Venue 316

Editorial

Issue #316 3rd November

In the 2014-2015 National Hockey League season, the Anaheim Ducks finshed the month of October, the first month of the season, with a tally of nine wins and three losses. At the end of this month, the Ducks start the season with seven losses, two losses in overtime, and just one win. They finished the previous season top of the Western conference, and were seen as serious contendors for the Stanley Cup, the most prestigious trophy in hockey. Right now, they sit just above last place in the NHL, and there is talk that their head coach, Bruce Boudreau, is soon to face the sack.

Editors: concrete.venue@uea.ac.uk Ana Dukakis Joe Fitzsimmons Arts: concrete.arts@uea.ac.uk Brett Mottram Creative Writing: concrete.creativewriting@uea.ac.uk Jay Stonestreet Fashion: concrete.fashion@uea.ac.uk Lizz Gowens Leah Omonya Film: concrete.film@uea.ac.uk George Barker Melissa Haggar Gaming & Technology: concrete.gamingtech@uea.ac.uk Tom Bedford Music: concrete.music@uea.ac.uk Freya Gibson Daniel Jeakins Televison: concrete.television@uea.ac.uk Hannah Ford

The reasons for the Ducks’ current slump are hotly debated.

Some blame the abysmal performance of goaltenders Anton Khudobin and Frederik Andersen, who currently clock in a save percentage of 0.875% and 0.932% respectivly. Others blame a current drought from the team’s super-star goal-scoring duo Ryan Getzlaf and Corey Perry. At the time of writing, the Ducks have scored only ten goals this season, the lowest in the league. The question asked most though, is how could the Ducks fall so far in so little time, when ostensibly they are the same team they were in the last season?

Despite my enthusiasm for seeing west coast hockey teams perform poorly, and countless hours spent tuning into the sports analysis radio, I cannot say that I have any explanation of my own. I will however, pose a slightly incidental observation. Looking at a season in professional sport, and the shifting fortunes of the best and worst teams, we might see a mirror of the acadmic calender we now find ourselves firmly entrenched in.

As we begin a new year, we face the same repeated challenges of the last. Like the constant cycle of training and games that players are exptected to once again put themselves through, we are required to sit in the same lecture halls, submit assesments through the same e:Vision, and go through the same arguements with the Hub. The opponents and details of the game may change, but we are still required to come out with the win.

Like the Ducks, we may have finshed our last year in high standing. It is possible that, last September, we found ourselves lifting our very own Stanley Cup. Now however, the new season is upon us, and we yet again have to test ourselves. We arrived back at UEA and settled in for a comfotable repeat of our victories. As November rolls around though, we may be finding out that this season is definitely not shaping up to go like the last. This year, we may find ourselves powerless to make a save, or unable to keep up with our studies. Our goal drought may be in the form of a string of late assesments, but as our grades start to slip, all we are left with is a record of losses. Simply put, we may not be doing as good as past victories shows we can.

In this situation, rather than fire our coach, throw in the towel, or doubt out own achievments in getting here, the most important thing to remember is that past seasons’ glory, whilst forever remebered and often celbrated, has no bearing on the current year’s standing. Each new begining is a new obligation to prove ourselves, and earn those wins all over again. Remember to take this new year as your new season, and each aspect of you work as your own game. Each challenge presents its own opportunities. Motivation, training, and planning are not tasks that can ever be completed. They are aspects of your life to be constantly repeated, refined, and rewarded.

You may find youself currently undefeated, or floundering at the bottom of the league table. One thing to know though, is that there are eighty-two games in the NHL season.

One string of losses does not equal failure, and we are a long way from the end. Last season, the Ottawa Senators (the pride of the Atlantic division) came from 14 points clear of a play-off spot in February to clinch a Wild Card at the season’s end, shattering NHL records for the largest regained points defecit. Likewise, you may find yourselves behind on work, staring at failing grades, stressed, exausted, or utterly defeated. But the season is not over yet friend, and we have ourselves a game to play.

Art and Design: concrete.artdesign@uea.ac.uk Dougie Dodds Cover Art : Lucinda Swain

3

Music The Return of Bloc Party George Martin There are relativley few bands still around that survived the ‘indie cull’ that occured torwards the end of the noughties, and even less left behind the legacy London-based four-piece Bloc Party did.

Their groundbreaking music is cited constantly as inspiration to a wide-range of modern artists, and both their debut album Silent Alarm and follow-up A Weekend in The City enjoy classic status.

When a seventeen year old Kele Okereke decided to form a band at Reading Festival in 1999, he never expected to achieve legendary status in the eyes of so many fans. Four albums, two hiatuses, several stylistic alterations and a significant lineup change later, Bloc Party returned this month with their upbeat new single ‘The Love Within’, along with the news that they will release their fifth album at the beginning of 2016.

Bloc Party got their first break due to a Okereke handing Radio 1 DJ Steve Lamacq a copy of their demo single ‘She’s Hearing Voices’ after a chance meeting at a Franz

How an Indie Giant Survived Changing Trends

Ferdinand concert, with Lamacq describing the single as “genius” after playing it on his radio show in 2003. This led to the band (which at the time consisted of Okereke on lead vocals and rhythm guitar, Russell Lissack on lead guitar, Gordon Moakes on bass and Matt Tong on drums) being signed to Wichita Recordings in April 2004.

The band began to achieve international recognition shortly after the release of their seminal de-but album Silent Alarm in February 2005. The album, which was latter certified platinum, reached number 3 in the UK album chart, along with spawning four top 20 singles.

However, these sales distinctions mean very little when put into context;

the album arguably marked the true birth of the mid-noughties indie scene in Britain, with Bloc Party regarded by critics and fans alike as the key players.

In the months following the release of Silent Alarm, Kaiser Chiefs, The Fratellis, and The Automatic all released debut albums, solidifying the fledgling scene as one which would dominate the British musical landscape for the next two years. This included the release of Whatever People Say I Am… by Arctic Monkeys and Inside In/Inside Out by The Kooks on the same day in January 2006, with the former selling over 360,000 copies in its first week.

Any fears of a breakup were quashed in May 2012, when the band announced that they would return with their first album in four years.

This album, called Four, was released in August 2012, and marked a return to the urgent, indierock style of their debut.

Whilst the scene they had arguably started flourished in the UK, Bloc Party spent the start of 2006 touring the US, building up enough support to sell over 350,000 copies of their album in America. Not content to continue capitalising on the success of their debut, Okereke began writing electronic-influenced music, which was released as Bloc Party’s second album A Weekend in the City in January 2007.

This change in style polarised some critics, with one review declaring that “too often, the music on A Weekend in the City is less memorable than the ambitious subject matter.” Despite this, their importance as a band was only further solidified with the release of their second album, playing sets at Glastonbury, Reading, and T in the Park in the summer of 2007.

However, the album did not mark any newfound stability for the band. Shortly after touring commitments had finished, drummer Tong announced that he had parted ways with the other three members. This led to their second indefinite hiatus in four years, and was regarded by many to truly be the end.

This newfound electronic style began to distance the band from the indie scene which they had been so integral in the creation of, with some commentators describing their new style as “art-rock”. The August 2008 release of their third album, Intimacy, saw electronic influences embraced even further in Okereke’s songwriting.

This new look, reinvigorated Bloc Party ended this hiatus by releasing their first single together to a largely positive reception, with Rolling Stone describing it as “infectious” and NME calling it “distinctively dancey”. However, the single is causing a more mixed reception amongst fans, with one taking to Facebook to

After the touring for this album, the band were released from their record contract, and thus decided to go on hiatus after their October 2009 tour.

At this time, the indie scene which they had played such an important part in was all but dead; Arctic Monkeys embraced more disparate American influences on 2009’s Humbug, and The Fratellis’ announced their breakup.

Photo Credit: LivePict. com https://commons. wikimedia.org/wiki/File:Bloc_ Party_2009.5.29_012. jpg#/media/File:Bloc_ Party_2009.5.29_012.jpg

In addition to this, Lissack and Moakes both formed new bands, with rumours circulating in 2011 that the band had split up for good.

Had Bloc Party really ended here, it is unlikely that their legendary status would have really been noticed outside of their fanbase, as their music had arguably been declining in quality and originality since their debut.

Many fans believed that this hiatus would mark the end for Bloc Party; Okereke released his electro-house solo album The Boxer in the summer of 2010, showing a huge departure from the music which his band had previously recorded.

The second Bloc Party hiatus proved much less fruitful than the first - little was heard from the band other than the resignation of bassist Gordon Moakes in March of this year. However, in a series of comeback festival appearances in America in late August, the band debuted a new lineup, with Americans Justin Harris (bass) and Louise Bartle (drums) replacing the departed members.

declare it “the worst f***ing song they have ever released.” Despite this, it came with the announcement that a new album would be released at the start of 2016.

So, what does the future hold for the most innovative bands to emerge from the midnoughties indie scene? Unfortunately, their incredibly unstable past makes it hard to say - it is as likely that this will be their last album, as it is that they will make another ten.

However, it is almost a certainty that their fifth album will throw them back to the forefront of the British indie scene as key players, a position which some would argue they never lost.

4

Music A History Of Bond Themes From Goldfinger to Writing’s On the Wall

Dan Struthers That legendary guitar riff can only mean one thing: a new James Bond film is fast approaching screens across the world. With the release of Spectre, certain other elements are expected in this fifty year old formula including Bond girls, (yep casual misogyny’s survived from the 60s films) flashy product placement cars, and of course, a Bond song from the hottest artist of the moment.

As it’s 2015, it of course makes sense for Britain’s sweetheart, Sam Smith, to take on the impossible task of singing a song for 007 that everyone loves. However, one can’t help but think that if One Direction were still a cohesive unit we’d be hearing a generic pop version instead. When Sam Smith’s Bond song ‘Writing’s on the Wall’ was released there was initial criticism unjustly calling it a rip off of MJ’s ‘Earth Song’. Some comparing it to a Eurovision song, and others dismissing it as just boring. However, when listening to a Bond song it should be listened to within the context of the film because the song will ultimately set the tone, as previous Bond songs have done, and so we should listen to ‘Writing’s on the Wall’ in the same manner.

What we consider to be classic Bond songs such as ‘Thunderball’, ‘Live and Let Die’, and ‘Gold-

Emily Amelia

finger’, all manage to strike the balance between understated and overdramatic, whilst also acting as a perfect introduction to their respected film.

‘Thunderball’ uses a classic concert band while utilising Tom Jones’ powerful Welsh voice. Stories of Jones passing out after delivering the final note only building towards the mythology. Paul McCartney’s band The Wings ‘Live and Let Die’ is a contradiction to the traditional Bond song; deceiving the listener with a soft ballad and then thirty seconds later snapping into a straight out rock number. This song bought a refreshing change to a then ten year old formula.

Perhaps the most iconic and quintessentially Bondian song is ‘Goldfinger’ belted out by national treasure Shirely Bassey. Marking the start of her Bond song hat-trick, the song mixes a catchy as hell chorus with simple but often baffling lyrics.

While we hold up these songs as templates for a great Bond song, there are others like Duran Duran’s ‘A View to a Kill’ and Sheryl Crow’s ‘Tomorrow Never Dies’.Buried underneath the classics which are still undeniably fun Bond songs that capture the tone of the films perfectly. While it is true there are those Bond songs we try to forget – Madonna’s ‘Die Another Day’– all the Bond songs have at they very least matched the tone that

Charlotte West

their respected movie counterpart was going for.

Even the newer Bond songs such as ‘You Know My Name’, the criminally underrated theme tune from Casino Royale, took advantage of Chris Cornell’s gruff delivery and harsh guitar to mark a new grittier Bond who demanded an audience take him seriously.

Adele’s ‘Skyfall’ and Sam Smith’s ‘Writing’s on the Wall’ are similar to some extent they aren’t the typical 21st century Bond song, going for striking

vocals in a controlled song that both received fairly mixed reviews upon release. However, the benefit of hindsight will treat more kindly as both singer songwriter’s will surely go down alongside Shirley, Tom and Paul as classic Bond song artists.

The history of the Bond theme is ultimatley a large and fruitful one. There isn’t a movie franchise that’s produced so many truly great accompanying theme songs, and that’s something that should surely be celebrated.

An Interview with Nothing But Thieves

Nothing But Thieves spoke to Venue ahead of their debut release, self-titled album, and show at Norwich’s Waterfront.

(Amelia) How has the tour gone so far?

(BBT) Really well actually, every show has been sold out so far and the crowd reception has been awesome. We’ve been a bit sleep deprived and a bit tired and a bit angry, no I’m joking not angry just a bit cranky.

The shows have been like the pick me up of feeling knackered, they’re the much needed adrenaline boost that we need so it’s been really good.

How has the album been received, with the new crowds especially?

You see everyone singing along; they don’t just know the singles they seem to know every track from the album which is wicked.

Yeah it’s been weird. Some of the songs have been hidden away for years so to then see them singing along it’s really strange.

Have you noticed the crowds increasing in size, on this tour especially?

Massively, this tour sold out really quickly UK wise. This show sold out in two hours, it was the quickest one and they are the biggest rooms we’ve ever played on our headline tour and its definitely an improvement from the last time we were on tour.

When I first started listening to you I loved ‘Graveyard Whistling’, then ‘Ban All The Music’, then Itch and now ‘If I Get High’ – how do you keep writing brilliant songs?

It’s just endless talent! No, it’s just blagging isn’t it. I think it’s because we write a lot and we are quite tough on ourselves with it, so we won’t release anything that we think is not good enough. It’s high expectations so the songs that you hear on the album we’ve whittled down from like 40 or 50 songs and that was a shortlisting in itself, so the album is a shortlist of the shortlist if that makes sense. We just spend a lot of time writing and crafting. We are still writing now for album number two. We don’t write for an album we just write for the sake of loving writing music.

Are there any cool places in Southend where you hang out?

Probably where we used to gig all the time, ‘Chinnerys’ - we’d also do rehearsal places there and it was where we spent a lot of time going out to clubs and bars every weekend.

There’s not many places to go. I used to live in Rayleigh so I spend a lot of time there with the boys.

Do you get to go home a lot now?

Not really, it’s a shame, I do miss it. We’ve actually just booked train tickets from

Birmingham on our day off to go back to London just so I can go to my own bed and wash some clothes and use my own shower rather than showering in venues.

It’s the small things, like toilet roll.

Honestly, you’re telling me. Seriously, we’re so busy now that you don’t have any time for yourself. It’s alright, everyone needs toilet roll, it’s fine. Those that try to hide it are lying.

If you weren’t in the band what would you be doing?

Oh god, cruise ship singer or a mass murderer, Dom’s pretty psychotic. Yeah, I play a lot of Grand Theft Auto. I’d probably still be in music. I’m really into production so I’d probably be a producer. You never know though, we might have never got into it, could be a garbage man - which is fine it’s a very honourable job. Or maybe down the A & R side of labels, it’s hard to tell so we’re lucky we’ve got this.

What do you think of the British indie industry at the moment?

I actually think it’s shaping up nicely, there’s a want and demand also within the industry like the radio stations and the magazines are wanting indie alternative rock bands to come through. For instance, getting on the Annie Mac show playlist, she needed three

or four bands to pluck and she picked us and that’s such a great thing to be a part of. There are always good indie bands around but it does come in waves of popularity and being fashionable. It really is a bit of luck so its good timing on our path.

With some bands you listen to two or three songs on the album and that’s all you’re really interested in, but I personally love every song on this album.

That’s what we were saying earlier about how we’re quite hard on ourselves with the songs, because each song we pick apart individually and every moment of every song we try and make special for the listener, so it’s not like we have the basis of the song and we just chuck some guitars in there, we do really think hard about every element.

Every song has a different edge to it as well.

We make a point of not writing the same song twice and each one will offer something different because there’s been a million albums, (I won’t name names, over the years that I listen to once and I get bored of because it’s the same idea and trick rehashed.) Whereas we might be too eclectic for some people but I’d much rather be that than a one trick pony.

5

Music Let's Talk About Electronic Music

Muse Giacalone Have we not all imagined music as some evasive, floating thing that affects us in a way that tanscends the concrete and tangible ? It slips through our fingers and, because it cannot be contained, leaves us with the desire to be made up of it.

Music has only heightened our active attraction to its many forms and molds. Now more than ever, electronic sounds and arrangements are taking revolutionary turns since the arrival of machine-noise that birthed in the early 20th century. But where did this new chapter in music begin, and how is it being challenged in our society today ?

Listening to music, it is apparent that it has grown to become a sort of political Mecca. When we listen to music, we are essentially lending an ear to an array of different “noise arrangements.” Through this, we realise the great power the musician acquires by cafefully and creativly molding noise to make music. Sounds and their arrangements have influenced entire societies : invading a person’s time and space and so giving them a source of true purpose.

But another daunting question emerges: what is music? Is it even wise to begin a debate of this kind? Though the ontological question of defining art can often seem to go on and on in circles, it is nevertheless important to put it into question and reflect on it. It can be argued that music is an art form that seeks to exploit the potential of noise, treating it as sound to make it into what is known as music. Polish Messianist philosopher, Hoene-Wronski, described music as “the corporealisation of the intelligence that is in sound,” making it a concretisation of the organized factions within noise. As a more scientific definition of music, this indicates that this form of art can go beyond the romantic ideal of portraying human emotion and/ or the human condition. In most scenarios we are exposed to noise, and if we try to ignore it or find ourselves in total silence, we are disturbed. A lacking remains. It is only through a close analysis of sound that we can truly perceive its musicality and hence “corporealise its intelligence.”

The emergence of “noise” as a concept can be marked mainly throughout the 19th century, in which, along with the Industrial Revolution, machines and noise were born. Since then, as history has set the stage for a massive technological renaissance, noise has dominated our daily lives, through our

natural surroundings but also our musical creations. Noise does not travel as music does. It is more physical, visceral, and exciting. Through it’s manipulation and organisation it can have the grandeur of Beethoven’s symphonies. The “new” musical evolutions of the 20th and 21st Centuries have been to seek out harsher, more discordant sounds, developing in to the greatest variety of instrumental timbres and resonance.

This “modern” life we live (to recall images of Chaplin’s Modern Times) has adjusted us, intrinsically, to raucous, more mechanical sounds. Conditioned, as we always have been, art takes on another metaphysical standpoint.

Still, even against the undeniable fact that noise-sounds have characterised and been a common part of our everyday life, this “new music” has met resistance from an array of agents.

Interestingly enough, when a drastically innovative kind of music emerges, common criticisms such as “this is just noise” will be popularised. Musical explorations in jazz, for instance, faced these criticisms in the early 20s and 30s because jazz players were said to not know how to play their instruments correctly. This new world of improvisation that worked both within and without the traditional system of repetition rocked the musical milieu. The word “noise” has grown to have a negative connotation, referring to something unclassifiable and without order. Yet, if observed carefully, we understand that if noise is the most basic, “primitive” music, then it must be the one that our natural human ear craves the most.

The great pioneers of the research and analysis of “noisesounds” and electronic music, that include Luigi Russolo, Pierre Boulez, John Cage or Edgard Varèse remind us that sounds have given us the impression that music is about making, rather than being “composed.” In fact, if taken in the literal sense, “composed” would mean calm and selfcontrolled, whilst the beauty of noise-music lies in its wild unexpectedness. Researchers, artists and composers, enabling a new renaissance of music through the “electronic medium”, opened this enigmatic world of sound. An unbelievable variety of new timbres have thus been added to our musical storage, and most especially it has liberated music from the tempered ear, bringing it in to alignment with other arts and sciences.

Of course, as anything in art, a certain vicious cycle strikes again. This newfound liberation of sound has faced an insidious aesthetic codification in which electronic musicians have embalmed their music into a new set of rules, such as components like a “rise,” “drop with bass,” etc… Evidently, the human ear wants to be comfortable and have the assurance of control over what it is listening to, a reassurance of predicting what a track will be delivering next. This fundamental contradiction between a naturally freed human ear that is somewhat accustomed to the “messiness” of noise and our conditionnemening to crave order renders electronic music a divided nation.

Thus, music reveals itself to be a melting pot of organized noises, constantly challenging humanity and its artists to sculpt it to their desires. Still, though the newfound tools of electronic music, that mainly involve ‘sampling’ (collection of pre-conceived sounds and snippets) and machinery (synthesizers, sound-recorders) have made the evolution of music possible have also blinded us to believe machinery can create for us. This is a large misconception of electronic music, as the machine that replaces us. In reality, it is so that the computing machine is as limited as the mind of the individual that is feeding the machine. We reap the sounds we sow.

A Brief Electronic and Noise Playlist: 1. ‘Space is only noise if you can see’ by Nicolas Jaar (Space is Only Noise) 2. ‘Replica’ by Oneohtric Point Never (Replica) 3. ‘Window Licker’ by Aphex Twin 4. ‘Wild Birds Sing’ by Sherwood & Pinch (Late Night Endless) 5. ‘Open Eye Signal’ by Jon Hopkins (Immunity)

Photo Credit: Pascal Montary http://www.flickr. com/photos/thearches/5905690190.

6

Music Lucy Rose Live Review Becky Smith Lucy Rose has an image so clean it practically sparkles, and her set certainly stays true to the spotless indie pop her fans have become accustomed to. This is not to say she is a dull performer; her persona on stage has certainly become much more confident and colourful since her nervous touring with Like I Used To, released in 2012.

Her 2015 album Work It Out appears to have given her more of a spark in her set, not just thanks to the gorgeous electric guitar featuring in many of her new songs.

The Lucy Rose of 2012 was a far shakier performer than this 2015 version, who springs around the stage in indie shirts and sneakers and actively engages with her audiences. Still squeaky clean but with a deeper sense of self, there is an authenticity to her sweetness.

Indeed, it was particularly telling to compare her to her first support act, the sublime Billie Marten, a sixteenyear-old still in those anxious throes of rising recognition that Rose appears to have thrown off to achieve this deeper realism apparent in her set.

Rose achieves something all live performers should aim for: a real emotional tie to her audience. ‘Shiver’ in particular was especially stunning,

Natalie Cole

and left many in the audience tearful.

It was incredibly easy to relate to the wistful tones of ‘Nebraska’. However, Rose suffers from the gentle nature of both her albums, however delightful her songs may be. Her second support act, the stunning Jake Isaac, had a set so alive and joyful that it felt almost like a let down to suddenly be presented with the stripped-back set of Rose.

Indeed, many were saying afterwards that they would have happily watched Isaac for another hour instead of Rose.

It’s not to diminish the talent of Rose, but her set would be far more engaging if she had played around more with her songs, and offered her audience more of a vivaciousness that they were not even aware they particularly wanted until Isaac hit the stage.

grittiness that is evident in her grunge skinny jeans but not in the largely innocence nature of her songs. While she has certainly delved deeper into her emotional abilities with her experience

as a musician, she needs to completely throw off the comfort of her shy persona to become bigger than she currently allows herself to be.

All in all, Rose delivers on stage what she promises in her album; a clean and clear performance of her richest songs from her back catalogue, with a sweet and unthreatening politeness that puts her audience immediately at ease.

She is certainly more relaxing than stimulating, and whilst delightful to listen to, you do leave the arena feeling you wanted more.

If Rose is going to progress as a performer, she needs to embrace the

Photo Credit: Man Alive! (Lucy Rose) via Wikimedia Commons

Coasts Live Review Opening to a half empty room at The Waterfront can be very intimidating for an unheard of support band. Dive In, a four piece electro-pop band from Glastonbury, opened their first ever set in Norwich with their title track off their new EP, Change In The Weather.

At first they appeared to be just another water-themed indie band (of which there are many), however after hearing lead singer, Matthew Guttridge’s unusually high voice (think, Kellin Quinn from Sleeping With Sirens in an indie electropop phase) and their super-upbeat anthemic choruses, they are clearly something a little bit more.

The second support, The Hunna, took to the stage and made an incredibly striking impression. The Hertfordshire four piece spent an entire year shut off from the world in order to perfect their sound, and it has clearly paid off. Vocalist Ryan has an outstanding voice which echoes a strange mix of Kurt Cobain and James Bay, which is

complimented by the band’s guitardriven anthems and youthful energy.

After playing their fifth song ‘The World Is Ours Tonight’ Ryan humbly muttered something along the lines of ‘…which it really is.’ It is refreshing to see a new band so confident in their own sound. The Hunna received a very warm reception from the crowd as they closed the set with their debut single “Bonfire.”

From the moment Coasts took to the stage, they captured the entire room with their bouncy indie pop hooks and catchy lyrics. The band played two new songs from their debut album which is due out in January, the first being ‘You’ which was released as a single on the same day as the gig. Another new song, ‘Wolves’ was played in memory to Jasper – Norwich drummer Ben’s late cat.

Lead singer Chris Caines energetically leaped around on the stage so much throughout the set that he announced after playing ‘A Rush of Blood’, that

“this stage is falling apart under our very feet.” The band’s endless amounts of live energy and their unquestionable knack for writing songs with exciting build ups to huge catchy choruses, is what has set them far ahead of other bands in the same genre over the past year. Caines proudly announced that ‘Tonight’ was featured on the game FIFA 16 and that the band will be back in Norwich next year. Coasts closed the evening with their hit song ‘Oceans’ which engulfed the entire room in the moment, with everybody jumping, clapping and singing their hearts out.

After the show, drummer Ben had a few words to say about performing in his hometown: “It’s great playing in Norwich, it’s a real homecoming as all of my family and friends are here. It’s been a great memory for my dead cat too.

Norwich is the best place in the world, I even like Great Yarmouth!”

Photo Credit: Natalie Cole

7

Fashion H&M x Balmain

Roseneath Machube

A Quick Look at the Much Anticipated Collection.

Balmain x H&M Kacper Kasprzykia

If you’re a true fashion lover you’ve been dying to see the collaboration between one of the leading high street stores, H&M, and haute couture fashion house Balmain.

If you hadn’t heard about it I’m going to fill you in and trust me you’ll be queuing to get your hands on at least one piece from the collection. Yes, it is that amazing.

Balmain has gone through many designers including the famous Oscar de la Renta, who is notably one of the designers who elevated the brand and kept their prestige.

However, it is safe to say that it is Olivier Rousteing who has catapulted this brand to what it is today by tactfully creating clothes that are unique, of superior quality, and extremely luxurious.

When you think of Balmain you think of high fashion, sexy, long-legged French models, and the hottest and most influential celebrities. When you think Balmain you think wow. Many people would never have imagined owning even a belt from Balmain. To own an entire look you’d have to break the bank, and haute couture is hardly suitable everyday fashion.

So it’s incredible what H&M are doing, yet again embarking on a “journey” where they bring stunning designs to the average man for a fraction of the original prices.

This makes us love H&M even, more and I suspect this was all part of their plan to yet again increase our brand loyalty.

H&M is famous for their collaborations.

They have teamed up with designers such as Karl Lagerfeld (2004), Versace (2011) and most recently Alexander Wang (2014) but their dream team collections don’t end there. They have created charity collections, worked alongside design award winners and many popular celebrities such as Madonna (2006), David Beckham (2012), and Beyoncé (2013), to name but a few.

This is what they do and they do it well. H&M sees the appeal of bringing the everyday person an opportunity to purchase a little bit of luxury that they otherwise wouldn’t have been able to afford.

They take the aspirational worlds that saturate our magazines and Instagram feeds and provide an opportunity for their customers to make them a reality, to be able to wear the same clothes as Beyoncé, David Beckham , Kendall and Kylie Jenner, to be a part of the #Balmainarmy

Balmain x H&M Kacper Kasprzykia

and #Balmainnation and financially live to tell the tale.

Upon first glimpse of the collection you’d be overwhelmed, or at least I was. The pieces are to die for; you’ll want to get your hands on almost everything.

Reading this I’ll assume you’re a university student on a budget, and therefore looking for something stylish that you’ll be able to wear again and again as the prices are not as low as you’d expect for the highstreet, because it is after all Balmain. The collection coming Balmain x H&M to selected stores and online on 5th November 2015 is pretty pricey with dresses coming in at well over a hundred pounds, so if you are going to buy something from this amazing collection, I’d suggest that you go for something wearable. I’m going to break down the top three items I feel are must haves and tell you why they are.

Balmain x H&M Kacper Kasprzykia

Top 3 Items: 1.The Blazer This is really a staple piece that you know you’ll be able to style it up and down. You can wear it to a job interview or a dinner party or to any event inbetween. Balmain has a great selection of blazers for both sexes with a longer sleevles option avialble for the ladies which can also be worn as dresses on a night out when you’re trying to be achieve a sexy and sultry look. Not to mention they are amongst the lowest priced items in the collection.

2. The Little Black Dress.

There are two little black dresses availabel, these dresses call out to all the minimalists.

For those who admire Balmain but can’t stand all the sparkle and shine here’s a perfect way to join the army whilst staying true to your style. Adding a belt will definitely synch in that waist and I reckon you could get away with a cheaper belt from asos on top of this stunning number.

3. The Backpack.

Accessories are always fun to play around witht and this backpack is perhaps the most wearable of them all. Its in the mens section but is a unisex piece. It also is leather, a very durable material, so you can begin to jusity the cost as with proper care this bag is sure to last.

8

Fashion BMIs at Fashion Week

Is BMI Regulation the Best Way to Change the Industry?

Lizz Gowens September and October 2015 saw the annual AW fashion weeks in the most prestigious fashion capitals of the world.

The events showcase the autumn and winter trends from designers at the top end of the haute couture spectrum, down to new and upcoming designers hoping to break into the industry.

Since Anna Wintour’s reign over the Vogue Empire, the world of modelling has been pushed into the limelight with many of the girls being considered ‘celebrities’. Wintour was the first Vogue editor to feature a celebrity on the front cover, which, at the time, was a ground breaking move from the young editor who had come from GQ. It was a move that faced criticism, but ultimately pushed towards changing attitudes in the industry that would shape it into what it is today, with models like Kendall Jenner coming from reality TV, Cara Delevigne from a rich family and now working in film, and of course Kate Moss who can be found in gossip magazines almost weekly.

The backlash of this evolution, however, are that models are now under public

scrutiny more than ever. Fashion Week has forever been condemned by the masses for its use of excessively ‘skinny’ models, with France being especially notorious for what some suspect to be anorexic girls. The realities of the fashion world are not glamorous, as designer houses are after a pre-pubescent-like figure on which their designs will sit perfectly. This is problematic as very few models over 16 are able to maintain this body image via healthy means, hence the estimated 40% of models with eating disorders.

Wintour’s changes in the industry and the subsequent fame of many models may have acted as a catalyst for many countries to be called to act, and the British Fashion Council to produce the Model Health Inquiry. Madrid has also implemented a Body Mass Index (BMI) regulator at its fashion week which deems a model with a BMI below 18.5 unfit to walk at any show.

Using BMIs to regulate models has been one of the biggest arguments put forward by many as a way to eradicate the use of underweight and unhealthy

Commentary: Lizz Gowens and Leah Omonya

Measures of BMIs have a history, however, of being considered problematic for their overly simplistic use of data and not taking into consideration many factors that could affect the reading. A professional rugby player, for example, will often have a very high muscle/fat ratio in comparison to other non-players of the same height. This leaves the rugby player with a very high BMI which, medically, makes them overweight or even obese. This is obviously not the case, but it demonstrates the flaws in the use of BMIs, particularly if it is the only measure being used to analyse someone’s health.

There is clearly an issue within the industry and many designer houses are accused, with just cause, of promoting an unhealthy body image to the general population – particularly younger girls.

Equally the increasing use of Photoshop on editorial covers has been deemed to cause the same problem, and many people are calling for a ban on its use.

But if the driving force behind this global outcry and subsequent inquiries like that of the British Fashion Council is that young people are being subjected to a distorted picture of what ‘beauty’ is, then surely similar regulations should be put in place for others who have access to a highly viewed performance space?

Musicians, actors, TV personalities and many more public figures are watched everyday by the masses, and are on equal footing, if not even more so, than these models to be seen as ‘role models’ and affect the outlook of younger people on their own bodies.

Those canvassed by the British inquiry concluded that the use of BMIs during fashion week would act as a “blunt instrument” which could actually lead to binging before weigh-ins and perhaps increase the 40% of eating disorders or worsen those existing. The problem of weight and body image in the industry is a highly complex one, and the use of BMI is far too simplistic to even attempt to combat it. This is why, ultimately, the Council did not support this system and it will not be implemented.

Campus Catwalk

Name: Hanjun Year: Third Studying: Financial Accoutning

Name: Rosie Year: First Studying: Law

Name: Cheng Year: First Studying: Pharmacy

Hanjun caught our attention with her striking combination of knee high boots and shorts.

It’s a brave choice considering the dreary weather, but she managed to style it out in warmth and comfort with camel coloured tights, adding a lovely chunky knit jumper to complete the look.

Rosie’s look is the perfect mix of girly and edgy. Her flowery skirt really adds a delightful pop of colour and her unisex demin jacket gives her look a much coveted effortless vibe. The same can be said for her Doc inspired T-bar shoes.

Cheng is loooking very put together in this ensemble.

This is a great casual outfit all in shades of blue. At its base it is a simple t-shirt and jeans combination, but the addition of the trainers and bomber jacket really take it up a notch.

Shops at: Boots - Russel Bromley Jumper - Acne Bag - Celine

Shops at: Skirt - Charity shop Shoes - Vintage Shop Jacket - Vintage stall at UEA

Editors’ favourite: It has to be the boots. Not only are they stylish, they’ll definitely keep you warm.

Leah Omonya

models. France especially has been called to follow suit and Britain has also faced much pressure to implement the system.

Leah Omonya

Editors’ favourite: It has to be a tie between her bright and colourful skirt and her versatile denim jacket.

Shops at: Jacket - Zara Shoes - Adidas T-shirt - Nike

Leah Omonya

Editors’ favourite: The bomber jacket is always a great addition to any wardrobe. It’s a fun layer that gives a carefree, casual, sporty vibe to any look.

9

Arts Let's Get Creative?

A Brief History of Intoxication and Hallucination, with the Highs and the Lows Lucinda Swain Since the beginning of time, writers and artists have consumed narcotics. Music and drugs have long been linked, with shifts in genres often running alongside trends in narcotic abuse. Whether it’s an attempt to combat depression or out of pure boredom, we see evidence of the self-altering substances in their work. Even as early as the Bible, there have been references to hallucinations, and Shakespeare wrote of an ‘insane root’. Whether there is any relation between the creative process and drug use is debatable.

The effects of drugs have been shown to vary enormously when it comes to people’s responses, so it is difficult to make any generalisations as to whether drugs positively influence the creative process. However, the theme of drugs is very much present in most creative outlets. Some great literary works have been created while the authors were under the influence of narcotics.

terrifying imagery used is intense: ‘As this relaxing wave spread through my tissues, I experienced a strong feeling of fear. I had the feeling that some horrible image was just beyond the field of vision, moving as I turned my head, so that I never quite saw it.’

Kate Braverman is another dark and brutal, drug-fuelled novel about ‘a dysfunctional family with functioning addictions’. It’s a novel that leaves you with images scorched into your memory for a long time. Red-Dirt Marijuana and Other Tastes by Terry Southern was written on drugs and is just as hilarious as it is twisted. Other drug inspired novels include: The King of Methlehem

by Mark Lindquist, Tony O’Neil’s Digging the Vein and The Man with the Golden Arm written by Nelson Algren.

of the poison twists my arms and legs, cripples me, drives me to the ground. I die of thirst, I suffocate, I cannot cry’

by Rimbaud in A Season in Hell to reflect the struggles of going cold turkey.

There are also many songs that reference drugs sometimes subtly and at times not so restrained. Blunt Blowin’

by Lil Wayne, Because I Got High by Afroman, and Cab Calloway’s Reefer Man to name just a few. Each plainly states in the title that they are directly talking about drugs, sometimes in a positive light, other times negative.

The lyrics in Because I Got High, focus solely on the negative effects of narcotF. Scott Fitzgerald, Wikimedia

Other well-known pieces of literature were written by authors struggling with addiction. With cocaine, methamphetamine, and opiates being the most popular amongst them, Stephen King, Robert Louis Stevenson, and Charles Dickens all struggled with addiction. Struggling writers would take alcohol as their drug of choice. Tennessee Williams, Truman Capote, William Faulkner, F. Scott Fitzgerald, and most famously, Ernest Hemingway were among those. Even Beethoven reportedly ‘drank wine about as often as he wrote music’.

Ludwig van Beethoven, portrait by Joseph Karl Stieler 1820, Wikipedia

In the sixties Jack Kerouac first coined the term ‘the Beats’ for his ‘loose-knit group of world-weary bohemians’. He classed himself and others like him such as Allen Ginsberg and William Burroughs as outsiders, both dangerous and part of the free-thinking underclass.

They radically increased their creative output by consuming vast amounts of amphetamine sulphate (speed).

Jack Kerouac, Tom Palumbo1956, Wikipedia

The Junkie by William S. Burroughs has the subtitle: ‘Confessions of an Unredeemed Drug Addict”. Throughout the novel we are taken on a needle ride from Manhattan to Mexico City to New Orleans and back again. Descriptive lines in the novel really depict the effect morphine has on the individual: ‘morphine hits the backs of the legs first, then the back of the neck, a spreading wave of relaxation slackening the muscles away from the bones so that you seem to float without outlines, like lying in warm salt water”. Throughout the novel the narrator drives home the message that it is not ‘just a drug’ but a way of life. The vivid and at times

However, the drugs did them more harm than good, with Kerouac losing most of his hair and his legs swelling from thrombophlebitis. Despite this, he is considered to be one of America’s great novelists, regardless of his dependency on substance abuse: ‘Dean and I are embarked on a tremendous season together. We’re trying to communicate with absolute honesty and absolute completeness everything on our minds. We’ve had to take benzedrine.’ (On the Road)

ic abuse. The Beatles were suspected of writing about LSD in their song Lucy in the Sky with Diamonds, although they vehemently deny this. In Neil Young’s the Needle and the Damage Done he stresses the dangers of drug abuse: ‘Every junkie’s like a settin’ sun’.

Jesus’ Son by Denis Johnson is considered the ultimate junky outsider saga. With eleven interlinking stories narrating the comical and often tragic misfit whose unhinged experiences of the world around him infiltrates our own imaginations until his most demented mutterings begin to make complete sense. Lithium for Medea by

In Western literature there is quite a history of drug-induced poetry. Samuel Taylor Coleridge’s Kubla Kahn was written whilst he was high on opium.

Other Romantic poets were also known to battle opium addiction such as Percy Bysshe Shelley, Charles Baudelaire and Arthur Rimbaud. Many consider the line: ‘my guts are on fire. The power

Samuel Taylor Coleridge, 1795, Wikipedia

Accounts of alcohol and drugs used to ‘inspire’ creativity are dubious and anecdotal. The correlation between alcohol or drug use and creativity has been strengthened by the widespread stereotypes of artists, writers, and actors as substance abusers, despite there being very little scientific evidence supporting the claim that it increases creativity. The reasoning attributed to this supposed increase in creativity is the altered states of consciousness that narcotics create. So these pharmacological experiences do not automatically suggest that these experiences were essential to the creative process.

But one fact we can be certain of, they caused serious ramifications for the users and ultimately destroyed lives.

10

Arts Cultural Celebration

Examining the Line Between Cultural Appropriation and Cultural Appreciation Brett Mottram The concept of cultural celebration is central to discussions of art, of whatever kind, but cultural appreciation will always attract the odd charge that it is instead cultural appropriation. There will always be someone who claims that enjoyment of the products of another culture is in fact a form of theft or ridicule or offence.

It is tempting to ignore such voices as undeserving even of a reply, since they themselves attempt to close down the conversation, but with the recent sombrero fiasco, it has become clear that the argument for cultural appreciation must be made.

A few brief examples are sufficient to support this case: CLR James, the great Afro-Trinidadian historian, journalist, essayist and cricket writer, loved, among other writers, Shakespeare and Thackeray, and could quote lengthy passages from them by heart. Was he appropriating them? Or does this process only work when the West looks at art from the rest of the world? Does describing the Umayyad Mosque at Damascus as beautiful constitute being patronising or disrespectful to its Arab architects and builders?

Was the 19 th century obsession with

Japanese art merely rapacity, or did Whistler, Van Gogh and countless others (as all evidence suggests) feel a genuine, intense and admiring infatuation with it?

These questions are obviously rhetorical, but their answers should be borne in mind, as should that revolutionary ideal of 1968, which aimed, not at identity politics, but at a situation in which race, ethnicity, gender, sexual preference or degree of physical ability did not matter at all. They obviously don’t matter. People should be treated as people, with their own views and ideas to contribute. It is in many ways a disgrace that those now masquerading as crusaders for equality and diversity (many of whom hold such positions in the Student Union), are actually emphasising divisions and difference, and limiting people’s identities to these aforementioned, inherent traits, over which they have no control.

film screenings. And union council meetings are even better, filled as they are with discussions which are about as worthwhile and effective as the deliberations of the People’s Front of Judaea.

But I digress. Rather than defining people as, for example, transgender, or Chinese, or disabled, these supposed representatives should be concentrating their efforts on liberating them from these pigeonholes and enabling them to be treated as real and unique individuals; individuals, moreover, who are heirs to the artistic and cultural heritage of the entire world.

And, in this age of globalisation and the internet, this is no exaggeration.

So let’s celebrate the variety and cross-fertilisation of cultures in art and life, and enjoy its fruits. Let us taste every single one.

Some of these supposed moralists have also done other things recently, from trying to cancel society trips, to engaging in petty one-upmanship with societies in that fierce battleground of evening

Umayyad Mosque, Damascus, Arian Zwegers, Wikimedia

11

Creative Writing It’s hard to ignore the extraordinary displays of colour in autumn that confront us throughout October and November. On the worst of the grey days, it is sometimes these colours that make the wind and the rain all seem worth it. Likewise, it is the vibrancy and diversity of cultures at UEA which make it so unique a university and worth investing in. Let’s continue with brightening the spirit by acknowledging culture in all its forms through writing, and get involved in the fight against ignorance and prejudice - Jay Stonestreet, Creative Writing editor

Revisiting the House On Mango Street I am Esperanza Cordero, a girl born of ripe fruit, the mango. That street which shaped me; gave me eyes of a petite statue, hips of a marble vase, lips of a dying tulip.

I am woman, I am Latina, I am Mango Street.

I still remember the smell of darkened frijoles, and how sweet its embers of the burning pan would come to me. I remember the cotton candy pink of Rachel and Lucy’s quinceañeras, I remember Nenny’s dance in the summer salt breeze on our front steps, I remember Marin and her Americana dreams, I remember Mama.

I do not remember Papa.

I walk down my old street now, smiling at fall trees as they kiss me with their leaves. I want to cry, but all I feel from Mango Street is a warming bliss within my beating heart. From my early Mexican habitat, I recall nothing but pain. Here, I feel growth. This place was a catalyst of womanhood, where once I found the secrets to femininity.

I may be a girl of the Big Apple now, but it is always the bite from the Mango which holds most flavour.

I turn the corner, on my heel, and I let my straw skin bask in a harvesting light. There, I see it: My house.

This was the house on Mango Street.

Anger of the Fenland Gods Murky shadows creep With convoluted depths Of times gone by And crimes long forgotten

Appearing through misty vapour A mighty stranger, He gathered the countrymen To fight a terrible injustice

Clambering over sea scattered islands Terrors relived to be erased Celtic Chief, Mandru, the Pacifier Swept aside

Anger and uprising Death, destruction, defeat The Great Chief warns Higher grounds for penance

They angered the Gods Oblivious to the error of their ways A once fertile land, destroyed Forests and well stocked lakes, no more

Skies erupt under the burden, The gift the lands have been waiting for The shower which cleanses the Earth Rains down,

They stole from the riches of the land Valerian enslaved the marsh men Desecrated that guarded place Rowena caged and broken

Recreating life Memories submerged but unforgiving Time echoes on to warn trespassers Marsh men will rise once more.

Beds of reed and alder Harvested, seized, pilfered From its native people All but neglected, the ways of old

Lucinda Swain

Mbuyu Lives are carved intricate as the fall of leaves from the baobab tree.

Into the cuts of her pregnant body, a fresh green hue dulls to be forgot lives are hemmed on time.

The breach of day into the next To propagate the stem of year in another, as counterpart eras that know not how to figure Through memory’s fading gaze we play under the maze of her shade bent to age, some stay and some leave but nobody every breaks free.

If we are all trapped, to grow slow by a cold flame preserving us in our quietude, then sit under this old tree,

sit and wait for meI will come with the rain I will come with death I will come to youIn death, as a birth upon the shallow waters of a tide that exists in what it gives and takes.

I will brush the leaves of this tree until each dew drop, each life falls into one and we see not in fragments but as an endless stream undone to paint passed our contrived horizon.

Carlo Saio

Joey Levenson (inspired by Sandra Cisneros)

12

Creative Writing Foreigner Creation of the Determinant Sounds mingle so distantly, catch circles like flame-flutters on waves coring the pebble of being Sat on the brink of its stream, eternally wishingin what cannot be had Dissolving its moulds and never its borders, The frontier of self exiled from its atrial home, raised in the flux identity of Nation’s blind refuge stalks on a Juggernaut falter line in the migration of ourselves; the molten blood quakes to disperse its silt of skin One foot misguided by its other One mind misaligned by another, Along parched lips of a dry river bank in the aimless taste of our stare, with the coining of currency, we forget kindness and sit, sat by fenced exchanges of heart, on the septum of difference; an empty acre chamber floods in the muted nature of one man, listening for the other side of this wall, where a curtain of sheets patterns honeycombed, the lattice hive of life And the songs of children are birds in flight of the voice calling for himself.

Carlo Saio

When you asked me where I came from, I traced my lineage across the map, like a savage tracking its prey, like an illiterate, no doubt. Like Medusa, I am headful, then headless. Stony gaze—I have petrified myself while roaming in liminality— unaware that, here, I am dead, for in this land of immigrants, I am the foreigner—the tourist guide, temporal like the flight of stars in the holy night, inconceivably three-dimensional, the face of a liar lit by a flickering candle.

In me, lies have drowned a young person into a grown adult with no identity, only enigmas. It replaces the night in the day, like a fish, with the scales of each word wounding touches.

I am just arrived, fresh off the boat—slippery; waiting.

Twenty long years, and my reflection is like a shadow, my identity half-revealed like the sun behind the night, the voice behind the face. Like lovers, I have a tryst with my motherland at the borderlines, where we hold the blue of the sky

and we stand at the higher planes, where my origin holds no divine intervention, and we are breathless, but lively as the last clinging barnacles in abandoned boats, like restless birds, as I extend my arms to the sea to reach another place, and talk about it, with an aching blue in my voice—as if I was meant to find myself with the help of you.

Julian Canlas

Capture the Flag Marine flecks of speckled sunlight Toes burn to

Step Back Step back, As the last candle is lit, In awe, How did they all fit?

Step back, As the city fills with light, Children play, Laughter just as bright.

Step back, Take in the sweet smells, Flowers, food, Music like bells.

Step back, Firecrackers overhead, Smiles all round, As each prayer is said.

Step back, No matter where you’re from, Sit down, Diwali has come.

Jessica Howard

Jump And they’re off!

A thousand arms reach out Towards, the horizon The boat Pennies shimmer at the bottom of this Deep wishing well Full of journeys and dreams And now these tiny hands Paddling, Tiny chests gasping And us, cheering, laughing, From the hot stones of home Go, Go! Each leap a mouthful of salt Waves never swaying their purpose Their pluck, They battle the sea Little soldiers Armed with goggles And big breaths And the knowledge of those Who once fought to cross this vast monster too With the same unwavering grit The same hope in their eyes To re-e-e-ach And Capture the flag.

Emily Fedorowcyz Illustrator: Dougie Dodds

13

Television Why TV isn't Eurosceptic

British and American TV is Looking to Europe for Inspiration Lucinda Swain Nordic noir has become a staple in British television. European television dramas such as The Killing, The Bridge, and Real Humans have proved hugely popular across the world.

These ground breaking TV shows have also influenced writers and screenwriters alike far beyond the Scandinavian Peninsula. But we must ask ourselves why these Scandi-dramas are so popular.

Remaking of these shows in both the UK and the US suggests that the popular trend of Nordic noir and Scandinavian drama is far from over. Stieg Larsson’s Millennium Trilogy and Henning Mankell’s Wallander franchise broadcasted the pictorial vernacular that completely redefined our impression of the noir aesthetic.

The Killing, set in Copenhagen, revolves around Detective inspector Sarah Lund and her team, following the murder case day-byday. The series is noted for its incredible plot twists, season-long storylines, and dark tone.

What makes this series unique is that it also follows the stories of the murdered victim’s family and the varying results in the political

circles alongside the police investigation.

The Killing took a whole twenty episodes to solve one murder, which is unusual for a UK production. The Killing has since been singled out for the acting ability of the cast and atmospheric filming locations.

Other shows that have garnered noteworthy critical acclaim include Borgen and The Bridge. They are both visually stunning, and will likely join the ranks of cult television series. An element to the success of these shows are the complicated and multi-layered narratives. Throughout the episodes they present the imperfect antiheroes in a stark and honest way.

English language remakes of these European drams have also become increasingly popular. Kenneth Branagh’s role as the pensive detective in Wallander in 2008 was remarkably successful. Success also followed The Killing, winning an International Emmy and subsequently a US remake in 2011.

Following closely on their heels was the remake of the Swedish drama Real Humans, as the recent Channel 4 drama, Humans.

However, Lars Lundstrom, the creator of the original, says he’s ‘disappointed’ that British viewers first taste of the series will be an Anglo-American adaptation, rather than the original.

Another remake is now in the works, this time of the Norwegian crime drama Mammon. This series follows journalist Peter Veras who becomes trapped in a web of deceit and duplicity, whilst investigating an embezzlement scandal that connects Norway to serious political disgrace.

The remakes of these popular European dramas have changed certain plot lines to fit the new locations; The Bridge was remade as The Tunnel in the UK, with a corpse being discovered in the Channel Tunnel. However, they did endeavour to keep both the plot and characters as true to the original series as possible, including the socially awkward French detective Elise Wassermann, played

by Clémence Poésy.

Remakes are not the only extension of Nordic noir influences. New series Fortitude,

being filmed by Sky has been described as possessing ‘a lot of Scandinavian DNA’. The Fall’s lead character was seemingly inspired

by The Killing’s Sarah Lund.

Other series that seem to possess a certain Nordic essence is BBC Three’s In The Flesh with the aesthetic like that of The Bridge.

Even the successful Broadchurch’s lingering, and at times disturbing music was by an Icelandic composer, Olafur Arnalds. The music was very much providing a narrative all of its own. Soundtracks are incredibly important in these European dramas, with the unnerving soundtrack for the supernatural French drama The Returned very much embodying the essence of the creepy atmosphere.

Nordic noir has undoubtedly captured the imagination of people all around the world.

Maybe it’s the music, or maybe the superb acting and the atmospheric locations that haunt its audiences. But, it does seem as if serialised narratives with twists and turns are back for good. After all, in the time of Charles Dickens, they were in high demand.

Ana Dukakis Dougie Dodds

14

Television Retro TV TV from Decades Past You Should be Watching Now Joe McManus Given that this ar ticle is chiefly aimed at students, I’m guessing most of you are roughly my age (nineteen-ish) and gre w up watching great comedies like The IT Crowd, Peep Show, or The Office. However, I suspect not a great number of you have seen, or are fans of the comfor ting, ‘nice cup of tea’ that is Father Ted – essentially a comedy about three people who are trapped by circumstance on the dullest corner of the desolate bog that is Craggy Island.

But do not be put off by this bleak over vie w; if you are a fan of The IT Crowd you’ll like Father Ted, as they are written by the same man, Graham Linehan. Both programmes also share similar themes that are key factors to their comedy.

Firstly, there is juxtaposition between the characters despite their dissimilar careers: three totally unsuitable cranks in a wholly Catholic environment and three chaotic misfits responsible for

Joey Levenson the efficiency of a major organisation’s IT system. If we look closely, the characters are all trapped in their own world despite having huge responsibilities; one set being isolated on a forgotten island whilst the other is consigned to live in oblivion in the depths of a highly successful business. In par ticular, the characters Maurice Moss (The IT Crowd) and Dougal McGuire (Father Ted) live in their own voids of ineptness, whilst Father Ted and Roy (The IT Crowd) are the slightly more savvy characters.

The absurd interaction between the two main characters of Father Ted makes for a thrilling experience, so if you’re a fan of surreal comedy like The IT Crowd then give Father Ted a chance – you’ll never look back. Remember, even if you can’t quite get into the spirit of it from the star t, bear in mind you can always turn it off then on again!

Watch this if you love…any show that contains one or all of the following: a strong female lead, impeccable banter, the supernatural.

To say Buffy the Vampire Slayer reinvented the landscape of writing television wouldn’t be a far cr y from the tr uth. Joss Whedon, the writer, director, and creator behind Buffy The Vampire Slayer, is now known as the masterminds who conducted the hugely successful Avengers A ssemble films. However, before his reign over Mar vel, Wheedon had humble beginnings on the small screen.

Buffy was the first of its kind, and at its core, there was one defining element: an impeccably complex and strong female lead, who wasn’t bound by stereotypes, and yet wasn’t afraid to embrace her femininity. The show, in a nutshell, was centred on a group of misfits in California, led by valley girl turned vampire slayer Buffy Summers.

In the show, Buffy learns to accept her pre-ordained supernatural fate whilst balancing the trials and tribulations of teen angst and high school.

More impor tantly, the show mastered the ar t of using supernatural metaphors in its foreground to deal with deeper subtext in its background. Buffy gave television a middle ground nuance fit for both impressionable teens and educated adults. It tackled themes in a way that had never been seen before on television (including third wave feminism, lesbianism, rape, etc.).

So, don’t be that person who hears Buffy’s initial synopsis of vampire and forbidden romance and br ush it off as ‘another teen flick’. You’ll live to regret it. The show is regarded by critics as a landmark of 90s television, so why not join in and check out the cult-hit for yourself?

Sherlock's Sexuality

No, He’s Not Asexual - and Seemingly Neither is Anyone on TV Amelia Morris Sherlock Holmes, the famous detective, is returning to our screens this winter when the long-awaited Sherlock Christmas special finally airs. When it does, questions about the true nature of Holmes and Watson’s relationship will once again be spiralling.

Steven Moffat has famously gone on record stating that he doesn’t read Holmes as either gay or asexual. According to Moffat, he abstains from sex because sex is a distraction, not because he has no interest in it. Moffat raised quite a few eyebrows in the asexual community when he claimed that if Holmes were simply asexual, there’d be no fun in that. Apparently, there is no tension in a character who is an outright asexual.

But let’s look at the facts here: the number of characters on television who have explicitly been stated as asexual can be counted on one hand. But the number of emotionless geniuses who claim abstinence is significantly higher – and with little else to go on, viewers assume that this is what it means to be uninterested in sex.

Asexual characters should be just as diverse as asexual people. Some might be geniuses,

sure, but some might be idiots. Some would still have romantic storylines, some wouldn’t.

Their stories should be just as worth telling as those of non-asexual characters. Not every storyline on television revolves around sex. It shouldn’t be hard for writers to come up with dramatic tension that doesn’t revolve around sex, either. If it is, maybe they’re not such a great writer after all.

It doesn’t matter if Moffat personally doesn’t view Holmes as asexual – the character has been a figure of asexual representation for as long as his and Watson’s relationship has been the figurehead for homoerotic undertones. And as long as that is the case, he will be looked on as a ‘default’ for asexuality, and will promote harmful stereotypes of the closed-off, friendless asexual person.

The only way to change this is to get more asexual characters onto the screen.

Representation is absolutely vital. It brings the topic of asexuality into the public eye, and allows people to rethink their initial prejudices about the orientation. Frankly, it makes for more diverse, more interesting TV. Cheryl Mason

15

Television Fargo back to the 70s

Series Two of the Coen Brothers’ TV Series Returns With All New Characters in a New Decade

Dan Struthers Fargo has exploded back onto the small screen, and to say expectations were high is an understatement. After a surprisingly gripping and binge-able first series starring everyone’s favourite Hobbit, Martin Freeman, and the calmest psychopath to grace TV, Billy Bob Thornton’s Malvo, the bar was indeed set high for this anthology series which follows an entirely new cast and storyline, set 27 years before the first series in 1979.

When it was announced that the classic 1996 Coen brothers dark comedy was being translated for the silver screen ,and that Martin Freeman was leading the cast, many eyes must have rolled.

Casting Freeman as a despicable character was a big gamble as he had, until then, always played the loveable British everyman; from Arthur Dent in his jim jams, to John Watson running around Baker Street, to Bilbo Baggins who just wants to go home to the Shire.

However, the superb blend of comedy, character development and standout performances from Freeman, Thornton, Colin Hanks’ hopeless Officer Gus, and

Allison Tolman’s gifted Deputy Molly, combined to make one of the strongest ensembles of the year.

The main conflict of episode one of the new series revolves around Rye (Kieran Culkin, brother to Home Alone star, Macaulay Culkin) who in his anger shoots a judge, cook and a waitress in a Waffle House. Culkin is perfectly cast as a pathetic thug who is constantly pushed around and finally snaps when mocked – the only tragedy is that within 30 minutes of being introduced to him he is run over by a mysterious driver after getting distracted by some mysterious lights in the sky.

This leads to another running thread in the first two episodes, the supposed UFO sightings in the sky and heavy implications of other worldly interference. Episode two even ends with the opening monologue from The War of the Worlds musical, which talks of the human race being watched from the sky. This is perhaps just a fun inclusion as the soundtrack was released in 1978, the year before Fargo series two is set,

or perhaps it is hinting at the Alien Invasion of ’79 which humanity forgot.

Series two made the brave decision of acting as a prequel to the first series as well as the bold casting of Kirsten Dunst who is often known for playing damsel-in-distress characters, most notably Mary Jane in the Spider-Man trilogy. Similar to how Freeman was previously typecast as the everyman, Dunst is inseparable from the girl who is constantly saved by Spider-Man, but in Fargo she has already flipped this vulnerable good girl image around.

Her character, Peggy, persuades and manipulates her husband to hide Rye’s dead body when it’s revealed she was the driver who ran him over.

Following this startling revelation, it in fact turns out Rye is still very much alive but not for long as he’s killed by Peggy’s husband, Ed (Breaking Bad’s Jesse Plemons, who has gained a few pounds to play the innocent butcher’s assistant). It is true that episode two feels a bit of an anti-climax compared to the rich stylistic imagery seen in

the first episode. Nethertheless most TV shows whether it’s Breaking Bad or Game of Thrones usually suffer from a weak second episode that has to tie up loose ends and explain the narrative more so than the first, which is used to hook the audience from the get go.

Having said that, the last ten minutes more than make up for it, as Ed is gruesomely disposing of Rye’s body in the Butcher’s meat grinder (reminiscent of Sweeney Todd), when he is disrupted

by Patrick Wilson’s State Trooper Lou Solverson, father of Molly from series one. The exchange between the two as Ed desperately tries to hide the body is both hilarious and nail biting, fusing together the elements that the Coen brothers are so well known for.

While it may be too early to judge, moments like these suggest that series two of Fargo may even surpass series one, which would be a hell of a feat to achieve but not impossible.

Becky Smith

16

Gaming & Technology The Living Daylights Just Because it Isn’t Horror Doesn’t Mean it Isn’t Horrifying Christopher Jones I’m not usually a fan of horror games, they’re just not my thing. But seeing as Halloween has just passed I thought I would talk about ‘scary sequences’ in some perhaps not-so-scary games.

Let’s start with a classic - Half-Life is one of those games that everyone has heard about. Even if you haven’t played it you will probably know the story. If you are for some reason unaware of such a masterpiece, let me get you up to speed. In short, Gordon Freeman must help liberate the human race from an oppressive alien race that has come through a wormhole created by man.

Fun FactMany consider the first ever horror game to be 1980's Haunted House on the Apple II.

Now, this isn’t known for being a scary game, but ask anyone about the ‘We don’t go to Ravenholm’ section in Half-Life 2 and they will quake in fear just at the memory of it. Ok, perhaps not, but it is pretty scary for most people, especially upon the first time playing it. Up to that point the game is pretty tame. There’s a little bit of shooting, some puzzle solving, and the occasional crowbar action, but that’s it. Then suddenly you’re thrown into a creepy abandoned town full of zombies and these little jumpy buggers known as head crabs. These guys will find every opportunity to scare the living daylights out of you by jumping from dark corners.

As you progress through the town, the silence is occasionally broken by the screeching of one zombie. You will see shadows on the rooftops as you move through the town and you become very aware that they can see you but you can’t see them. The combination of the silent town, the darkness, the cries in the night

and the constant jump scares complete this sequence. By the end you are just grateful to get to the next section of the game, no matter where it might take you.

Moving away from Half-Life let’s talk about Skyrim. Yes, Skyrim can be scary, especially if you suffer from arachnophobia. After the initial dragon attack you escape to find a spider blocking the exit into the world.

I’m not usually one to be afraid of spiders, but this thing was something else. I was so creeped out the first time that I cowered around a corner with a bow praying for the damn thing to die. This isn’t scary in the way Half-Life is. To many people, the spiders are just another enemy to vanquish.

But to some people, they are genuinely terrifying. The first meeting is perhaps the hardest. You can’t progress into the world without killing the giant arachnid, so it must be confronted. You must face your fear and fight the beast. Or of course you could just download a mod and turn them into bears, but let’s not go there.

These games aren’t particularly scary, but can do as a good a job at times as games such as Outlast. The unexpected moments are the worse, like in Skyrim. Sometimes a game is the most scary when you are least expecting it.

Illustrator: Kirsty Mcalpine

Sale Our Souls

Why You Should Become Dependent on Independents Marcus Skov Sale! 60% off, 90% off! Most of us can agree that we love seeing these headings next to the things we want. Be it shirts, the latest Mad Max film or, indeed, video games, there is a certain attraction and satisfaction in knowing that we can shave a fair bit off the original price.

Illustrator: Kirsty Mcalpine

It would not be a huge exaggeration to say that PC and, to a lesser extend extent, console gamers, have a number of options when it comes to gaming on the cheap. There are frequent sales at places like GOG, Steam, Humble Bundle for PC, the occasional Playstation Store / Nintendo eShop / Xbox Games Store deals for consoles, while places like HotUKDeal, G2A and Amazon regularly have discounts for all platforms.

Although PC games normally have the advantage of being priced cheaper, console games similarly have the benefit of being largely (for the time being at least) disc based. This means there is the option of borrowing from others or buying pre-owned copies, which is usually less expensive than getting them brand new.

Last and current generation owners of PlayStation and Xbox systems also have access to ‘Instant Game Collection’ and ‘Games with Gold’ respectively. Both are an additional feature of their subscription services, enabling you to play online with others, while also giving away a couple of games every month for you to keep (as long as you remain subscribed that

is) and discounts for other titles. Some of these “free” games tend to be older AAA, or blockbuster games. The rest, meanwhile, might seem strange to most but are part of a sometimes underrated section of the gaming world.

Much like films, most independent (or indie) games offer unique and interesting alternatives to more well known big budget titles. Aside from commonly utilising refreshing and innovate gameplay mechanics, storytelling techniques and aesthetics, indie titles like Journey, Transistor, Nidhogg, Shovel Knight, Never Alone, and many many more, are normally lower priced than AAA titles, even at launch. This is not, necessarily, due to a lack of quality, but instead usually because they are not backed by big names or production values. Instead they are a product of a few individuals with a passion for making something special.

The high prices for newer games can be slightly off-putting to say the least.

If nothing but the biggest and best will do and saving money is a top priority, patience and being on a lookout for

sales is a worthwhile strategy. Yet even then, looking beyond all the bells and whistles surrounding titles like Fallout 4 and the newest entry in the Frontbattle series, under the radar there are a ton of timeless gems just waiting to be discovered. They may not be everyone’s cup of tea, but it is hard to deny that some independent games don’t deserve attention. If the cheaper price tag isn’t enough, then trying something new and different can be attractive and satisfying in its own right.

With indie games so cheap - sometimes less than 10p on Steam - your new challenge is not to spend less than £50 on a game, but to spend less than 50p on a game. Good luck!

Fun FactMinecraft, one of the most popular indie games, has been bought by over 21 million people on the PC alone.

18

Gaming & Technology What Makes a Good Horror Game?

You Don’t Need Jump Scares to Have a Scary Time Marcus Skov Gore. Jump scares. Lovecraftian monsters. Creepy music. There are many tropes that make for a terrifying horror game.

The feeling of vulnerability and lack of control over what happens next is often part of what creates the most intense and frightening moments in games. Outlast and Until Dawn are two examples where neither offer much in terms of gameplay

mechanics but strip power and control away from the player, leaving them with only one true weapon against all things evil: the quick and decisive decisions that they are forced to make.

Likewise, the sense of isolation, combined with the mysterious unknown and clever level design also contributes to generating a sense of dread. This is apparent in games such as Dead Space and Amnesia, where the

feeling of being alone in the dark, in an unfamiliar and hostile environment where anything can happen at any given moment adds to this unsettling feeling.

The playable teaser for the recently cancelled Silent Hill is a terrific example of these elements. Walking down the same hallway over and over again slowly drives both the game and the player further down insanity lane. Each stage never truly repeats itself,

which is part of what makes it so great and horrifying; it is unpredictable.

Unlike having something jumping towards the screen with the volume cranked up to 11 for the 748th time, never knowing what lurks around the corner and being powerless in the face of the unfamiliar can give an odd yet satisfyingly unnerving feeling. Fear of the unknown, as a famous horror writer once said, is the most powerful kind of fear.

Scare Me Good

Our Writers Send in Their Best Game Pitch Ideas to Scare You The Enemy of your Enemy is Not Your Friend Robin Evans

A House Most Haunted Dan Murphy

Hidden away in a town miles from home and wanted for a crime you had no involvement in, you think you’ve hit gold when you hear the townsfolk fighting the cops in the streets while you remain safely tucked away in an empty house.

The noises cease; the tension fades. But it doesn’t take long for you to realise that you are in a ghost town, and the ghosts just haven’t found you yet. Heavy patrol on the outskirts means that fleeing is no longer an option.

You’ve got a ride home, but it won’t reach you for seven days. There’s enough food and water to last you the week, but it’s scattered across town and it’s all on you to find it without being seen – if the cops see

you, they arrest you, and if the ghosts see you, they kill you.

You are forced to climb into a grubby single bed to save your game. Cue a nightmarish cut-scene: a little girl used to live here, but her father beat her to death. Each house has a different backstory and each ghost has a different weakness – if you explore enough to discover it, you are safe there – but the spirits of the house will do almost anything to stop you digging up their secrets.

So you’ve got to choose. Do you hide yourself away from it all and risk starvation or push through your fears to make the town safer and resources easier to access? Either way, it doesn’t matter as long as you’re still alive when your getaway car pulls up.

Virtual Reality devices, such as the Oculus Rift, lend themselves perfectly to horror. What would be more creepy than a device that could subtley add images and sounds into your otherwise normal life?

An amazing addition for the device, or even other devices which use vision such as Google Glasses or phone cameras, would be thus: it’d be set in an enclosed environment, such as a house or other small building, and you’d program in the layout of the building so that the device would be able to set goals or destinations for you. Then, on your way there, you’d be haunted by ghostly apparitions, or murderers with axes.

When Dinosaurs Ruled the Earth

A great game would be one in which the world was plunged into a dinosaurapocalypse, with the beasts roaming the city in which the game was set. It would be an open-world survival game where you must scavenge and start civilisation anew, all the while being plagued by the constant terror of a T-rex busting into your base and eating everyone. Permadeath would be a reason not to die, but your need for food

An important factor the computer would use is the progression of tension - initially you’d only hear sounds from another room, and then tapping on the wall next to you, and finally figures leaving the shadows to attack you.

When your only advantage is knowledge of the house, you’d have to use your wits to escape the virtual horrors surrounding you.

Murder on London Streets Raph Doggins

Rachel Duncan Most games with dinosaurs are pretty bad, and we need to change that dinosaurs, after all, are the scariest things that have ever walked this planet, and so they’d be perfect for a horror game. They’d be an entity you’d be powerless to fight and hard-pressed to escape, making them the ideal enemy.

You’d have to wander about the building, going to the various locations and running from the antagonists. The device would also provide immersive sound, so you’d forget you’re only playing a game.

and shelter would be your reason to risk it all.

You could fight them - there’d be weaker dinosaurs that you could take down for meat and their hides, but you’d have to improve your skills and equipment if you want to be able to survive a pack of raptors or pterodactyls. Some, like the allosaurus, would never be a viable target, and if you heard their roar you’d have to start running for the hills.

The game would be great because everyone loves dinosaurs - just look at Jurassic World - yet they aren’t represented in games nearly as much as their flying, fire-breathing counterparts, pirates, ninjas, or… well, just about any other character archetypes!

Where is a better setting for scary, murdery events than Victorian London?

Oh, I hear you say, that was years ago - but not with this spooky app, that transports you back.

The characters would range from Celtic Britons, killed by the Romans invading, to Tudor peasants suffering from the oppression of the time, to victims of the blitzkrieg.

When walking around London with this app activated, any time you walk near a spot where an important murder happened in the history of the city, your phone will ring.

Imagine walking down a street when one of Henry VIII’s wives calls you, or a victim of Jack the Ripper begs you not to murder her.

It’ll sound like a normal phone call, but when you answer it, on the other end you’ll be hearing the final monologue of the poor soul - or, if that’s too morbid, a monologue from another important time in their life.

As well as being absolutely terrifying, this game would teach you important and cool facts about the history of the street you’re walking down. It would also cause you to wet yourself if it happens when you’re alone in the middle of the night.

19

Film Spectre

Daniel Jeakins How can you modernise something as deeply rooted in tradition as the James Bond franchise? Spectre represents Sam Mendes’ final attempt at answering this question. He, like Daniel Craig, has made it clear in recent weeks that they will play no further part in the series – and so there’s a sort of ‘end-of-an era’ feeling to this latest Bond flick.

Spectre begins with a terrific opening sequence set in Mexico with the Festival of the Dead as a backdrop. It’s the kind of suave, sophisticated, explosive opening that Mendes pulled off so impressively with Skyfall, and is perhaps the film’s most enjoyable section.

What proceeds is a globetrotting adventure that sees Bond chased around Rome in a supercharged Aston Martin, hijack a plane and use it as a toboggan in Switzerland and race to defuse a bomb in central London. It’s in these set-piece-heavy sequences that Spectre’s vast budget becomes the film’s greatest asset as it is clear these are real stunts not computer magic, making them amongst the most impressive in cinema history.

Connor Jordan

Craig’s performance as the steely, seductive assassin is top-notch and a sense of vulnerability is hinted at throughout the film. On a few occasions the ridiculousness of Bond’s character is playfully mocked, which is a welcome change. Craig ultimately succeeds in significantly expanding the depth of Bond’s character, perhaps more here than in any other film in the franchise. German villain Christoph Waltz is also mightily impressive as the archetypal ‘evil genius’ who toys with Bond throughout the film’s 148-minute running time. Andrew Scott (known as Moriarty from BBC’s Sherlock) is excellent as the focus of an engaging sub-plot about new government legislation that threatens to end the doube-0 programme.

Sadly, Mendes fails to modernise the series when it comes to women characters, which despite being emphasised more in Spectre, feel weak and cliche. Attempts to make talented French female lead Lea Seydoux seem strong and independent are embarrassingly undercooked, and it’s with little fanfare that she all too predictably falls into Bond’s arms. Only

Naomie Harris’s Moneypenny suggests she leads a life that doesn’t consist of constantly being saved by Bond, and so it’s sad that her character isn’t explored further.

Although the lack of women characters with real depth is dissapointing, it could be argued Spectre merely sticks to franchise convention on this occasion. More unforgivable is the somewhat convoluted plot, which doesn’t tie up all of its loose ends. Whilst Spectre’s finale is both engaging and dramatic, unanswered questions leave the viewer wanting, and in what is surely Daniel Craig’s last outing as Bond, that’s rather disappointing.

Yes

+Excellent

performances -Weak women characters +Superb action

A thrilling piece of British cinema, Spectre sky-rockets to stardom.

Still, Spectre remains a brilliantly shot action film that ticks all the boxes. It’s a peoplepleasing movie; while doesn’t move the franchise far enough into the 21st century, it ultimately delivers on what its vast audience expects.

Pan

Think you know the story of Peter Pan? Then you could probably make a better movie than Warner Brothers’ Pan. Pan had a lot of promise to be a great movie, and potentially a great franchise. It’s based on a classic story of magic, adventure, and childhood that is relevant to both children and adults. On top of this it’s from the studio that created Harry Potter. There are times, when glimpses of what this film could have been shine through.

However, these are few and very far between.

For the most part Pan feels rushed, full of characters who really should have been given more time to develop, and large amount of good ideas that have been wasted.

The film’s portrayal of the characters is also fundamentally different from that of the original story, most obviously in the fact that a white actress portrays Tiger Lily from the tribe of Native Americans. Choosing Rooney Mara to play Tiger Lily is yet another example of Hollywood white washing minority characters and is detrimental to the film as a whole. Mara is not the only casting choice that seems out of place in this movie; Garret Hedlund’s portrayal of Hook is so far apart from that of any Captain Hook we know, that it seems impossible that this character could ever become the pirate that generations of children have loved to hate. The film is blessed with Hugh Jackman’s superb performance as Blackbeard bringing a psychotic glee to a character who otherwise would have been utterly forgettable. As for Peter himself

newcomer Levi Miller gives a performance that suffers from his inexperience. However, as other films have shown in the past, a good director would have been able to guide Miller to a better performance than the one given Pan’s reluctance to embrace the original story is also a detriment to the film as it chooses to focus on locations that were purely invented for the purpose of the film. All of these are awash with lame CGI, making Pan’s portrayal of Neverland the least engaging ever put on film.

In the end, this film was a wasted opportunity to create the next big live action franchise for families, ultimately being no Pirates of the Caribbean or Harry Potter. Warner Brothers should have stayed well away and let Disney make this Peter Pan movie instead.

No

-Wasted

potential

-Insensitive casting

-Poor story

Second star on the right and straight on to disappointment

Metro-Goldwyn-Mayer/ Columbia Pictures

20

Film

Melissa Haggar

Crimson Peak

It’s not outlandish to say that Crimson Peak is Guillermo del Toro’s baby. Conceived in fits of madness and passion, it bears much resemblance to its horror-obsessed father.

Infused with a sense of gothic styling, this baby quickly transforms into a monster, baring its fully-grown teeth and lashing out in violent outbursts at the audience. For those who think the film might skimp on its horror, you’d be severely mistaken, as all manner of gory ghosts, blood-dripping apparitions and axe-wielding killers bombard the screen. The film truly benefits from this commitment to horror; every visual is stylishly constructed to evoke pure fear, every performance from its cast brimming with sinister undertones and executed with a chilling delivery.

Hiddleston), a visiting aristocrat who travels with his sister, Lady Lucille Sharpe (Jessica Chastain). The Sharpes’ mysterious aura soon attracts the attention of Dr. Alan McMichael (Charlie Hunnam), and things quickly prove deadly.

Starring Mia Wasikowska, the film centres on Edith Cushing - daughter of self-made industrialist, Carter Cushing (Jim Beaver) who is haunted by her ghost mother, warning her to ‘beware of Crimson Peak’. Edith’s fascination with ghosts, however, attracts the attention of Sir Thomas Sharpe (Tom

It should be noted that this film is not for the faint hearted, nor for those who have no interest in gothic romance or horror. While you certainly don’t need to be a connoisseur of del Toro’s work or the genre, you may be left disappointed if you are expecting a non-stop thrill ride or slasher-fest. Moving along at a

Wasikowska creeps her way back into our hearts with her emotional and moving performance as Edith Cushing, while Chastain sets her sights for gold, delivering several impassioned and memorable moments. Playing opposite the two, Hiddleston seems to have a particular knack for gothic romance as he revels in the drama, displaying slight calculated gazes and feverish movements that make for compelling viewing.

gentle pace, with occasional moments of hairraising suspense, Crimson Peak is a film that builds towards each frightful moment, instead of overwhelming you with exaggerated jumpscares. Nevertheless, this can mean that at some points the film seems to take its time to reach its conclusion, and although this doesn’t greatly detract attention away from the main event, it can be a little time-consuming and unnecessary.

However, del Toro’s talents for artistic directing and his ability to create vividly striking images on screen mean that Crimson Peak is one unforgettable visual feast. Awash with gorgeous colours and boasting elaborately decorative set pieces, the film is a testament to del Toro’s commitment to his craft; nothing can ever be too grandiose and every element must leave audiences in awe.

+Gorgeous

Yes

style

+Terrifying -Glacial pace

Guillermo Del Toro shows off his distinctive talent for creating aesthetically pleasing films infused Overall, Crimson Peak is an elegantly shot with heart-racing horror gothic romance piece that is every part alluring and mysterious monsters as it is macabre.

Illustrator: Kristiana Sizinceva.

21

Film Suffragette Alice Ballard Empowering, engaging and utterly important, Suffragette delves right into the heart of the late 19th and early 20th century movement, where support for Women’s right to vote was mounting and tactics were becoming more violent due to lack of response from the government.

Directed by Sarah Gavron, this gripping film steers well clear of the cheesy and melodramatic, and shines a stark light onto the gritty reality of this war of politics. This commitment to realism is especially felt thanks to the cinematography of Eduard Grau.

He presents scenes of protest, rallying and hunger strike as if from the eyes of one of the protesters, with shaking camera movements which transport the audience into the heart of the rebellion.

Caught in the middle we find our protagonist, Maud Watts, a fictional character from the mind of writer Abi Morgan and played by Carey Mulligan. Refreshingly unheroic at the beginning, we watch Maud’s role in the movement growing as gradually her ties to her normal life are severed. Cherub faced George, Maud’s son, is the perfect attachment to her life as a wife and mother, but as her wet blanket of a husband, Sonny (Ben Whishaw), forces her away from George we see Maud’s resolve strengthen and a fire is lit. As the hardships she faces pile up, we see Mulligan excel herself as Maud, extinguishing the innocent doe-eyed light in her eyes at the beginning to a cold hard stare into the intimidating countenance of Inspector Steed (Brenden Gleeson) by the end.

Helena Bonham Carter, depicting a Suffragette named Edith Ellyn inspired by real life Suffragette Edith Garrud, is stunning.

Showing a subtler acting style than we are used to from her; she represents the measures the Suffragettes had to go to in order for their voices to be heard. She brings to light a darker side of the fight and the line “War is the only language men listen to” sums this up perfectly.

However, Emmeline Pankhurst (Meryl Streep) was given minimal screen time despite being heavily advertised, and though this is slightly disappointing it makes the film that bit more realistic; the brief sighting at a rally, where Streep gives the most awe inspiring speech (the like of which I suspect Emmeline Pankhurst herself would have been proud), would most likely be all that many of the women in the movement would have experienced.

The only issue is casting. The film appears

to have a distinct lack of black female representation, despite the presence of black women in the late 19th and early 20th century in London, with many of them being excluded from the movement. The Suffragette movement focused on getting white women the vote and was, as many people were in those days, racist. This was not touched upon in the film at all. While you can appreciate that getting the themes of sexual abuse, class, women’s role as mothers, and poverty into one film is tough enough without tackling the issue of race as well, this is where the film lets itself down. Without even a mention of the role of black women in the movement, or lack thereof due to exclusion, Suffragette shows an area in which they themselves are lacking, which is actually a poignant reflection on one of the major issues facing feminism today.

Writer, Abi Morgan, shied away from another risk by telling the story from a fictional character’s view. Maud may have been more relatable to the audience, and it’s easy to see why presenting a fictional character would be much less risky in terms of historical controversy, but it held the film back. However, following a normal, working woman as opposed to a more prominent figure, such as Pankhurst herself, allowed us the insight into what it would have been like for those in the very heart of the fight and is commendable.

Despite these shortcomings, Suffragette is a film for everyone. If Frozen was heralded as a feminist break-through then this film has redefined feminism in the film industry and its historic significance matches that of 12 Years a Slave. This film has gone where no film has dared to go and told a story that should have been told many years ago.

Yes

+Historical importance

+Heart-

breakingly real

-Empowering A must-see masterpiece, Suffragette is emotive, historic and captivating Illustrator: Niamh Jones.

22

Film Equal Pay and Women's Power in Film What Does Jennifer Lawrence’s Essay Highlight About Hollywood’s Gender Bias?

Flora Mavri Following Jennifer Lawrence’s essay discussing gender pay inequality in film and Hollywood, the debate on the role of women in film was ignited. Many fellow actors, both women and men, including Bradley Cooper, Emma Watson and Mark Ruffalo, have shown strong support for J Law’s cause.

The debate began after the Sony Pictures hack in 2014, when confidential data including salaries of people who worked for Sony pictures were released to the public. From the revelations, Lawrence discovered that she earned considerably less than her male co-stars in the film American Hustle. She writes: “I got mad at myself. I failed as a negotiator because I gave up early…I didn’t want to seem ‘difficult’ or ‘spoilt’”.

Such statements are not only made by Lawrence but also by other actresses such as Rooney Mara, who mentioned being

in films where she was paid half that of her male co-stars.

Are women paid less in film because of gender or because of the smaller parts they get? Even if women are paid less simply because their role might be small, the fact that women in film primarily get to play secondary characters, which in most cases are underdeveloped, is discriminatory.

Most of the complex, meaty parts are written for and given to male actors who are thought to bring more revenue than their female counterparts in the box office. But even in secondary roles, women are underrepresented, comprising 29% of major characters and 30% of all speaking characters.

That, however, is the case mainly in Hollywood. If one takes a look at French cinema women’s roles tend to be much more central to the plot and represent

women in positions of power rather than simply a woman in desperate need of a Prince Charming (watch Rust and Bone).

Ageism is also a problem that mainly affects women in film. Women are younger than men on screen; most are in their 20s (23%) and 30s (30%). Men over 40 accounted for 53% of characters whereas women that age represented 30% according to Variety. It is almost like women over the age of 40 vanish from the surface of the earth in the Hollywood created universe.

This is linked to the pay gap. As women grow older they gain more experience and demand higher pay whereas new actresses are more likely to settle for less.

The more a woman insists on getting higher pay, the more she is viewed as spoilt and unlikeable.

This is even the case behind the camera where Michael De Luca, a co-president of production, was paid $2.4 million, while Hannah Minghella earned $1.5 million for the same role. Women directors are also a critically endangered species, as in 2014 they only comprised 13% of directors in the top 250 films.

Even with some movies like the Divergent series featuring strong women in the lead roles, Hollywood is nowhere near accurate in its representation of women.

Bearing in mind that women like Katherine Hepburn, Audrey Hepburn, Elizabeth Taylor, Ingrid Bergman and Grace Kelly, among many, paved the way in cinema, it is a disgrace to witness unequal treatment between actors and actresses. Actresses seem to have had enough, and in Jennifer Lawrence’s words, “I’m over trying to find the ‘adorable’ way to state my opinion and still be likable”.

Netflix - The Films You Should be Watching A Break-down of the Latest Must-see Offerings from the UK’s Popular Streaming Service.

Joey Levenson UEA, it’s time to Netflix and chill, and I’m here to help you pick some top quality movies. You’ve probably exhausted your run of Tarantino films and Mean Girls re-runs on the site, so allow me to point you towards the more obscure depths of Netflix.

Here are three films you should be watching, right now, on Netflix: 1. Lilting (2014) If you’re like me, and become a quasimasochist when watching films, then you’ll love the grief-stricken, utterly heart-breaking indie film Lilting. It stars a timid cast of four, with two brilliant leads: Ben Wishaw and Cheng Pei-pei.

The story depicts a man (Whishaw) grieving for his lover who was tragically killed, and in the process of his grief, tries to connect with his lover’s mother

(Pei-pei), a Cambodian Chinese woman who doesn’t speak a word of English, by visiting her regularly at the old-age home where she has been put against her wishes.

Both Wishaw and Pei-pei give subtle yet powerful performances that’ll leave you in tears by the film’s final and most touching scene. The director so intrinsically links the themes of love and guilt that you’ll begin to forget that there is a difference between the two.

This film is also quite slow, so prepare to be ‘chilling’ for a while - but trust me, it is worth it.

2. The Bridge (2006) It was hard narrowing down all my favorite documentaries on Netflix to choose just one, but ultimately, I had to go with The Bridge (narrowly

beating The Queen of Versailles). The film spends the entire year of 2004 with fixed cameras positioned at two different angles showing the Golden Gate Bridge in San Francisco, USA. During this time, it captured 23 of the 24 suicides that occurred on the bridge that year. The film is harrowing, so be ready to watch some triggering footage that you may not be comfortable with.

It gives a deep insight to the layers of suicide; what drives someone to do it, the aftermath it leaves, and the idea of surviving against all odds.

Bear with this film – you’ll want to turn it off at first, but the more it evolves, the more groundbreaking it becomes.

3. Wet Hot American Summer (2001) This film recently joined the ranks of Netflix UK, and it’s about damn

time. Wet Hot American Summer has achieved cult-status amongst its fans for its unique brand of satirical humor and panache, cleverly subverting pretty much every comedy trope known to man. If you like non-stop quick-witted jokes that are simultaneously as bizarre as they are clever (à la The Thick Of It), then you’ll love this.

The film chronicles the last day of a summer camp in America, where the talent show acts as a catalyst for chaos to ensue. In its large ensemble cast, look out for big names of today that had their humble beginnings here: Bradley Cooper, Amy Poehler, Elizabeth Banks, Paul Rudd, etc. Then, when you’re done with that – go check out the brand new Netflix Original prequel series to the film that was released over the summer.

It’s just as great.

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