Venue - Issue 280 - 19 February 2013

V E N U E

Issue 280 Tuesday 19 February 2013

www.concrete-online.co.uk Fashion - Spring has Sprung: The Latest Trends, page 8-9.

Film - Awards Preview: The Oscars 2013, page 13.

Creative Writing - Themed Submissions: Nature, page 16-17.

Photo: Virginie Lassarre

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VENUE CONTENTS

Tuesday 19 February 2013

ISSUE 280

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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> Yasmin Hoy, Jack Enright, Harry Fletcher, Emma Price, Tom Aggett, Hayden East and Sam Warner Fashion | Editors | Jess Beech and Lucy Jobber Fashion Contributors> Becky Evans, Ella Sharp and Gemma Carter Film | Editors | Kieran Rogers and Andrew Wilkins Film Contributors> Ha Nguyen, Andrew Hamilton, Emma Holbrook, Oliver Partington, Katryna Coak, Holly Wade, Charlotte Flight, Melissa Taylor, Jonathan Blair, Jack Rice, Olivia Blowes, Ben Baulch-Jones and Sam Warner Television | Editor | Ellissa Chilley Television Contributors> Natalie Beale, Jess Beech and Jay Slayton-Joslin Creative Writing | Editor | Matthew Mulcahy Creative Writing Contributors> Coco d’Hont, Tom King, Michelle Sewell, Kate Duckney and James Sykes Gaming | Editor | Oliver Balaam Gaming Contributors> Jumara Begum, Robert Austin and Oliver Balaam Arts | Editor | Hatty Farnham Arts Contributors> Melissa Taylor, Callum Graham, Flo Reynolds, Sophie Szynaka and Hatty Farnham Competitions/Listings | Editor | Amelia Edwards

From the Editors Greetings and Salutations, Dear Reader!

With three issues left to go, Team Venue are starting to get a little jumpy about the idea of being un-glued from this office in a matter of weeks. That said, production weekends have been a lot more calming lately; this little yellow box of creativity has been an escape from the big reality of third year. Don’t fret on our behalf - we’ll be fine. We’ve got biscuits somewhere.

We’d like to thank all those who contributed to this issue- writers, editors and photographers. As ever, we’d just be sat here looking a bit confused without you all, so thanks. We’ve got some great content in this issue and, as we head into the latter half of the second semester, we hope to make the most of the issues left and finally get round to using this platform for what we’d always planned - launching our successful pop careers.

Stay classy, guys, Rachael and Matt Photo: Virginie Lassarre

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MUSIC

concrete.music@uea.ac.uk 19.02.2013

feature BREAKING: FEBRUARY

In the first of a series, Jack Enright showcases the most exciting new acts of the month

In terms of new music, 2013 has certainly been fruitful thus far - the blogosphere has been blessed with a deluge of original and innovative new acts, more than could ever be condensed into this column.

Highly regarded London starlets Wolf Alice have been right at the forefront of this early activity, and have only enhanced their standing with the two seriously gorgeous numbers they are currently streaming over the net.

Raucous, riff-heavy single Fluffy is the title track and certainly comes with plenty of fire and fight, but in terms of artistic depth it’s the more tender B-side that comes out the winner. Taking their lead from The xx, White Leather combines delicately intertwined guitar melodies with ghostly, barely-there drum beats.

The resulting atmosphere of understated melancholy provides the perfect canvas for Ellie Roswell’s heartfelt lyrics to paint us a poignant tale of unrequited love. “I bought a drink for you/but you were smoking with your friends outside” goes her longing refrain.

These are not profound lyrics by any means, but they carry a universal appeal that makes them pertinent and touching to all. Fluffy was released on 11 February,

and it’s certainly something worth snapping up.

Meanwhile, in the auspicious electro stronghold of, erm ... Kent, soundscapers Team Morale (above, left) released their debut EP, Forteana, yesterday. The duo are currently streaming the preview track Aurora online, and if that’s anything to go by then we’re certainly in for a treat. The track boasts layer upon layer of hazy, sundappled synths, which combined with warm, echo-heavy drum lines create an idyllic sepia-snapshot of electronic heaven.

Elsewhere on the electronic scene, ethereal songstress Indiana has been quietly putting out a run of seriously impressive tracks. Her most recent offering, Bound sees sinister, almost Burial-esque production meet with her trademark hushed whispers and shrill, sultry cries. The morbid synth effects instil this track with a distinct aura of cold, industrial heartlessness, but this atmosphere is intriguingly juxtaposed with Indiana’s conversely delicate, emphatically human vocals.

The result is a track dripping with sexual tension and alive with the sinister, whilst still providing a bassline worthy of any dance floor. Indiana is quickly

marking herself out as an artist that deserves your attention - make sure you do and you’re sure to be rewarded.

Operating in very much the same artistic vein is the Singapore-based duo Octover. Like Indiana, this two-piece are purveyors of seriously dark and foreboding electronica. Whilst staying very much within the limits of the post-dubstep formula that has been so successfully championed the likes of Joker and James Blake, Octover have taken the same template and added a touch of soul and experimental R&B with beguiling results.

On perhaps the absolute opposite end of the musical spectrum, French indiepoppers Concrete Knives (above, right) have been gearing up for the release of their debut album Be Your Own King, which came out yesterday (18/2). This Normandy-based five-piece have little in the way of a back catalogue, but the handful of tracks currently scattered across the internet mark them out as an act worth keeping an eye on.

Their latest offering, Truth, is an irresistible, mid-paced folk-shuffle that playfully gambols into your subconscious, leaving you humming along to its

addictive melody for hours after. The more forceful Greyhound Racing sees the addition of some meatier guitar hooks, along with a chorus that will make this track a favourite at live shows. Perhaps the best way to describe the sound of Concrete Knives is to imagine a Mumford and Sons without the irritating “quaint English twee” affectation that pervades so much of what they do... Yes, Concrete Knives do sing-along indie-folk in much the same way, but it is done with much less pretension and a healthy dose of world-weary grit. These guys hit Norwich Arts Centre on 9 March, so if this is a recipe that appeals then be sure to catch them.

If you’ve been missing the unabashed “kitchen sink” pop of Lily Allen and Kate Nash then you need look no further. The excitement for new social-commentatoron-the-block Chloe Howl began bubbling up as early as a couple of months ago, but it’s recent release Rumour that’s put her firmly centre stage. Confident, selfassured delivery allied with insightful and incisive lyrics mean that Howl is definitely one to watch from now on.

The year has opened up promisingly let’s hope it can keep it together.

MUSIC

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interview

FUNERAL FOR A FRIEND

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Yasmin Hoy talks to the Welsh band about their latest album Conduit

It’s been 10 years since their debut album was released but Welsh rockers Funeral For A Friend are still going strong, and are currently touring the UK in support of their new album Conduit. Having recently played at The Waterfront in support of the record, Venue got the opportunity to speak to guitarist Kris Coombs-Roberts.

Their latest album Conduit recently reached the Top 40 and has been well received by fans and critics alike - how have they found the reaction to it? “It’s always nice when you put a record out and people appreciate it, especially after we took most of 2012 out writing and recording. It feels like we’ve been sat on it for quite some time; you almost forget that people are actually going to hear it. But so far it’s been really good, everything seems really positive - so yeah, we’re all very happy.”

Conduit is their sixth studio album, accompanied by many EPs and even a “best-of ” collection, and CoombsRoberts notes that choosing set lists is now proving quite a task. “I think it’s quite difficult because we’ve now got quite a hefty back catalogue, but the fact that we’re releasing a new record makes it easier as the best way to promote an album is to play the songs live. It’s a lot easier when you’re doing an album campaign as opposed to a one-off

festival, which can be a bit of a nightmare as we’re picking from probably 90-odd songs I think.”

When asked about favourite moments on the album, he modestly replies: “Gav’s [Burrough, guitarist] guitar part from the chorus of Best Friends and Hospital Beds - when he wrote that I thought that was a really good guitar line. For playing live though I’d have to say the breakdown from Conduit - it’s simple to play but muscular, and sounds really tight.”

2011’s Welcome Home Armageddon brought a return to the heavier sound that had defined their earlier work, after delving into mellower, more refined territory on their third and fourth albums. Conduit continues on from Welcome Home... and is possibly the heaviest the band have ever sounded.

Coombs-Roberts opens up as to why they’re writing heavy music again: “At the time that we did [third album]Tales Don’t Tell Themselves and [fourth album] Memory and Humanity I think we got a little lost maybe, a little bit disillusioned - we were touring so consistently and not taking any time out and you kind of forget the reasons why you play music in the first place. But when Rich [Boucher, bassist] and Gav joined they both spoke about what they liked about the band and it made us realise we’d

been trying to force ourselves into a direction because we were always being pigeonholed by being called screamo, or emo, or extreme-o, or I don’t know, bloody nemo! We didn’t want to be that band, we never considered ourselves an emo or screamo band.

“We pushed artistically to make people view us differently and it made us stop making music that naturally comes to us. Rich and Gav were honest enough with us about our back catalogue and we started playing for the enjoyment of playing again - we found our feet with Welcome Home Armageddon and this album is a continuation of that. This is the most settled and happy we’ve been as a band for a very long time, and I think that comes through on Conduit.”

Even so, Tales is still a fine album, and to an extent he agrees: “I still love Tales, I think it’s a great record but for a different band maybe; not for us, not for what we do.”

Conduit is also the third album that they’ve worked on with producer Romesh Dodangoda. “We were friends before we started working together, and then we were hearing the work he was doing on the up and coming bands in the South Wales scene, and couldn’t hear any difference between huge name producers and what he does; he’s at that standard. We believe in him as a producer

and he believes in us as a band, and it’s just a really good working environment where we’re all mates and we all get on.

It makes it really easy to just go into a studio and record some music with some of your best mates.”

The biggest news in the music industry over the last few weeks was, of course, HMV going into administration.

Conduit was due to be released two weeks after the news broke, so were the band worried about the impact it could have had on the albums release? He pauses slightly before replying: “I don’t know to be honest with you - the thing with HMV is that people are blaming iTunes and Amazon but what it comes down to is that people aren’t buying music anymore because everybody steals it. People think that downloading a record is a victimless crime, that it’s faceless companies who suffer for it, but the reality of it is bands put a lot of time into making a record.”

He adds: “Without people paying for records, nobody’s going to want to put the albums out.”

So, what’s next for Funeral For A Friend? “We have about a week off after the UK tour finishes and then we’ve got some dates in Europe; a few days off here or there but it’s mainly tour, tour, tour, tour, tour, tour, tour.” He then joking adds: “we’ve been off for a year so we can’t really complain!”

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EVERYTHING EVERYTHING NAC 8.2.13

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FRIGHTENED RABBIT The Waterfront 8.2.13 Sam Warner Scotland’s Frightened Rabbit have come a long way in the past few years.

Releasing their debut album Sings The Greys back in 2006 to little fanfare, singer Scott Hutchison and his band developed significantly as a group after the release of its successor The Midnight Organ Fight – with its lust filled lyrics and potent introspection, the album was a critical success. Yet a week after the release of their fourth effort Pedestrian Verse, this epic-sounding five piece are still playing small venues such as the Waterfront; not that lead singer Scott Hutchison seems at all put-off.

“It’s great to be back in Norwich.

Last time we were here we played a in

concrete.music@uea.ac.uk 19.02.2013

live reviews

watch out for, and is well worth a listen.

Everything Everything take the stage, and look immediately at ease amidst the grand arches of the art centre auditorium. The timing of the performance in relation to the release of Arc means the crowd have had chance to get to grips with the new songs, and openers Undrowned and to a greater extent, Kemosabe are greeted like familiar friends in a set seemingly studded with fan favourites.

The performance is flawless. The pinballing vocals of Jonathan Higgs stand up remarkably well live, and indeed the sheer musicianship of the group as a whole is striking. And while the tour is there to showcase new material, the pomp of Photoshop Handsome, the groove of Schoolin’ and the sheer audacity of Suffragette Suffragette is irresistible.

Latest album Arc sees the band in expansive mood, and while their debut Man Alive managed to be playful,

flirty, intricate and delicate often at the same time, the group’s new material offers a slightly more muscular musical approach and possesses a surprising depth of subject matter.

These new songs have a real gravity to them, and this comes across prominently in the set with the performance of The Peaks. Here rhetoric shifts from the delectable nonsense of Man Alive and gives way to measured reflection.

Considering the overwhelming feelings of desperation facing whole generations of Britons: on the recession, the coalition and the socio-political conditions that led to the London riots, Higgs sings “I’ve seen more towers come down than children grow up/I’ve seen more horrors made real than dreamers wake up”. The result live is genuinely affecting and suggests real substance; a deeper, reflective side to all the complicated time-signature shifting and art rock frivolity for which they are known.

After set closer Cough Cough, the band thank the crowd for filling out the venue, buying the record and making them feel like a “real band”. Following the success of Arc and with tonight’s performance perfectly showcasing the new material’s musical stature and intention, it seems that ascension from indie favourites to arena mainstays is a very real prospect indeed.

church,” he says after openers Holy and Fast Blood. “Not that that’s necessarily a bad thing.” Following strong support slots from Washington Irving and Wintersleep, Frightened Rabbit are clearly humbled to be here. The set already proves a hybrid mix of material from across their career, with Living In Colour getting the first big reaction from the assembled. Followed by the rousing Nothing Like You and Old Old Fashioned, the band are already on a high, even with first-night-of-the-tour nerves.

Despite early fears, material from Pedestrian Verse goes down a storm, with its first single The Woodpile providing the highlight of the evening.

Hutchison also connects strongly with his audience, the banter between each song including an ironic comparison to Jesus, as well as getting the crowd to belt communal “ahhs” whilst the band sort out a drum problem – there is a soft religiosity to it all.

The audience’s enthusiasm dies down somewhat during the second half of the main set, arms folded tight amidst tamer numbers like Backyard

Skulls. Yet the band’s return for a threesong encore is greatly anticipated, and with some of some of their most recognisable tunes like The Modern Leper and Swim Until You Can’t See Land played, it goes down as a strong climax.

With this setlist, it is clear that

Frightened Rabbit want to appeal to devotees alongside newer recruits tonight. Though not all of their songs seem to quite translate in grandness to a live setting, the band nevertheless gives a rousing performance that showcases their ever-growing potential, be it in a garage or a church.

Harry Fletcher A month after the release of second studio album Arc to near unanimous critical acclaim and top five chart success, Everything Everything are a band going places. This performance at Norwich Arts Centre nestles nicely in the middle of their sell out European tour, and tonight’s audience could hardly have chosen a better time to see them in action. The momentum they bring to the performance is infectious; the band are riding a wave and the Friday night crowd are right there with them.

Supporting the art rockers this tour are Liverpudlians Outfit, who offer half an hour of brooding dance floor indie. The group are politely received, and while the performance is solid enough, the band only really hit top gear with final tune Two Islands with which the crowd witness an energy and intent perhaps less apparent in the earlier stages of the set. Despite a bit of a mixed bag, Two Islands alone confirms Outfit’s status as a band to

MUSIC

MUSIC

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album reviews

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MY BLOODY VALENTINE M B V Hayden East

Let’s put this release into perspective: m b v has been in development longer than some of UEA’s students have been

FOALS HOLY FIRE Emma Price

It was always going to be a tough act following 2010’s Mercury Prizenominated Total Life Forever but, in true Foals fashion, the Oxford fivepiece have defied the odds. After a three year wait, they have released their third album in the form of Holy Fire and (clichés aside), the album has actually got something for everyone.

Foals have vastly improved from their math-rock days as NME’s newest hype band. One of the most notable improvements lies in Yannis Philippakis’ vocal ability. His more

alive. 22 years in the making, the sudden release of the Dublin shoegazers’ third album marks their first material since 1991’s Loveless, unquestionably one of music’s most influential albums due to its otherworldly guitar soundscapes.

With that in mind, it’s commendable that even after such delay m b v succeeds as a natural and relevant progression.

Opening track She Found Now places us in familiar territory. With its distant wall of sound, faint bass drum and abstract vocals, it’s a free-fall through the past two decades. Three tracks in though, the album begins to develop a more experimental nature, using frontman Kevin Shields’ guitar delay and the tremolo bar as a center.

New You is the closest the band has ever come to recording a pop song, rolling in on saccharine-sweet melodies and some heavy bass work from Debbie

Googe. Most surprising though is the ambient Is This And Yes, the first My Bloody Valentine song without any guitar parts. With such diverse stylistic range m b v is threatened by a lack of consistency, but Bilinda Butcher’s serene vocals are enough to unify the collection of songs.

Aside from these moments, contributions from supporting bandmates are scarce. Make no mistake, this is a Kevin Shields record from start to finish. As a noted audiophile, he makes the most of modern mixing techniques, evident in the track Nothing Is, which repeats a bludgeoning instrumental loop over three and half minutes, gradually increasing in volume.

Past criticism often compared My Bloody Valentine’s guitar work to the sound of jet engines; so it’s with a

beautiful irony that closing track Wonder 2 literally features the sound of aircraft.

Combined with a heavy breakbeat and a phased wall of sound rivalled only by their intense 1988 single You Made Me Realise, it’s an all-out aural assault.

Shields did give mention to a drum and bass-influenced track in recent interviews, but no amount of warning could preempt something so utterly chaotic as this.

As one would expect, m v b makes for an immersive and challenging listen.

It doesn’t reach for the otherworldly textures of Loveless nor does it echo the energetic noise-pop of their debut Isn’t Anything, but to draw comparisons to its predecessors is to miss the point.

Fans may have been waiting for decades, but m b v simply sounds as if it’s always existed. And, for a band that encapsulate timelessness, isn’t that enough?

mature, profound lyrics are equally developed: “Oh now mama do you hear my fear? / It’s coming after me”, compared to past hit “We fly balloons on this fuel called love”.

The album itself includes many fan favourites including the heavier, guitar based Inhaler and the undeniably funky pop single My Number, a staple in any summer 2013 playlist. Despite its heavier moments, the band still hark back to their undeniably indiepop basis with songs such as Everytime.

The album is not short on tearjerkers either with Late Night, Moon and Stepson filling this quota. At these points the lyrics are beautiful, painful and refreshingly honest instead of the obscure metaphors that the band has become known for.

For a band whose next moves are so hard to pin down, Holy Fire could have so easily been a disaster, but rise to the occasion. Recorded in London and Greece and produced by the superteam of Flood and Moulder, these combined efforts are sure to further Holy Fire’s position as a classic album, one which will translate to the live stage effectively.

You would be right to feel despondent with most new music these days but Foals are proving that there is still hope. Whilst the album is not as mainstream as many predicted, if this album does not bring Foals the accreditation and appreciation they deserve then I officially resign from life.

FRIGHTENED RABBIT PEDESTRIAN VERSE

slightly less depress-fest The Winter of Mixed Drinks) but its entire ethos seems different.

Frontman Scott Hutchison’s lyrics express clever social commentary that would make the likes of Alex Turner blush in Acts of Man and State Hospital, whilst the expansive instrumentation on Backyard Skulls is a welcoming presence. This sets the tone for the whole album: welcoming, universal and epic.

The Woodpile and Late March, Death March have simple chord progressions to keep you upbeat despite the bleak subject matter. Pedestrian Verse is a kind of black mirror held up in front of us all. A black mirror that you’ll be singing over and over.

This is what makes this album so good - the juxtaposition of the abject human condition alongside hook-aminute indie pop perfection. Foot stomper Housing is so catchy that two versions of the song feature on the record, neither seeming out of place although the second, leading into the closing track, The Oilslick is arguably the album’s best. It encompasses the themes of the album whilst satirising Hutchinson’s own tendency to write self indulgently before reaching a crescendo to screams of “there is hope so I think we’ll be fine through these disastrous times”.

Pedestrian Verse is a big statement from Frightened Rabbit. A statement which may finally grant them the national recognition they deserve.

Tom Aggett

Frightened Rabbit have an appropriately frightening habit of making beautiful, brutally honest records. Their fourth outing Pedestrian Verse is no exception.

As their first major label release, it does however, mark a distinct turning point for the Scottish five piece. It not only showcases a progression from the autobiographical nature of FR’s recent LPs (see 2008’s depress-fest The Midnight Organ Fight & 2010’s

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SMOKIN’

Getting Married in the LCR We suspect the Anti-Valentines stunt will have started a trend!

The Red Carpet Fashion With the recent BAFTA’s and upcoming Oscards. We’ve been spoilt rotten with glimpses of designer suits and dresses.

CHOKIN’ Lady Gaga’s bum note Her trousers recently ripped during a gig.

Marion Cotillard’s BAFTA dress Canary yellow and ill fitting

We love a bit of Geek Chic... But Dweeb Chic? No thanks.

concrete.fashion@uea.ac.uk 19.02.2013

Spring Trend: Swinging Back to the Sixties Gemma Carter With style icons such as Mary Quant and Twiggy, the sixties was a decade known for breaking boundaries and revolutionising fashion. It was an era overwhelmed with innovative ideas which were confident and expressive, yet still remained effortlessly chic and artistic. Therefore it is no surprise that sixties style is returning for Spring/Summer 2013 and the high street will be full of sixties inspired pieces.

Kelly Rowland’s Grammy dress Slamming

Slogan Tees

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FASHION

• The Shift Dress: This simple, short, sleeveless silhouette enhancing is a wardrobe essential. With its high neck line and no definition at the waist it can seem a bit of a risk for those with an hourglass shape; however a belt can be added to cinch in the waist and make it flattering for most figures. For spring and summer days choose a strong floral print and team with a denim jacket. Or for nights out pick a bold, block colour and embellish with a few accessories, lashings of eyeliner and a Bardot bouffant!

• Prints – Geometrics & Florals: A style which is synonymous with the sixties is the “Mod”. Large geometric shapes printed onto clothing in bold, contrasting colours are great statement pieces. Look out for skirts and shorts covered with

bright geometrics this Spring/Summer, but remember to keep the rest of your outfit simple. Or if you’re feeling brave, clash and contrast! Floral patterns then appeared later in the decade with motifs inspired by Art Nouveau and Art Deco pieces, with designers like Ossie Clark using them to create feminine, flattering maxi dresses. The maxi- dress is ideal for that effortless Spring/ Summer look; watch out for bell sleeves as they help to add to that bohemian yet elegant sixties look.

• Collars: The Peter-Pan collar was a big part of 60s fashion, used to embellish the high neck of dresses and blouses, adding that feminine touch to outfits. Peter-Pan collars were big in Autumn/Winter 2012 and they are here to stay for Spring/Summer 2013; from fabric to lace to sequin collars they will be everywhere! Even if you can’t find that perfect dress with a collar, you can always up-cycle one you already have with a collar necklace or if you’re feeling really brave sew one on! It doesn’t necessarily have to be a dress; you could always add it to one of your plain t-shirts for that classic chic 60s twist.

So be prepared and look out for the return of the looks of the stylish sixties!

Geek Chic: One step too far...

Ella Sharp takes a look at the current trend for slogan tees So it’s a Saturday afternoon and Chapelfield is teaming with families, screaming babies and teenagers. You’d rather be in essay hell than this shopping hell. A quick jump into Topshop and you’re affronted with a thousand T-Shirts in a multitude of colours, but each bearing the same slogan: GEEK. You turn around and are suddenly faced with a sea of wide-eyed 12 year old girls hankering after an affirmation that they are cool.

The Geek T is the most recent high street trend that has appeared to have sprung from nowhere and now suddenly everyone is now admitting to their inner nerdiness.

To be a geek or nerd is cool, it’s the hottest new way of self-expression. No one is ashamed to be into Star Wars or World of Warcraft anymore. To be genuinely interested in Doctor Who is no bad thing, it’s when the 12 year old kids watch one Lord of the Rings film and start fan-girling that the real trouble starts.

And this is where the aforementioned Geek T comes in.

Be a geek all you want, but the moment

you plaster it across your chest like it’s a battle scar you lose all credibility for your love of Frodo Baggins. If you really, truly, love Lord of the Rings or Star Wars so badly, buy a Star Wars T-Shirt (or bag, or jumper, or go retro with a lunchbox). Not only will it show some true originality, but it will invite all sorts of questions and you might even end up making some new friends.

A thousand times better than basically having “Easily Led” embezzled across your chest.

These slogan T-Shirts seem to lack any sort of thought. As high street trends go, this one has so much falsity behind it, pretending to be interesting, fresh and new, yet not standing up to these claims at all. And that’s my main problem with this trend. If you don’t fancy traipsing through charity shops, if you don’t really like Star Wars all that much, don’t pretend.

Embrace shopping on the high street, don’t go faking it. This also applies to Band T-shirts, the next time I see someone wearing an “Artic Monkeys” or a “The Smiths” T-shirt, when only knowing one song, they’re getting Glee-style slushied.

FASHION

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Photographer: Chloe Hashemi, Stylist: Ella Sharp, Model: Holly Wade

Spring Forward

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Becky Evans tells us what’s hot this spring...

Spring is on its way and immediately our thoughts stray to pastels. Those adorable mints and lavenders mixed with the daffodils and snowdrops of a fresh spring morning bring hope to the shivering walks home. Alas, this season, runway fashion has cast the pastels aside, but fear not, those forget-me-not colours of the new season are timeless. Nevertheless, if remaining on trend is your calling then, in the words of Shakespeare, lay on Macduff!

• Peekaboo Pieces: this season’s runway flaunted an array of evening dresses with panels cut out. This style is not for the fashion faint hearted; the LBD has now took on a whole new meaning, so style it up and pick a dress that has a couple of sections cut out. If this is too forward for those hesitant to bare all then have no fear, opt instead for sheer panelling. A dainty and elegant alternative to the bold peekaboo style, here we see sheer light cream and pink outfits with long sections of panelling twinned with quaint detailing. A

very chic substitute.

• Laux Leather: surprisingly 2013 retains the leather trend tweaking it to fit the new season. Instead of statement leather almost hitting Fifty Shades of Grey heights, runways are showing a girly feel with soft leather in a variety of styles. So ditch the wintery bondage and opt instead for a more feminine approach with a leather dress including patterned cut outs or a leather t-shirt.

• Monotone: a trend that never fades is that of black and white, as sported by recent Calvin Klein models, who not only owned the monotone trend but demonstrated peekaboo and sheer panelled dresses.

From designer to high street, this is an accessible-to-all style; River Island have taken the bull by the horns and added monotone to their wardrobe variety, including striped options. Check out this midi dress (above, right) for only £35.

• Low Heels and Flats: “Low heels as the next

hottest thing?!” I hear you cheer? Yes. This season it is all about low pointed heels of every colour of the rainbow and dainty flat shoes. For the daring among us, strive for low pointed heels with beaded detailing or a statement pattern, with straps around the ankles gaining extra sexy fashion points. So, girly up or grunge down with any style that takes your fancy.

The prospect of bringing the runway to your own street style is one that taxes the brains of many a penniless student, but don’t stress those fashion brains of yours and keep it simple. Remember: picking up one piece from this season and adjusting it to your own clothes is a completely viable option. Take a look at the spring/summer trends and choose key pieces as opposed to going all out on a fabulous (yet completely un-wearable) garment that you’ll wear once only to disappear to the depths of your wardrobe. It’s not about quantity, it’s about quality - and don’t forget to have fun. Happy shopping!

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FILM

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concrete.film@uea.ac.uk 19.02.2013

REVIEWS FLIGHT (15) Dir. Robert Zemeckis

138mins

Starring: Denzel Washington, Nadine Velazquez, Don Cheadle

Ha Nguyen How would it feel to be a hero? Most of us rarely ask ourselves this question.

Whip Whitaker (Denzel Washington) most certainly does not on the morning that he wakes up, with a severe hangover, to sniff some cocaine and fly a plane in Robert Zemeckis’ Flight. However, the question soon finds its way to him as the plane he controls suffers engine shutdown and plummets to earth. With the help from two (probably three) bottles of vodka, Whitaker manages to flip the plane upside down to buy the passengers some time before they crash land.

This crucial scene in Flight is skilfully delivered through a combination of rhythm and suspense. It is true to say this is one of the best film moments of 2013 so far.

Technicality aside, however, the narrative then sees the world questioning Whitaker’s addiction as a cause of the crash, and the pilot is left searching for mercy. In this sense, Flight states how the real fight of a hero is the fight between ego and conscience and, in the

HITCHCOCK (12A) Dir. Sacha Gervasi

98mins

Starring: Anthony Hopkins, Helen Mirren, Scarlett Johansson

Andrew Hamilton Hitchcock takes the viewer into the troubled world of director Alfred Hitchcock during the creation of his pulp-nightmare masterpiece, Pyscho. For Hitchcock, played by Anthony Hopkins, it was a period of tremendous internal conflict as he struggled against personal demons and the doubts of the studio, risking his reputation and fortune to create a film that was extraordinary and cutting edge.

However, where Pyscho succeeded in this regard, Hitchcock fails.

As a window onto cinema history, it is undoubtedly interesting. Hopkins comically delivers Hitchcock’s battle against the unsupportive executives at the studio; his dry wit is the perfect antidote to the pomposity of Hollywood. Yet ultimately the strain of the production on Hitchcock becomes evident. Mortgaging his house intensifies the rocky relationship with his wife Alma (Helen Mirren), who is tempted by the slimy charm of writer Whitfield Cook.

Their marriage is further tested by Hitchcock’s infatuation with his lead actresses, most notably, Janet Leigh, played

by Scarlett Johansson.

However the film glosses over the true extent of Hitchcock’s questionable morality, providing a Hollywood happy ending that is as unnatural as Johansson’s dazzling teeth. Allegations of sexual harassment against Hitchcock are ignored; rather he is portrayed as a bumbling, harmless, genius. This is certainly not a dispassionate account of Hitchcock’s life, but a glorification of his triumphs, where his failures are notably absent.

Furthermore, the film seems, at times, without aim. When Pyscho seems at risk of failing, it is saved by a clichéd Hollywood montage of cathartic reunion between husband and wife. The ease at which Hitchcock’s problems are overcome undermines the trials he faces.

Hopkins and Mirren provide powerful performances, but only in glimpses. They seem somewhat wasted in a film that is ultimately uninspiring.

So neither succeeding as a straight biography, or a dramatic narrative, it leaves the viewer in an uncertain middle ground.

Perhaps then, the answer is to avoid Hitchcock, and instead watch Pyscho and judge for oneself the extent of Hitchcock’s talents.

case of Whitaker, not to win or lose a lawsuit about a plane crash, but to win the hearts of people who really care for him.

In truth, it’s all a bit of a rollercoaster ride. We go through several moments of determination, witnessing the protagonist stop drinking in one scene to then seeing him start up again moments later. By the end of the film, some might just throw their hands up, exclaiming “Oh, just stay away from the bottles already!”

It is, however, a fascinating insight into alcoholism, suggesting that it is an addiction that those who do not suffer its hardships cannot fathom, and certainly cannot stop.

Praising this aspect, Flight notes how landing a plane upside down could be no less heroic than admitting one’s failure to keep control in life.

Flight’s subtle musings on heroism is its strong point, supported by Denzel Washington’s immense acting talent. Its side story, featuring Kelly Relly’s strong-willed but fragile character, also provides a touch of warmth to the film.

Despite its Oscar two nominations (for Original Screenplay and Best Actor), Flight might not be a winning contender; admittedly, it’s full of unnecessary dialogue and some self-conscious close-ups. At its best, though, it is thrilling, touching and, fundamentally, a welcome return to liveaction for Robert Zemeckis.

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WARM BODIES (12A) Dir. Jonathan Levine

98mins

Starring: Nicholas Hoult, Teresa Palmer, Analeigh Tipton, Rob Corddry, John Malkovich

Emma Holbrook The “All You Need is Love” trope has undeniably been played to death, but it is given a new meaning and lease of life here, courtesy of the walking dead.

Warm Bodies, based on the 2011 novel, is an ironically undead-pan take on Romeo and Juliet with one unique addition: zombies. The zom-rom-com, directed and written by 50/50’s Jonathan Levine, presents a bleak, post-apocalyptic reality where only a select few humans have survived and zombies roam the streets.

Skins alumnus Nicholas Hoult stars as ‘R’, a zombie with a heart of gold and a penchant for vinyl records and human brains; a role that caters to Hoult’s charming vulnerability. For herein lies the twist: zombies are terribly misunderstood creatures. We follow R through his hilariously earnest internal monologue, as the traditional “zombie meets girl, zombie falls in love, zombie eats girl’s boyfriend”

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story unfolds. The object of his affection and a member of the zombie resistance, Julie (Teresa Palmer), is unsurprisingly taken aback by his affection (not many Zombie Survival Guides prepare you for the possibility that one will fall in love with you) but she is gradually wooed by his undead charm. Their subsequent love story is endearing and bizarrely believable, but Palmer is probably most memorable for her uncanny resemblance to a blonde Kristen Stewart. In fact, some of the film’s most enjoyable performances are regrettably underused, including Analeigh Tipton (Crazy Stupid Love) and Rob Corddry (The Daily Show) as Julie and R’s cynical best friends. As zombies proceed to catch the contagious love bug and undergo significant changes, it is down to the starcrossed lovers to persuade Julie’s guntoting father, Colonel (Pinot?) Grigio, that zombies aren’t all bad.

Aided by an eclectic yet stellar soundtrack that includes Bruce Springsteen, The Black Keys and Guns ‘N’ Roses, Warm Bodies is a thoroughly enjoyable venture and whilst its comedy is not of the same calibre as fellow genretwisting Shaun of the Dead, it has the right amount of brazen romanticism to make sure that it’s hard to leave the cinema without feeling even a little warm-hearted.

BULLET TO THE HEAD (15) Dir. Walter Hill

92mins

Starring: Sylvester Stallone, Jason Momoa, Christian Slater

Oliver Partington There was a time when the word “formula” was only used in maths. Unfortunately, we’re in a world where certain films - even action films - can now truly be a form of art, but also described as having a formula; aging action star who should know better + director who should know better + tiresome sequel set-up ending + copious amounts of pointless violence = tiresome, tiresome, tiresome throw-back action film.

Bullet to the Head stars Sly Stallone as a hitman called - not kidding in the slightest - Bobo. Isn’t that just hilarious?

No, Bullet to the Head, it really isn’t. It’s a tad distracting at best. So, Bobo the (clown) hitman, teams up with Police Detective Taylor Kwon to take down main villain Keegan (Jason Momoa) for ... some ... reason. He’s a bad guy and one of the few characters with arms as big as Stallone’s, a physical feature that seems to be his only noteworthy significance.

Stallone’s character has a daughter and

11

rest assured, dear readers of Venue, she’s kidnapped before the credits roll. The worst thing a critic can say about this film, is that what should be deemed a spoiler is instead something rather obvious. How very tiresome.

Bullet to the Head’s greatest flaw is its lack of durability and longevity. Although it does attempt to retain elements of classic 80s action films such as Lethal Weapon and Red Heat, it possesses none of the camp fun or charm that these films were, and still are, fabled for. The true test is that whilst Lethal Weapon is still being bought and watched today, it’s hard to imagine many returning to watch Bullet to the Head once they leave the cinema.

Other aspects of the story also fall flat.

Walter Hill chooses to open his film half way through the narrative, an interesting convention that sounds very Tarantinoesque on paper but sadly falls flat in both style and exceution.

For what it’s worth, though, it’s all shot well enough; Walter Hill hasn’t lost the ability to shoot an action sequence but it undeniably has none of the flare of his early Westerns. Stallone himself is probably the best part of the affair. His physical presensce and stuntwork is definitely commendale, although his slurred line delivery continues to bemuse. No single component of Bullet to the Head does a wholly bad job but it’s all so mind-numbingly average.

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Disney to exploit Star Wars franchise; “The Doctor” teleports to Hollywood

Katryna Coak After announcing that JJ Abrams is to direct Stars Wars Episode VII, Disney are obviously still keen to show the public what it has in store for the new Star Wars series. They have now revealed that many of the beloved characters will have their own spin-off films (not that unlike the X-Men “prequels”).

It seems that Yoda, along with Han Solo and Boba Fett, will be among the lucky characters chosen to fill the gaps between Star Wars Episode VII, VIII and VIX. The plots of these individual movies will be set alongside various Star Wars episodes, indicating that Disney is determined to gets its money’s worth from the franchise.

It appears that now is the time for actresses to try their hand at a role behind the camera, instead of in front of it. At the young age of 25, Ellen Page (Juno) is set to direct a movie called Miss Stevens, starring Anna Faris, who will play a teacher that inspires a group of students to enter a state drama competition. Yet, we will see Page back in front of the camera and on the big screen in the latest X-Men instalment.

Furthermore, Melissa McCarthy, who has risen to prominence after her performances in recent comedy box office hits (i.e.

Bridesmaids), is looking to direct her first film in which she will also star.

Matt Smith has been cast for Ryan Gosling’s How To Catch A Monster. It is unclear what role he will play but this marks a huge career boost for the man best known

as “The Doctor”, as he will star alongside Christina Hendricks and Eva Mendes. The plot follows Hendricks’ character; a mother who is caught up in a fantasy world after her son discovers a road to an underwater city.

The first trailer for Monsters University has been released and may strike a cord with our generation, as students may be hoping for a nice bit of quality nostalgia reminiscent of the last Toy Story chapter.

It has been over ten years since Monsters, Inc. hit the big screen and, therefore, this latest adaptation may see many students lining up to watch it. It is presented as a prequel to Monsters, Inc. and it seems that Mike (Billy Crystal) and Sulley (John Goodman) did not immediately warm to one another within the competitive atmosphere of the imaginatively named “Monsters University”.

After the success of Tarantino’s genre retelling of historical events (in an almost unhistorical context), he has let it slip that he would like to develop a follow up to Inglorious Bastards and Django Unchained.

It is unknown what form these new films may take, but this is similar to previous claims by Tarantino to follow up on past projects which have never come to light, such as a proposed prequel to Pulp Fiction and Reservoir Dogs. Thus, audiences may have to wait and see what the contentious director has up his sleeve next.

REVIEW: 66th British Academy Film Awards

AWARDS SEASON

Holly Wade It’s that time of year again when the stars don their tuxes and ball gowns in preparation for a night of fake smiles and emotional speeches. Sunday saw the turn of the BAFTAs (The British Academy of Film and Television Arts) in which Stephen Fry hosted a night of fun where British films were supposedly recognised just as much as their Hollywood counterparts. Leading up to the awards show Lincoln and Les Misérables were tipped for the top with ten and nine nominations respectively.

It came as no surprise after his wins at the Golden Globes that the two most prestigious awards, Best Picture and Best Director, were nabbed by Ben Affleck for Argo. Lincoln’s lot proved disappointing as they were only able to obtain one award for Daniel Day-Lewis’ performance as the eponymous president.

James Bond once again proved as popular as ever as Skyfall came away with the award for Outstanding British Film as well as that of Best Original Music. Unfortunately for Judi Dench her fabulous performance in the latest Bond extravaganza was overlooked as the award for Best Supporting Actress went to Anne Hathaway for her role as Fantine in Les Misérables.

Les Misérables came away with four awards yet Ang Lee’s Life of Pi only managed two, even being beaten by

Silver Linings Playbook for Best Adapted Screenplay. Quentin Tarantino gained Best Original Screenplay for Django Unchained, an accolade he was clearly very proud of.

Anna Karenina won Best Costume Design, a huge honour as it contended with the likes of Les Misérables and Lincoln.

Sadly for The Hobbit: An Unexpected Journey there was no such luck as it received no awards, its visual effects being trumped by Life of Pi. The EE Rising Star Award went to Juno Temple, who has appeared in Atonement and The Dark Knight Rises, and the award for Outstanding British Contribution to Cinema went to Tessa Ross, who has produced such greats as This Is England, Billy Elliot and In Bruges. Aptly, Danny Boyle, who she worked with on 127 Hours and Slumdog Millionaire, gave out the award.

The BAFTA Fellowship has been awarded to many

talented people over the years; in most recent ceremonies the likes of Martin Scorsese and Christopher Lee have attained this honour.

The 2013 award went to director Alan Parker, famous for Midnight Express, The Commitments and Evita - and a man who has accumulated 19 BAFTA nominations for his films over the years. He accepted the award humorously by saying, “When it was first mooted that I might get this award, I thought of what I’d like to say, and then 10 years went by.”

As a prelude to the Academy Awards, it still seems undecided who will win. Argo would seem to be the favourite to triumph, but with no nomination for Best D i r e c t o r, Lincoln may finally triumph.

As awards ceremonies go, 2013 is simply proving that nothing is ever certain.

bafta

2013: winner’s list Best Picture Argo

Outstanding British Film Skyfall Best Director Ben Affleck, Argo Best Actor Daniel Day-Lewis, Lincoln Best Actress Emmanuelle Riva, Amour Supporting Actor Christoph Waltz, Django Unchained Supporting Actress Anne Hathaway, Les Misérables Best Original Screenplay Quentin Tarantino, Django Unchained Best Adapted Screenplay David O. Russell, Silver Linings Playbook Best Foreign Film Amour

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OSCARS 2013 PREVIEW

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On the eve of the 85 Academy Awards, Venue debates the value of Hollywood’s grandest ceremony th

The Oscars are still the benchmark for industry professionals

The Oscars are a reflection on the world’s “safest” films, not its greatest Charlotte Flight

Sam Warner Whilst the long awards season springs surprises alongside predictability, it all leads up to the zenith that is the Academy Awards; for it doesn’t get much bigger than the Oscars as a form of merit and credibility if you work in the film industry. But why do they still matter 85 years on?

Firstly, they remain one of the largest nights in showbusiness. That is indisputable – with viewing figures around 40 million over the past few years, they are still the most watched award ceremony of the season. The Oscars are undeniably still a field day for any news publication – more so in the large celebritybased culture of today.

The repute of the Oscars still raises the profile of those who would otherwise have gone unnoticed in mainstream Hollywood, for example Marion Cotillard or Matt Damon. Yet underneath the celebrity and ego, the Academy Awards have focused on promoting cinematic quality. With the bigger budgets and demands of today the awards almost seem a chief necessity and incentive for making highcalibre mainstream cinema. Independent film has also been strongly acknowledged, especially in recent years with critically acclaimed smaller movies like Slumdog Millionaire and The Hurt Locker sweeping the board over big-budget favourites such as Avatar; there is also hope for art-house cinema when the Academy can nominate a long respected filmmaker like Michael Haneke for Best Director alongside an industry heavyweight like Spielberg.

In short, the Oscars are an absolute mix of what the awards season is all about – glitz and fashion, surprises and overdue acknowledgement.

But most crucially, they still remain the true benchmark and final hurdle that all industry professionals aim for, and with the highest reputation amongst all the ceremonies of the season the Academy will only build themselves higher.

Alfred Hitchcock. Stanley Kubrick. Orson Welles. What do each of these men have in common, beyond being amongst the best film directors of all time? They have never won an Oscar. The Academy Awards are less an example of the best films produced each year and more an illustration of which films are the safest, the most heart-warming and the least controversial.

Over the past few years the Oscar race has been dominated by producer Harvey Weinstein, who seems intent on achieving the wins he wants. Beginning in 1997 with The English Patient, he has chosen to represent films which are good, not great, and propel them to Oscar glory. The most astounding example of this is from 2011 where The King’s Speech won Best Picture and Best Director over David Fincher’s magnificent The Social Network, a result which caused outcry amongst critics and film lovers alike.

This is not just a recent occurrence either. In 1996, Braveheart won Best Picture ahead of both Apollo 13 and Babe. In 1980 Kramer Vs. Kramer beat out Apocalypse Now. In 1977 Rocky beat All The Presidents Men and Taxi Driver. The post Weinstein era has made these upsets more common; in 1999 Shakespeare In Love bested The Thin Red Line and in 2006 Crash overcame Brokeback Mountain. The list could go on.

The Oscars repeatedly seems to choose the most conventional films for the Best Film award, rather than, ironically, the actual best film.

2013 has also proven to be an interesting year for the Oscar race. Weinstein’s big hope, Silver Linings Playbook, has failed to gain momentum whilst Ben Affleck, whose Argo may have a big win, has not been nominated for Best Director. Interestingly, Argo will be only the second film in Oscar history to win Best Picture without a director nomination if it does go on to win the award later this month. Is Argo the best film of 2012? No. Is it the safest? Most definitely.

Our film writers vote for their “Best Picture”- and why it should win big on 24 February LES MISERABLES

SILVER LININGS PLAYBOOK

AMOUR

With Silver Linings Playbook, David O. Russell continues the rehabilitation of a career that many thought dead and buried.

In 2007, the infamous video of his on-set outburst went viral. In it, Russell flipped out on I Heart Huckabees actress Lily Tomlin, releasing a torrent of uncontained expletives in her direction. It is perhaps fitting then, that his return to critical and commercial success is this film, a delicate study of explosive, emotionally volatile behaviour. Mistake it for a typical romantic comedy at your peril, as Silver Linings Playbook superbly portrays the complexities of adult relationships. Plus, it even draws a recent-career best performance out of Robert de Niro.

After already winning the prestigious Palme d’Or at last year’s Cannes Film Festival, the chances of Michael Haneke’s Amour nabbing Best Picture at the upcoming Oscars are looking pretty good. As one of the most truly individual and poignant films of 2012, it certainly deserves its nomination. The loving relationship between elderly couple George and Anne

Laurent is examined with scrutiny as the pair struggle through deteriorating health. This may be a film about love but it is anything but romanticised; Haneke’s film is perhaps best classified as brutal realism. With the entirety of the film set in the couple’s apartment, the feeling of claustrophobia remains with you long after Amour has ended.

Melissa Taylor

Jonathan blair

Ben Baulch-jones

DJANGO UNCHAINED

BEASTS OF THE SOUTHERN WILD The genius of Benh Zeitlin’s debut feature is that it should feel hallucinatory, but it doesn’t. As the Katrina catastrophe hits, and once-frozen beasts are unleashed from the Arctic, it is six-year-old Hushpuppy who leads the way in an adventurous blurring of what should and shouldn’t be taken as metaphor. At the heart of the “Bathtub”

When classics hit the screen as hard as Tom Hooper’s Les Misérables has, you know the road to the Oscars is paved with gold. A box office hit in the UK and internationally, Les Misérables does not disappoint. From its opening scene featuring an almost unrecognizable Hugh Jackman to Anne Hathaway’s striking and heartbreaking performance as the doomed Fantine, the performances of the film are its biggest and strongest asset. A stunning transition to film with a brilliant cast and outstanding direction, Les Misérables is a visual and auditory feast for audiences. It is sure to be recognised by the academy, amongst its eight Oscar nominations, with the Best Picture award.

community, and the entire film, is the touching relationship between a girl and her father, where filmmaking rarely this empathic brings a crucial honesty to such an ambitious project. Unlike the others, here there is a soul that can be captured, but not created.

Jack Rice

The seventh feature length film from ever divisive director Quentin Tarantino, Django Unchained is the Stetson-clad outlaw amidst omnipresent Oscar-Bait.

More than simply a controversy fuelled splatter-fest, Tarantino’s epic is overflowing with intense performances, classic set pieces and a schizophrenic, kick-ass soundtrack.

Unquestionably the biggest, bloodiest and funniest candidate for Best Picture this year, Django also pulls no punches in its visceral and unflinching exposition of slavery and racism. Tarantino’s best film since Pulp Fiction, Django Unchained is bloody brilliant.

Olivia Blowes

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30 ROCK - a retrospective and how to fill the void Natalie Beale 30 Rock recently aired its very last episode, drawing Tina Fey’s critically-acclaimed comedy to a close. It was a show which arguably never quite managed to go beyond the status of a “cult” program. 30 Rock - NBC’s offices at 30, Rockefeller Plaza, New York - takes inspiration from Fey’s stint as head writer at Saturday Night Live, and details the turbulent life of her writer alter-ego Liz Lemon. It ran for seven seasons, so the end was not quite a surprise.

30 Rock’s best material – truthfully, belonging in earlier seasons – revolves around the working relationship of Jack Donaghy, played supremely by former SNL host Alec Baldwin, and Liz Lemon, the head writer of a lousy live comedy show.

Ambitious and right-wing, Donaghy acts as Lemon’s “mentor”, despairing at the life of his hapless left-wing employee. It’s worth getting the DVD box set just for the host of catchphrases, endless character antics from the frustrated writers or insane actors, and to learn life wisdom from Jack Donaghy, such as “never follow a hippy to second location.”

If you are a fan looking for some US comedy to 30 Rock’s gap, or if you are just looking for something new, there are

other options out there.

Close to 30 Rock is Parks and Recreation, the latest comedy vehicle for Amy Poehler, a close friend of Fey. Following, documentary-style, the lives of government employees in the department of Parks and Recreation, it is a child of The US Office. After a shaky first season, it comes into its own. While it seems “nice” next to 30 Rock, this does not detract from the sharpness of the comedy. It is currently only available on DVD as a US import, but BBC4 have obtained the show, so it could be on iPlayer this year.

Modern Family, currently available on UK Netflix, is a Golden Globe success.

It follows, also in the documentary style, three branches of one eccentric family. In two episodes, it hooks, with a funny script and loveable, memorable characters.

This year, the Golden Globes honoured the writer, star and creator of Girls, Lena Dunham. While brilliant, Girls is harshly realistic in tone, and as it focuses on recent graduates, it is especially raw to watch.

Finally, fans of Arrested Development – about the dysfunctional, once-rich Bluth family – are anticipating the return of the show in May, when new episodes

will appear on US and UK Netflix in one go. So, for those who have not yet seen it, there’s plenty of time to find the box

15 set. This is a great era for US comedy, and these are gems in which it’s worth investing a laugh.

THE BIG REUNION

CHARLIE BROOKER’S WEEKLY WIPE

We’ve all asked the question, “What ever happened to them?” about our favourite pop stars that disappeared into the big black hole that was the 90s. ITV2’s latest innovative offering is answering just that, with its new show The Big Reunion. The concept behind the programme is to get six of our favourite childhood bands back together, for a one-night-only reunion gig at London’s Hammersmith Apollo.

Cue airing dirty laundry, opening up old wounds and warming up some fairly rusty vocal cords.

The Big Reunion gives viewers the stories behind the headlines. It spills the beans on the scandals the fans were not aware of, especially as online media wasn’t so prolific back in the good old days. The show exposes shockers such as Abs from 5ive’s drug usage, Michelle Heaton’s diet

The nations favourite bitter cynic, Charlie Brooker returns with some bitter cynicism in his latest edition of Charlie Brooker’s Weekly Wipe. The show takes the format of analysing recent events, such as this week’s episode focusing on events such as the recent legislation of gay marriage in England. Yet, Brooker’s humour quickly establishes himself as not just liberal – but human, and anyone who isn’t a hard right politician is bound to find his criticisms of the country and its population not just funny, but shockingly accurate; Brooker allows you to laugh while you think to yourself – this man is right.

Brooker juxtaposes comedy with a dark turn on the show, such as contrasting a kids counting TV show with the economy of the country, and comments that the only people making

Jess Beech

pill addiction and Atomic Kitten Natasha’s post-natal depression at the height of their success.

But it’s not all just about the darker side of their achievements, 5ive comparing their fame to “Beatles pandemonium” will have to be a series highlight. The Big Reunion really does make for hilarious Thursday night viewing.

As the count down to the big concert fast approaches, the bands are finally reunited, luckily for us along with a film crew. It is fascinating to see how events which happened so long ago have continuously affected the band member’s lives.

If reliving a slice of your childhood, reminiscing on double-denim and finding out what 5ive are going to do now there are only four; this is the show for you.

Jay Slayton-Joslin

money are the designers for shutters on shops and people who make “sad graphs”. However, Brooker never plays it too safe with his comedy. As opposed to American comedians who make alltoo-easy jokes about how stupid Bush is, no-one is safe from Brooker’s sights, targeting news channels, politicians and pedestrians regardless of their affiliations.

On a Sky News clip Brooker highlights the absurdities of news channels interviewing pedestrians wearing elephant outfits in the street, and questions how they are a true representative on the economic downfall.

Ultimately if you’re too busy (or have some other excuse) to read a paper, go on Twitter or any other medium to catch up in the world, Brooker can keep you updated, by playing it risky, bitter and fun – and we wouldn’t have it any other way.

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concrete.creativewriting@uea.ac.uk 19.02.2013

themed submissions

NATURE

Nature’s pretty cool, right? Right!

By James Sykes 1.

2.

3.

4.

hey you know what’s great? nature you know what’s better? you & me leaning on a tree in the belly of nature kissing & stuff hehe :)

dude I love you dude I love you too

let’s flock to the woods.

I wanna put daisies in your hair and buttercups in your pocket.

I can always tell your general mood by how many flowers you are wearing. right now you must be feeling pretty fucking happy with your life well so am I let’s stand in the rain let’s hold hands & let the rain kiss us the rain is kissing the two of us and it feels fantastic omg rain orgy

omg meet me in the forest it’s 2013 and I love you things aren’t great but this is all still here and we look our best in the green treelight let’s just be 2 more woodland creatures being in love & having cool adventures xxx

dude I wanna equal marry you in a forest in some nature dude I’m gonna have to say yes!

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themed submissions

NATURE

The Tree

By Michelle Sewell

Kingfisher

There was once a grand tree in our backyard, outside my bedroom window. Its branches spread like arms looking for a cuddle. Spiders spun webs in it, squirrels nested in it; and in the autumn, the leaves turned red and in the winter they fell, leaving just a few to dangle from the branches that hung and swayed outside my bedroom window.

By Kate Duckney

At school my friends hugged me said ‘I’m sorry about your dad’, and then they talked about hairstyles and fashion and holidays and other particular nothings. Home was worse. My sobbing mother would grab my shoulders and take me to the couch where we would sit, clenching pillows and talk and talk and talk about the past, about her cave of encompassing darkness. After, I would climb the tree and be cradled above the earth.

On a particular sunny day, my mother greeted me at the door with a twitching smile and summoned me to the backyard. Shaved wood lay in a heap where the tree used to squat. I ran to the nearest park where I climbed and cried.

When I returned home, mother was sitting in her usual frog position on the couch.

I stood by her. She ignored me. I pounced on her.

‘I’m sorry. I love you.’ I clenched her and buried my head into her chest. Her arms were cold and limp. I pressed harder into the hug; she wept and said, ‘Can we talk?’ We sat on the couch and spoke of things unpleasant. I hugged my mother tighter so she could feel the strength of my branches that cradled her.

17

I am looking for a new rainbow above the petroleum ejaculate of motorbikes, thick like the heavy drag of something magic and wounded. You said you only see Kingfishers in enchanted places; I see the ragged noose of what was once a tyre swing frayed by a weight at the end of it, the purpling body of going away for a while.

In dresses that seemed to be extensions of skin I swung here when the bridge was not flinching with regretted tattoos, and now clothes hide something so consciously, like white sheets in an attic.

I wish it was not the thirsty cry of crows this time in their bubonic ring above the trees; they are birds I have never gone searching for, but they clot in the branches, rasping.

Bedouin The Hermit

By Tom King

By Coco d’Hont

As lonesome as a star Among false friends – From outside, bright, Yet tortured by infinite night – I have wandered through years To reach only this, The dark, unwinding shore.

I thank the driver and get off the bus. It’s cold but the sun is shining. I walk through High Street past the chip shops and amusement arcades. They don’t interest me.

The sea is dark blue and the beach is almost empty. I go down to the water and let the waves kiss my toes. I start to walk; on my left there’s the cliff, on my right the sea.

Above me there’s the sky, below me the wet sand.

After a while I stop and turn around. I can’t see the village anymore. I turn back.

No other signs of humanity anywhere. For the first time in my life I feel truly alone.

There’s just me and this landscape. It’s not interested in me. I’m not special. Suddenly I’m scared.

I sit down next to a large rock. It feels good to be close to something solid. I listen to the waves, smell the rotting seaweed and the salt. I still feel uneasy.

A high shrieking noise. I look up. It’s a seagull circling above my head. I’m not alone anymore. I get up. The seagull screams and disappears. I begin to walk back to the village. Back to humanity. Nature is impressive, but now I need a cup of tea.

Never shall you hear my dying cry, Which among these flying sands Will surely fade, But only one day feel, As though you never have before, A warmth you know has travelled far, Like an autumn night Lit by ancient stars.

Is it getting hot in here?! For the next issue, Venue is getting sexy.

We are looking for Erotica, Fan Fiction or comical takes on love.

Please submit all writing by Tuesday 26 February

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GAMING

concrete.gaming@uea.ac.uk 19.02.2013

Review: DmC

Jumara Begum

The fifth instalment in the Devil May Cry series, DmC is the first of a rebooted story line. If we are to believe the initial backlash from hardcore fans, the most drastic change was the redesign of Dante, the protagonist and gaming icon.

Younger, skinnier, grungier and without his trademark white hair (at least initially), Dante undoubtedly looks very different to his classic, anime inspired counterpart – but has the same personality. Since the first game’s release in 2001, he has been characterised by his quick wit, sharp tongue, impressive marksmanship, skilful swordsmanship and cocky attitude, all of which return in full force.

DmC is also the first in the series to be developed by Ninja Theory, rather than

Oliver Balaam

in-house at the game’s publisher, Capcom – reportedly because of a desire for a more Western slant to the game’s story. This idea has resulted in (for Westerners, at least) the most up-to-date and cultureconscious game in the whole series. For example, Dante is portrayed more-orless as the archetypal rebellious loner, but also behaves in a manner reminiscent of a typical ‘lad’. The game opens with his return home after a night of heavy drinking with two girls in tow. Woken the next morning by Kat, the game’s female lead, he stands fully naked in his doorway to talk with her, before a gigantic demon destroys his trailer, obviously. Dante, thrown through the air with nothing but a pizza slice for modesty, finds his clothes and recovers his weapons – the iconic pistols Ebony and Ivory hanging from a girl’s bra.

By far the greatest aspect of DmC is its surreal setting, Limbo City. The player is frequently pulled from the real world into the demon one, and battles through familiar yet bizarrely twisted landscapes.

CCTV cameras in our world, for example, are sentient demonic eyes in Limbo. The levels are richly-designed without being over laboured or unreadable; each one feels fresh and exciting, with stunningly grotesque visuals.

The gameplay is much the same as previous entries, which unfortunately means repetitively hacking your way through endless swathes of similar enemies. However, Dante’s re-imagining

sees him as a Nephilim (an angel-demon hybrid), a heritage that reflects on his weapons and fighting style. His personal sword, Rebellion, can shift at will into blue-hued, faster but weaker angel weapons, or red-hued, stronger but slower demon ones. This, coupled with a range of new manoeuvres and abilities, allows players to inject some individuality into battling each horde of demons, developing their own personal play style.

The game’s plot revolves around the secret control demons hold over the earth through economics, news outlets and the emotion-dulling soft drink, Virility. A group called ‘the Order’ (led by Dante’s twin brother, Vergil) desires to reveal their true nature to the human populace. This primarily involves frustrating Mundus, the demon-king, to lure him away from his source of power to defeat him. Being Nephilim, Dante and Vergil are (of course) the only people capable of killing him.

The story itself is derivative and dumb, but top-notch dialogue and performances lift it high above mediocrity. Cinematic cut-scenes (including a brilliantly tense trade-off sequence) help seal the deal.

Ninja Theory is all-too-aware of DmC’s modernisation, and relishes in it – feeling perfectly comfortable to troll the classic series, a long white wig lands on Dante’s head during the first level for example.

Regarding himself in the mirror for a moment, he throws the wig to the ground, stating, ‘Not in a million years’ – I hope he’s right.

Review: Bioshock Infinite: Mind in Revolt Written by Joe Fielder under the supervision of the game’s creative director Ken Levine, Bioshock Infinite: Mind in Revolt is a recently released novella that acts as a prelude to the upcoming game.

The story, set in 1909, finds itself in the unenviable position of having to introduce the floating city and seceded state of Columbia, along with its tensions and politics, while not revealing any information that would detract from the game’s ability to tell a compelling tale. It is much to Fielder’s credit then, that it works well as a standalone piece of fiction, telling a complete, intimate and satisfying story that hints at a wider conflict without ever revealing it. He effortlessly mimicks the linguistic style of the time while also reflecting the distortions and

fabricated morality that plague Columbia.

A short story told in epistolary format, it is not dissimilar to Kurt Vonnegut’s sci-fi (now retro sci-fi) works, thought it certainly lacks his whimsical tenor and humanism. Indeed, told from the cold, academic perspective of Dr. Pichot, a scientist blinded by his faith and his bone-deep prejudices, it’s certainly sharper than most speculative fiction.

Interview transcripts between Dr. Pinchot and the captive leader of the Vox Populi resistance movement, Daisy Fitsroy, make up the majority of the text. Their conversations address slavery, supremacy, faith, eugenics and phrenology and are as morbid as they are fascinating. As the pair attempt to manipulate one another, tensions rise both in and outside of the interview room and come to a head in an explosive manner than closes this story but leaves the wider fate of Columbia very much in the

balance.

Compared to other efforts in extra-textual storytelling, from superfluous, cannondefying Mass Effect and Assassin’s Creed novels to Halo 4’s decision to lock universe altering secrets in hidden terminals , Mind in Revolt strikes a perfect balance. It won’t and shouldn’t be vital to your enjoyment of Bioshock Infinite but it does flesh out some peripheral characters in a meaningful way for those willing to delve deeper into this fascinating fiction.

At £1.91 for the Kindle release, it’s perfectly priced for a piece of short fiction.

Hopefully this digital distribution method will help revive the struggling short-story format.

Highly recommended for fans and newcomers alike, Bioshock: Mind in Revolt is a spectacular work of science-fiction and hopefully just a taste of what’s to come.

GAMING

19.02.2013 concrete.gaming@uea.ac.uk

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Review: Dead Space 3

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Robert Austin

The latest horror laden entry in the Visceral Games’ Dead Space franchise has players reprising their role as engineer Isaac Clarke. Plagued with dementia and visions of his dead girlfriend, as the game opens Isaac is in hiding, attempting to escape the mentally and physically warping powers of the supernatural monoliths known as markers. He doesn’t stay safe for long.

Visually arresting from the first breathtaking vista to the last, Dead Space 3 is a beautiful game. Fans are used to dark, dingy, industrial hallways and blood splattered walls but in this entry they will be struck by the magnificent art and large, open environments they can explore.

Zero-gravity sequences are a particular highlight, providing a unique perspective on an already unsettling graveyard of ancient spaceships, all of which are caught in the glare of a blue sun, it’s a moment that will be remembered for a very long time.

The greatest addition to the game however is being able to play the campaign

Oliver Balaam

Critics often attempt to characterise Antichamber, an exploratory puzzle game from independent developer Alexander Bruce, as a “crazy trip” but while its nonEuclidian environments are occasionally maddening, there’s very little craziness to be found here. In fact quite the opposite is true, it’s the game’s consistent internal logic that makes its puzzles such a joy to decipher. It may ask you to think differently in order to traverse the unfamiliar geometry and altered space

co-operatively with your friends. Player one controls Isaac, whilst player two plays commands John Carver, a rugged and scared Marker hunter with his own unique story to tell. Video games often give a co-op player no purpose or narrative presence, but Dead Space has successfully overcome this obstacle. Throughout the campaign players see every cut scene through the eyes of their character only and because both characters losing their minds, they will see different things from their co-op partner. This experiment in unreliable narration guarantees that if you love the game there are three unique ways to play: As Isaac alone, and as Isaac and Carver in co-operative.

From a game-play standpoint Dead Space 3 eclipses its two predecessors with ease for many reasons. For the first time players can create their own unique weapons, allowing the player to choose how they dismember the limbs of the Necromorph foes. Possible combinations include incendiary buzz saws and electrified rivet launchers and a pulse rifle/force gun combination, allowing both long range accuracy and gory short range crowd control.

Secondly the combat scenes both alone and in co-op are more intense, difficult and complicated than ever. For example Necromorph enemies now wield axes, even the occasional gun and even mutate into new, more aggressive forms after death. Thirdly the music and sound design are both sensational.

Additionally for the first time you get to fight humans in cover based combat.

Thrown against the might of Unitologists, a vast religious organisation who worship the Markers, the opposition is a breath of fresh air in a series where many argued that the suspense and thrill had been lost.

It is especially fun fighting humans who use the same powers as you such as stasis; you require a whole new set of tactics when taking them out.

There are flaws to the game despite its many glowing positives. With a co-op partner the game is decidedly easy to beat.

It is also noticeable immediately that Dead Space 3 is less of a survival horror and more of a star-spanning action adventure. This lack of horror does little to dampen what is a fantastic third entry into a growing gaming powerhouse, it’s definitely worth having in your collection.

Review: Antichamber of its minimalist world, but importantly, it never asks to abandon what it’s taught you.

Speaking of teaching, the game isn’t content to simply tutor you through its six hours of puzzles, it wants to leave you with some life lessons as well. Early on players reach a chasm with the words “jump” floating above it. If they take this advice they will fall short and end up in a pit. The solution, they will discover later, is to simply walk across the gap as a bridge forms improbably beneath them.

For the time being however, they are at the bottom of a pit, faced with a passage that leads to another wing of Antichamber’s non-linear maze (this non-linearity helps the game avoid the equipment gated design that constrains games like Super Metroid and Zelda). As they follow it they will pass a sign that reads: “Failure to succeed does not mean failure to progress.” It’s doesn’t rival Adorno or Aristotle but Antichamber’s philosophical musings do much to encourage and reward the player, as well as occasionally prodding them in the right direction.

The placards are only one element of a diverse toolbox that encompasses audio

cues, sparse but important uses of colour, visual illusion and other tricks in order to guide the player. Unfortunately, due to the choice to make the settings menu an in game room, there doesn’t appear to be a choice to raise the resolution above 1920x1200. Coupled with a few blurry textures this graphical infidelity stands at odds with the straight lines and stark contrast of the Escher-like world and is a technical flaw in an otherwise beautifully realised and aesthetically focused game.

As players progress they attain a series of guns that aid their exploration.

These guns are never used violently but encourage players to approach puzzles with their weapon’s unique abilities in mind. These new tools, along with new objects and conditions in the

environment itself, keeps the puzzles fresh for the game’s duration.

Occasionally the imagination of Antichamber’s design gets the best of it, forcing players to restart areas and rethink their approach, but frustration never overcame curiosity in my experience. It helps that at any point players can warp to a room containing an over-world map, get their bearings, and then warp back to any destination they’ve previously discovered. This device doesn’t feel out of place in an already dreamlike world and is one of many examples of Antichamber privileging player experience over realism.

Antichamber is a resounding success but to explain much more would diminish its effect. You deserve to see it for yourself.

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concrete.arts@uea.ac.uk 19.02.2013

REVIEW: LEE CHILD AT UEA’S LIT FEST

REVIEW: THE VAGINA MONOLOGUES

Melissa Taylor On Monday 4th February, UEA’s very own drama studio played host to the infamous feminist play, Eve Ensler’s The Vagina Monologues. The play’s reputation, and misconceptions surrounding it, precedes it; many theatre-goers anxiously expect an overtly militant piece, anti-man and pro-bush (not George Bush). UEA’s piece, performed in honour of the upcoming V Day and in memory of the victim of the recent Delhi gang rape, triumphantly smashes all negative preconceptions.

The piece is composed of a series of fictitious monologues inspired by the hundreds of interviews Ensler carried out with women from every conceivable background. Accordingly, the performance is as diverse as the women who inspired it; The Vagina Monologues succeeds in making audiences weep with both hilarity and sadness. The piece leaves no vaginarelated stone unturned; covering sexuality, abuse, menstruation and childbirth, the taste, smell, feeling and names we give our vaginas, The Vagina Monologues is an exploration and celebration of all aspects of womanhood.

The all-female cast do an amazing job at bringing these stories to life. Taking it in turns to step up to the spot-lit microphone in

ARTS

Callum Graham the centre of the uncluttered space, there are no props, costumes or tricks to hide behind.

The piece is as stripped back and exposed as expected and each of the women involved showcases her talent without the obstruction of theatrical trappings. Particular highlights of the piece include the posing of insightful questions such as “What would your vagina say?” and the classification of an orchestra of various orgasmic moans (award for the tiniest squeak goes to ‘White Anglo-Saxon female’).

As the audience traipsed into the drama studio, the cast loitered about the stage; as half of them (pretend to) flash their vaginas, the other half draw their findings and pin them up for the audience to see. This really sets the tone for the piece; from the outset, The Vagina Monologues is hilarious and shocking, (enjoyably) awkward and always enlightening. At the play’s end, after a lengthy and thoroughly deserved applause, the audience were invited down to write their own messages and thoughts on an equally lengthy expanse of paper. Reading those messages, it was patently clear that not only was UEA’s Vagina Monologues very well received, but that it inspired a lot of vaginal appreciation, which is certainly not a bad thing.

Somewhere on this planet a Lee Child novel is sold every twenty seconds. Responsible for this success is Child’s character Jack Reacher, the ex-US-military alpha male, who has roamed through small American towns putting foot to ass in varying degrees for eighteen novels.

Lee Child, born Jim Grant, was introduced by Sutton to the rapturous applause of an auditorium packed high with dedicated fans of the Reacher franchise. Rather than the suave sadistic looking gentlemen in the head shot used on the Lit Fest poster, Child is a tall rakishly thin yet charming and friendly man. Henry Sutton, a senior lecturer in creative writing and course director for prose fiction MA, opened with a discussion about the two leading female characters in A Wanted Man, two CIA operatives whom Sutton described as “remarkably strong characters,”. Sutton wanted to understand exactly how and why such strong female characters have kept making appearances through the series.

Child had a relatively simple answer. If he is to sit with characters in his head for six months trying to get them onto paper, then they had better be characters that interest him and whose company he enjoys.

From here it seemed that both

Sutton and Child were trying to lead the discussion in opposing directions. With Sutton adopting the stance of academic, drawing parallels with the power structures of the US army and issues of gender within Child’s novels. Child himself took a more personal approach, claiming that the only way he knows how to write a best seller is to make sure that you write for yourself. This seemed to be the essence of Child’s writing method, it may not have been the answer that the creative writing MAs hiding out at the back had wanted, there was no great secret. Child writes the stories that he, and evidently millions of other people, would like to read, nothing more, and nothing less.

The evening ended with a question and answer session between the audience and Child. One question asked what his opinion was of a generation who only finds validation in a book once it has been made into a film. Child replied that no, it wasn’t generational, as a writer he has come to recognise that only a small percentage of the population read for enjoyment, beyond that was not his realm to discuss. It seems that his approach to show business can be summarised with a simple ethos: always

leave them wanting more.

INTERVIEW: Hatty Farnham talks to the cast of DramaSoc’s Reefer Madness This weekend DramaSoc will be performing a musical take on Reefer Madness. Originally a propaganda film in the 1930s, Reefer Madness was funded by a church group in order to warn school children about drug pushing. When speaking to some of the cast, Ed Jones (a first year English and Drama student) told Venue that the society provides a really great opportunity to get involved with a wide variety of productions. The large cast have been rehearsing hard for the past seven weeks, and are really excited to start performing.

Josh Husselbee (a first year script writing student) explains that DramaSoc’s interpretation treads a fine line between parody and earnestness, “it is a morality tale, but it’s also a piss-take”. Director Rob Henderson, Josh explains, has emphasised the humour by encouraging the cast to be serious in their roles. The boys laugh when discussing the risqué topics and the questionable lyrics in the play, “we are really nervous about our parents coming to see it”. “There is this part where I start with my clothes and eventually get them

all off. I was in my pants in Taming of the Shrew as well, apparently I’m just a piece of meat now”, Ed jokes.

Third year English Literature student, Sam Holland, is currently rehearsing for both Cabaret and Reefer Madness, and when asked what his favourite item of costume was, he was reluctant to spill the beans, “I’m not sure I want to reveal this.

It’s pretty hilarious, but it’s definitely a surprise”.

Ed explains that the most challenging part of the production had been organising a cast of nearly twenty people. “With such a large ensemble, it’s difficult to get everyone together, and the cast have such a wide range of talents and abilities. I can’t dance at all”.

Josh is enthusiastic to stress how impressed he is with the quality of the production, “a lot of time and money has gone into it. The music is really well written and you can expect some familiar songs”. A word of warning to the audience though: “don’t come to the show high, it will be the worst trip you EVER experience”.

Finally then, when asked to describe the production in one word, Josh shouts “MARIJUANA!”, Ed explains that it’s an emotional rollercoaster for both cast and

Beej Harris

audience, “emotional rollercoaster is two words, so emoshacoaster? ”, and Sam just laughs, “ROFLCOPTER. But please don’t put that in the paper”.

ARTS

19.02.2013 concrete.arts@uea.ac.uk

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ARTS POLITICS: ART AND LOVE

ARTS HISTORY: GERMAINE GREER

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Sophie Szynaka

Flo Reynolds Germaine Greer was born in Australia in February 1939. As an academic and cultural critic, she has been at the forefront of feminist politics since she rose to prominence in the 1970’s, with the publication of The Female Eunuch (1970). Since then she has caused controversy after controversy, her charismatic advocacy for women’s liberation (not gender equality) winning her both admiration and disapproval.

Greer’s career began in academia, studying and lecturing at universities across the world, including Cambridge.

She then branched out into the media, presenting on Granada TV in the early 70s, writing columns for Private Eye, and later cultural columns for publications including the Times and the Guardian.

A polemical work spanning feminist literary and cultural criticism, The Female Eunuch ignited debates that are still going on today, and encouraged women to seek sexual, monetary and political autonomy. Its basic argument, which propelled Greer to a position at the forefront of feminist debates, is that women are “castrated” by the social conditioning they are subjected to. The book’s caustic yet witty style made it and its writer household names.

However, Greer hasn’t always been the darling of the feminist movement, and much of her polemic can be problematic when viewed from 40 years down the line. In 1989, while she was a Special Lecturer and Fellow at Newnham College, Cambridge,

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she opposed the election of Rachael Padman to a fellowship on the grounds that Padman, a transsexual, had been born a man and therefore could not be admitted to a femaleonly college. Fortunately, this attempt to block Padman from Newnham was unsuccessful.

Greer’s transphobia has continued however, and certain comments from her have led transrights protestors to glitter-bomb her in protest on several occasions, most recently in 2012.

Greer’s uncompromising branch of feminism has also alienated both men and women alike, and has arguably contributed to the (inaccurate and reductive) stereotype of the angry, bra-burning and man-hating feminist.

Writer Margaret Talbot has even labelled Greer “the female misogynist”.

That said, Greer has won admiration for her advocacy of worldwide, not just Western, women’s liberation movements, and her support for the political and social liberation of Australia’s Aboriginal population.

Germaine Greer has been one of the key cultural critics and feminist voices of the last 40-or-so years. Hers is a voice that raises eyebrows, courts controversy, and will not be silenced. Whether you call yourself a feminist or not, and whether you agree or disagree with her particular feminism, Greer’s work is essential reading for understanding gender inequality, and how the feminist movement has evolved throughout the later 20th and early 21st centuries.

Jerusha Green The depiction of love is an immortal subject matter that has inspired artists for centuries. The Venetian neo-classical sculptor Antonio Canova (1757-1822) depicts one of the most romantic of fables from classical Roman mythology, as the subject of his sculpture; the love affair between Psyche, a beautiful mortal, and Cupid, the god of love, in a two figure grouping. Psyche was condemned to sleep for eternity by the goddess Venus (Cupid’s mother) who was jealous of Psyche’s beauty and imposed a series of challenges on Psyche before she and Cupid could marry. The scene represents the moment in the version of the fable

by Apuleius, written in the 2nd century AD, when Cupid revives a dying Psyche with a kiss in a vision of love overcoming death.

Cupid and Psyche stare straight into each other’s eyes in what appears to be a private moment, as, whilst we are free to walk around the sculpture and see it at different angles, the figures do not acknowledge the spectator in any way.

Cupid and Psyche are wholly absorbed in one another and united with their arms wrapped securely around each other. Psyche’s arms frame Cupid’s head, whilst Cupid gently cradles Psyche’s head and body. Thus, it is not difficult to picture them together as a single selfcontained entity rather than two forms.

A unified composition is created through the repetition of forms for

example in the bend of the figures’ elbows. Although the curves created by the limbs and their bodies also create a sense of drama to heighten the passion between the figures, the poses imply both rest and energy between the couple using a combination of curving and horizontal and vertical lines. The sculpture is placed on a low relief marble plinth that is raised above ground level slightly, perhaps in order to make their passion accessible, tangible and relatable to us spectators.

Despite the linear, austere qualities and lack of facial expressions, the couple’s bodily poses deliver a great sense of intimacy. The white crystalline marble was likely chosen for its pure connotations and supports the sculpture’s true love theme, showing the sincerity and fragility of their love in that moment. This love story has influenced, been retold and adapted by poets, artists and writers.

Canova has fully captured the affection of the couple, creating a romantic and tender scene, as a result from the material used and the intimate positioning of the figures. Whilst love is very personal and differs for every person, the struggle Cupid and Psyche endure in order to be together, against the odds and their eventual union, reinforces the ideal that love is powerful enough to overcome all obstacles… or at least crazy mother-in-laws!

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LISTINGS

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concrete.listings@uea.ac.uk 19.02.2013

ON CAMPUS

happening this fortnight Drama Society Minotaur Theatre Company Reefer Madness Rhinoceros, by Eugène Ionesco

Thursday 21 February - Saturday 23 February

UEA’s Drama Society is due to perform Reefer Madness: The Musical this weekend.

Based on the 1936 anti-marijuana propaganda film (now a cult favourite) of the same name, Reefer Madness is here to warn the world of the new danger threatening the American way of life.

The show follows Jimmy Harper wholesome American teenager who falls

for the temptations of the immoral world of swing-jazz, drugs and sex, dragging his sweetheart Mary Lane down with him.

Despite the serious tone of the plot, Reefer Madness is a campy comedy rockhorror musical which not only promises to be highly entertaining but also highly risqué - this show is for over-18s only.

Book by Kevin Murphy & Dan Studney, Music by Dan Studney, Lyrics by Kevin Murphy.

Originally directed by Andy Fickman and produced by Stephanie Steele for Dead Old Man productions.

Doors open at 7pm - show starts at 7.30pm.

Reefer Madness: The Muscial shows from 21-23 February in the UEA Drama Studio. Tickets are £7 or £5 for NUS card holders, and can be purchased from the Union Box Office.

For more information on UEA Drama Society find them on facebook under UEA Dramasoc.

Thursday 28 February - Saturday 2 March

Minotaur Theatre Company presents Rhinoceros by Eugène Ionesco, translated by Martin Crimp.

When a rhinoceros charges across the square in a small French villiage, it creates outrage among the villiagers.

Soon, however, more and more rhinoceroses are stampeding around the villiage and causing destruction.

Bérenger, a flustered everyman, is witness to these events and finds that even his closest friends are choosing to

succumb to “rhinoceritis” and become rhinos themselves. He must decide for himself whether to join them or to remain human.

Touching on issues such as social conformity and identity, this young and innovative theatre company breathe new life into Ionesco’s ingenious and thought-provoking satire, questioning what it really means to be human.

Rhinoceros shows from 29 February2 March in the UEA Drama Studio.

Tickets are £6 or £4 for NUS card holders, and can be purchased from the UEA Box Office.

For more information on the Minotaur Theatre Company find them on facebook under Minotaur Theatre Company, or on Twitter minotaurtheatre.

UEA Box Office can be found online at www.ueaticketbookings.co.uk Alternatively, call them on 01603 508050.

LISTINGS

19.02.2013 concrete.listings@uea.ac.uk

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19 February -4 March Gigs Dervish Price £14/12 Concessions 8pm Norwich Arts Centre

26 February Otis Gibbs @ The Bicycle Shop Price £8 7.30pm The Bicycle Shop 2 March

3 March Chantel McGregor w/ Ron Sayer Jr @ The Waterfront Studio Price £11 7pm The Waterfront 4 March Reel Big Fish w/Suburban Legends and Magnus Puto Price £14.50 7.30pm The Waterfront Jess Morgan Price £6/£5 Concessions 8pm Norwich Arts Centre

Club Nights

Miscellaneous

Theatre

19 February Skool Daze USA - Jocks Vs Geeks LCR Price £3.50 10pm UEA LCR

19 February Literary Events present Tracey Thom Price £7 7pm LT1

22 February

20 February Stand-Up Poetry Club presents Martin Newell Price £7/£5 Concessions 8pm Norwich Arts Centre

19 February

Gerard and the Watchmen + Heart of a Dog @ The Bicycle Shop Price £5 7.30pm The Bicycle Shop

The Straits (Ex Dire Straits) Price £25 7pm UEA LCR

Theatre and Comedy

21-23 February Reefer Madness presented by UEA Drama Society Price £7/£5 Concessions 7pm UEA Drama Studio 28 February The Ragged Trousered Philanthropists Price £11/£9 Concessions 7.30pm Norwich Arts Centre 28 February - 2 March Minotaur Theatre Company presents Rhinoceros by Eugène Ionesco Price £6/£4 Concessions 7.30pm UEA Drama Studio A Night at the Musicals Price £14 7.30pm The Playhouse

1-2 March

Terry Alderton Price £13.50 8pm The Playhouse James Acaster – Prompt Price £10/£8 Concessions 8pm Norwich Arts Centre

23 February Meltdown + Wraith 13th Birthday Price £4.50/£3.50 NUS 10pm The Waterfront A List Price £4.50 10pm UEA LCR Wild West LCR Price £3.50 10pm UEA LCR

Comedy Justin Moorhouse Price £14/£12 Concessions 8pm Norwich Arts Centre

Color Price £9/£8 NUS 10pm The Waterfront

21 February

23 February

Top 50 LCR Price £4.50 10pm UEA LCR

27 February

2 March

The Lyrical Ballads Cabaret Price £2 advance/£3 door 8pm The Birdcage 21 February Unthank Books presents 'The Syllabus of Errors' Launch Party Free 7.30pm The Bicycle Shop Tim Burgess Price £15 7.30pm Norwich Arts Centre

23 February

27 February Molly Naylor and Byron Vincent Price £10/£7 Concessions 8pm Norwich Arts Centre

GOT SOMETHING TO TELL UEA ABOUT?

26 February

If you’ve got a Society or on-campus event that you’d like to share, get in touch: concrete.listings@uea.ac.uk

Photo: Virginie Lassarre

COMPETITIONS concrete.competitions@uea.ac.uk

www.concrete-online.co.uk

19.02.2013

the venue crossword across 1. The nut found in nutella (8) 4. A sandwich shop which is also a mode of transport (6) 8. The ratio of a circle’s circumference to its diameter (2) 9. Like rain on your wedding day, it’s... (6) 11. Pickled cucumber (7) 13. Elizabethan term for theatre (9) 15. Bird that can’t fly, but swims (7) 16. Healed wound/ Disney villain (4) 17. Fell down a hole chasing a white rabbit (5)

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down 1. Can be inadvertantly eaten (5) 2. Scientist known for his dog (6) 3. Largest ocean (7) 5. Country with chocolate-flavoured postage stamps (7) 6. Sport, contributed to friendlier US-China relations (4,4) 7. Roman legion, may have disappeared in Britain (5) 9. Element with symbol Fe (4) 10. First Pope to resign in 600 years (8) 12. Historical Japanese warriors (7) 14. Purple video game dragon(5)

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