Pirate -------- (7) 14. Flat world on the back of four elephants (9) 16. A double-plus good year (4) 18. This pudding is a lie (4) 19. Talking cat in Sabrina theTeenage Witch (5)

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down 1. The temperature at which paper burns (10, 3) 2. One does not simply walk into ------- (6) 3. A creature not from Earth (5) 6. That’s no moon (5, 4) 8. Spaceship captained by Mal Reynolds (8) 9. Writer of all things tentacly (9) 13. The Dark Knight (6) 15. Giant flying lizards (7) 17. The answer to the Ultimate Question of Life, the Universe, and Everything (2) 20. A box without hinges, key or lid Yet golden treasure inside is hid (3)

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