Venue 381

ARTS / BOOKS / FASHION / CREATIVE WRITING / MUSIC / GAMING / FILM / TV / VERA VENUE

381

VENUE

editorial

Well, isn’t it nice to be back on campus again? We hope that you’re settling into university life comfortably, and finding time to do your seminar preparation as well as enjoying the LCR after what seems like forever. (You know it’s been a good Welcome Week when you hear the sweet sounds of coughing and Lemsip brewing...) It was nice to see some of you at the societies fair, and beyond into Welcome Week; it’s so promising to see so many budding journalists among us and we can’t wait to see you get involved in our team. Remember, we are also always looking to showcase student artists, and publicise your work on our front cover. Welcome to Issue 381! This issue, we will follow star-studded events such as the Met Gala and this year’s Emmys as well as exploring closer to home. There is something for everyone in our UNESCO city: from music, to crime writing and much more. So, thank you for reading, and we hope you enjoy this issue! Best of luck with all of your studies. Best wishes, Elizabeth, Hamilton and Molly Photos: Samuel Baxter (from L to R, Deputy Editor Hamilton, Venue Editor Elizabeth and Deputy Editor Molly)

Section Editors: Arts - Jack Warren

Music - Tom manning

Books - Louise Collins

Gaming - Holly Jackson

Fashion - Zorsha Taylor-Suich

Film - Laura Patterson

Creative Writing - Izzy Murphy

TV - Ben Smith

Front cover painting by Bethany James

contents Arts ................................................................... 4 Books ................................................................ 7 Fashion ............................................................. 10 Creative Wriiting ........................................... 14 Music ................................................................ 17 Gaming ............................................................. 20 Film .................................................................. 24 TV ..................................................................... 27 Vera Venue ..................................................... 31

4 Steve Waters and Tangled Feet: ‘Murmurations’ By Jack Warren

Arts

Photo: Wikimedia Commons in the way it alters how you see the landscape; the fen moves from a static natural beauty spot to a world alive with people’s stories, memories, and emotions both past and present. Passers-by

become

unknowing

extras, and the audience part of the story. At times it feels as though you are a character in a videogame, each interaction a cutscene, venturing along not knowing what the next encounter will be. What Waters has carefully done with Murmurations is demonstrate the importance of landscape in changing the temporal and emotional boundaries

Murmurations is Written by Steve

that are seamlessly stitched together

Waters and directed by Nathan Curry.

by the fen’s atmosphere as part of the

Waters has been working alongside the

performance.

Arts and Humanities Research Council

The

narrative

follows

several

different

for drama and performance to aid the

different relationship to the fen: a

conservation of the natural world. The

farmer’s son, a bereaved woman, her

show was performed at two different

mother, two estate agents, and a couple

locations: The National Trust’s Wicken

of birdwatchers. There are times when

Fen Nature Reserve and the RSPB’s

it is difficult to determine who is part

Strumpshaw Fen Reserve. Part of the

of the play and who just happens to be

beauty of the play is that the place

wandering around the reserve, a feeling

in which you see it will impact your

that would not be possible without the

experience of it, as well as the weather,

careful balance between public and

who was there, and what time it was.

private that Murmurations achieves.

each

with

Both places are also the subject of the

Characters appear in various spots in

play, perhaps even characters in their

the landscape, sometimes visible from

own right. The rest of the performers:

a long way away and sometimes not

- Chanice Hird, Emily Eversden, Mario

until the last moment. Murmurations

Christofides, Carl Parkin, and Fiona

is a kind of performance that many will

Watson - are of Tangled Feet, a troop

have never experienced the likes of.

with

reputation

performances.

for

site-specific

Murmurations

important ecology is in making these connections to ourselves and each other.

and UEA to explore how it is possible

characters,

in our lives. But specifically, how

As you walk along, sound design

takes

by Guy Connelly and Music by Polly

this concept to a new level. The play is

Wright maintains the atmosphere and

a guided headphone tour that includes

feels like a part of the air in the fen.

audio, visual and poetic mediums

The music is both tormenting and soft

Waters shows us the beautiful points where humans and nature collide and reform. This connection seems to come from a peculiar place of grief. There is grief for the loss of human life as well as grief for something much broader: a grieving for the loss of connection to nature and the many ecosystems that have died or are dying. And so, the play is written about its purpose, to reconnect us with the spaces we take for granted. Before It is too late. A murmuration is a flocking together that birds do to travel over long distances both deterring predators and minimising the amount of energy they expend. As the play points out at one point, nature’s only goal is survival. It

does

not

acknowledge

borders,

cultures, or languages. It seems that through this play, Waters is telling us that we must do the same thing.

Arts

The Creative Process: Creative spaces By Elizabeth Woor We’ve all heard people say that a clean

to be true. Take, for example, Jackson

Koons work in what Artspace called

space makes a clear mind. But what sort

Pollock’s studio. The studio itself was

a warehouse that resembles more of

of space helps nurture creativity? It’s a

relatively plain - there was a wooden

an ‘apple plant’ than an artist’s studio.

question that many have attempted to

floor, one big window to let light in and

Koons’ work is strongly tied to popular

answer in the past, hoping to unlock the

lots of trolleys scattered around holding

culture, so perhaps we shouldn’t expect

secrets of society’s most famous artists.

paint. However, what made his studio

his studio to look like anything other

Quite simply, there is no one answer

unique to his art was the layers of paint

than a technological empire.

to this question. Creative spaces are

that slowly built up on the floor. Pollock

Of course, most artists do not have

intensely linked to those who occupy

famously loved to work on the floor so

the luxury of working in spaces that

them.

that he could drip paint on the canvas.

are as grand as Koons’. Especially in

His

sporadic

large cities such as London, space

is an incredibly personal place. They

movements with the paint resulted in

for an artist can be like gold. Small

might spend most of their lives just

the surrounding wooden floor panels

spaces aren’t necessarily a bad thing

trying to culminate an environment

also being heavily decorated. Pollock’s

though, some creatives thrive off being

that stimulates their creativity to its

studio was thus completely unique to

closely surrounded by their work and

maximum level. It’s also no secret that

his own artistic process.

inspirations. Francis Bacon felt most

Where an artist creates their work

slightly

chaotic

and

artists often become so engrossed in

Studios over time have expanded

creative in his cramped, messy studio.

their projects that these ‘work’ spaces

enormously. Nowadays, it is common

Many would say that the mess in his

spill over into their personal lives. The

for world famous artists to employ

studio would prevent them from feeling

boundaries between an artist’s creative

dozens of workers to help them bring

relaxed, but what works for one person

space and home are therefore not

their ideas to life. In regards to studio

does not necessarily work for another.

always entirely clear.

spaces, this means bigger working

Artist studios are complex. In my

Some might even go as far to say

areas and more ‘professional’ finishes.

opinion, they are undoubtedly linked

that an artist’s studio is like an extension

Perhaps reflecting the consumerist

to the way that artists create. Whether

of their work. Personally, I believe this

culture of today, artists such as Jeff

it is a subconscious effort or not, the surroundings of artists bleed into their work. Often, this can also occur in the opposite manner – the art slowly takes over the space it is housed in. Either way, the right creative space for an artist can change their artistic direction forever.

Photo: Unsplash

arts

Bridges by Claire Sullivan By Jack Warren Bridges is a brutally honest portrayal of mental illness. A bridge might seem like a slightly clichéd metaphor when it comes to the complex areas of life that we all navigate at some point. But Sullivan dismantles the long-flogged bridge peddled by therapists and councillors and builds a new one out of the wreckage. One of resilient acceptance grounded in stoic thought and self-control. It is not without emotion that this happens though. We are given a tender insight into what life is like for many people who struggle under pressure. And in doing so, the piece forced us to examine our own experiences under Sullivan’s gaze. Claire Sullivan is a self-described ‘slogger’ as mentioned in her work. Beginning with a bridge crossing, she describes the slogger’s disposition to the world as perhaps slightly fearful, but resolute, placing one foot in front of the other. Always going for the next goal. As a 3rd year scriptwriting and performance student from UEA, Sullivan’s education has clearly given her the ability to think critically about the world. In Bridges, we see a clever reversal of this application

and

deconstruction

that

we students learn. The superb twist with Bridges, is that the spotlight here is turned back onto

begins for sloggers like Sullivan. This pain

education itself. Specifically, the pressure

In Sullivan’s voice, there is a welcome

that is inherent in all levels of education and what it can do to young people. What Bridges does specifically, has

honesty and at times raw emotion. It is clear this is somebody who has thought long and hard about the articulation of her experiences and processing of emotions. We are shown how a relentless drive for perfection can be transformed into a drive to appreciate the small, the day to day, that leads to the recovery of a sense of self. Something which can easily be lost in the waves of assessments, deadlines, and exams. Which is a valuable lesson that many of us could learn. Bridges tells us that it’s OK to occasionally not be making moves forward across the bridge, but to just stop and acknowledge where we are, and appreciate it for what it is.

to do with unlocking the place where pressure, a truly life changing pressure, starts to affect many people. For many this all starts with GCSE’s. It is rare that we stop to consider, when did all these feelings begin? Sullivan asks us to stop and look at the way we feel from a different angle. Why must we always be moving forward without question, without appreciation, for the present moment and what we have achieved so far? In this sense, Bridges offers its own form of therapeutic practise. Sullivan’s examination of mental health issues goes right back to the formative years of pressure and responsibility. The stress of exams and the future comes at the most unstable time of many of our lives. For those of us who carry on, perhaps regrettably with education, we forget how we felt when this pressure is forced upon us because for many of us it has been constant since then. This is when the pain of perfectionism

Photo: Wikimedia Commons

is explored in depth, quite obviously with the eye of a perfectionist.

Overall, Bridges is an exceptionally well written and performed piece that offers us the time to stop and consider how we approach the pressures of life and why. It is something to which we can all intimately relate. But of course, we must wonder, with Sullivan’s self-described disposition as a ‘slogger’ what comes next now that this bridge is crossed?

Editor: JAck Warren

BOOKS

Noirwich Crime-Writing Festival: Killer Debuts by Jim Gell TW: fear, violence, animal abuse, trauma, lynching The shadow of Noirwich, the annual crime-writing festival, descended upon the city of stories. From this darkness emerged three writers: Catriona Ward, Femi Kayode, and Greg Buchanan, connected by their shared experience as alumni of UEA’s writing programme. I caught their 11th September conversation with host Lee Randall. Ward introduces her debut crime novel, The Last House on Needless Street, which features trauma after the disappearance of a child. When asked about a cat being one of the narrators, she said “it bends the genre a little bit; is it cosy because it has a cat in it, or is it more like magical realism?” For anyone who isn’t familiar with the behaviours and tendencies of cats, they are anything but cosy, despite our perception of them as soft and cuddly. A killer is being used to narrate the story of another killer. What I find interesting about using the perspective of such a vicious animal is, much like human killers, the readers will not assume these violent tendencies until they are evident.

Buchanan’s novel about a forensic veterinarian investigating the discovery of the 16 horse heads is aptly named Sixteen Horses, and focuses on animal abuse. Like Ward, it also features non-human characters to relate the vulnerability animals face at our mercy. Forcing the reader to relate to systematically mistreated species blends this vulnerable fear with the guilt of knowing we are responsible. Within the realm of the novel, we are the victims; outside, we are the killers. “There were no street lights, not this far from town. If you stood in the field that night, you would not be able to see anyone, even if they were standing right next to you, even if they were looking right at you. You wouldn’t see their grey-hooded gas mask, you wouldn’t see their tight rubber gloves.” These lines electrified my nerves with goosebumps; knowing you are seen without being able to see is pure vulnerability, and anyone who has been left in darkness can relate.

Kayode, the author of Lightseekers, writes about a different fear of the unknown, describing a public lynching of three students held in daylight. “Tearing flesh draws shortlived screams from tired lungs. The men fall but are swiftly pulled up and dragged through the streets to a place no-one picked out, but everyone seems to know.” Buchanan exposes the fear in not knowing whether you are being watched, Kayode exposes the same fear on a societal scale. We find safety in mundanity, consistency, the comfort of knowing tomorrow will be like today. Kayode’s novel, based on a true story, shows how quickly groups who may be watching you with ill intent could hold a sudden and uncontested execution unbeknownst to you. It is interested in future studies, which tracks current trends and speculates how a desired or undesired future can be created, flashing a torch on the overt and covert systems which influence society and the horrors they create.

Photo: Unsplash

books

Reclaiming Women’s Narratives Through Fiction By Aishanimeas Historically, women in literature have been divided into the ‘hag’ or the ‘heroine’. It’s in the classics, but it’s still seen in more modern texts. That’s why reclamation of women’s tales is so important. Individualised self-expression in women is seen as a trait of excess, and thus holds a very low place in the Canon. Even iconic feminist texts, such as Jane Eyre by Charlotte Bronte, fall prey to this dichotomy, encouraging the trope of the ‘mad woman in the attic’. Jean Rhys’ Wide Sargasso Sea, published in 1966, broke away from this trope into a daring exploration of womanhood. Written as a prequel to Jane Eyre, it’s interesting to see the place alternative literature has in reclaiming women’s narratives. Carol Ann Duffy, in her anthology The World’s Wife, introspects into the femininity of women shunned by history,

due to the larger figures of acclaimed men in their lives. Featuring the witch Circe from Greek mythology, to the supposed character of ‘Mrs Sisyphus’, the anthology characterises women as multifaceted individuals, often unjustly punished for their excesses of sexuality or perceived amorality. The revision of women and their claim to their own narratives has also amassed a global outreach. Chitra Banerjee Divakaruni revisits Draupadi from the Indian epic The Mahabharata, in her book The Palace of Illusions. Like the fire she arose from, Divakaruni’s Draupadi is a woman of multiple passions. American novelist Madeline Miller furthered the story of Circe in the eponymous book. Born of gods who abandon her, and mortals who desire only her godliness, Circe makes a home for herself away from those who have wronged her. The witch who practices

transfiguration takes on the role of a protagonist surviving against the odds dealt to her. Anne Hathaway, known to the world as Shakespeare’s wife, finds her individuality in Maggie O’Farrell’s Hamnet. The story of a grieving mother, she is not reduced to the role and instead takes on the role of a woman of the wilderness, misunderstood by some but with a sagacity to surpass it all. The question then remains, is alternative literature the way for women, lost in the annals of history, to reclaim their status? Is fiction the way out for women whose narratives have been belittled, forgotten, or otherwise demonised?

What Do We Gain in Translation?

By Danny Hayeshomeas

“Isn’t it ironic that this module is essentially translated novels, when we’re studying English Literature” was something I overheard whilst leaving a lecture in my first year. Whilst obviously meant in jest, I was surprised someone had stated this so openly. Wasn’t all literature worthy of study, regardless of where it came from? This is a comment however, which brings up questions. What is the purpose of translation in our reading patterns? The obvious answer is that it brings a seemingly limitless array of fiction for us. My home bookshelf has copies of The Iliad nestled next to Don Quixote and Anna Karenina (please don’t ask me if I have actually read them), allowing me to jump between time and place as easily as clicking my fingers. Being able to open a book

and drop into a world unreflective of my own gives me the opportunity to see the world in ways which would be impossible if I stayed within the constraints of British authors. Translated works present an aspect of ‘sonder’the realisation that every person has a life as complex and unfathomable as your own. The translated novel allows the reader to broaden their knowledge and see the many aspects of the literary world around them. Reading The Song of Achilles becomes more entertaining if I can place the experience alongside my understanding of The Iliad and the wider translated field it came from. With this in mind, I am more eager than ever to see where else translated works will take me.

Photo: Unsplash

BOOKS

Translated Texts by Lily Boag

Photo: Unsplash

If you’re fascinated by all aspects of modern and traditional Japanese culture - from the bustling cities and picturesque countryside, the decadent cuisine and beautiful architecture, and the exuberant world of the performing arts to the quirky contemporary fashion scene – but you haven’t yet experienced the magnificent culture for yourself, these translated texts might be your ticket to Tokyo! 1. Before the Coffee gets Cold - Toshikazu Kawaguchi Hidden in the alleys of Tokyo, a small café offers four strangers a unique opportunity to travel back in time, but they must return before the coffee gets cold. A novel of magical realism, fantasy, and time travel – what’s not to love? 2. I am a Cat - Soseki Natsume It’s as simple as that. In this witty and whimsical classic Japanese novel, you’ll follow the adventures of a discontented stray kitten whose observations of humans func-

tions as a social commentary on the foolish behaviours of the upper-middle-class during the Meiji era in Japan. 3. The Honjin Murders - Seishi Yokomizo If you’re looking for something darker and edgier, why not try this Japanese award-winning locked-room murder mystery? A snowy isolated mansion, a newlywed couple brutally murdered - it’s the ultimate ‘whodunnit’. Bonus: It’s not a translation, but like Natsume’s I am a Cat, it's a love letter to Japan and furry felines. Why not check out The Cat and the City by Nick Bradley (a UEA Creative Writing MA graduate) and once again explore the city of Tokyo through the eyes of a street cat?

The Fantastic Feeling of Found Family by Louise Collins People who know me know I’m a sucker for the found family trope. There’s so much comfort gleaned from it, and I know many of my friends feel the same. It’s beautiful, and heart-warming, but it can also be the start of wonderful conversations. For those of you who don’t know what I mean by ‘found family’, it’s when a group of people become a family of choice. They’re mostly unrelated, and they come from different backgrounds, but find ways to bond and be there for each other. Found families happen in real life, obviously, and I’m sure many readers have their own families of choice, but there’s something special about the portrayal of them in fiction. Found family is seen in any genre, but it’s most prominent in fantasy, or queer literature. In queer literature, the trope is often vital. It’s a reminder to the queer character that they’re not alone.

This group of people of different gender or sexual identities, backgrounds, religions, etc, all come together to love and support each other, especially when no one else will. Think The Seven Husbands of Evelyn Hugo, which had a breathtakingly beautiful portrayal of found family. So many queer people find their families outside their flesh and blood, and Samra Habib summed it up beautifully in We Have Always Been Here, going so far as writing “To chosen families everywhere” as her dedication. In fantasy, these families are born from loss or brutality. Six of Crows features a group of criminal outcasts. They often threaten each other with violence, but they’re family. Other big name fantasy series starring this trope include The Bone Season and A Court of Thorns and Roses. These families help each other talk about their trauma, and help deal with it. It brings discussions of PTSD

and anxiety to the forefront, showing readers there’s nothing to be ashamed about. Found families are a glimmer of hope in the brutality of fantasy – where the fantastical world may be teeming with pain, poverty and war, there’s comfort brought to those in the thick of it all. They were once alone, but they’ve found their family who will fight to the death with them. This trope is a reminder to everyone that they can talk about their pain, and they don’t have to go through anything alone. I know queer readers resonate with the trope, because they may have anxieties about their own family life. To them, it’s a reminder that if things go wrong, they can find a wonderful, accepting family elsewhere.

EDITOR: Louise Collins

Fashion

The Messages of the 2021 met gala By freyja elwood

Following the Coronavirus pandemic, the Met Gala was rescheduled to the 13th of September this year, with vast anticipation surrounding the event. Seen as the main fundraiser for the Costume Institute at the Metropolitan Museum of Art, it is regarded as the annual crescendo of fashion, art, and popular culture. According to Vogue, the event raised eight-figure funds for the museum - with 2019’s edition also raising £12 million. This year’s theme was “In America: A Lexicon of Fashion” and showcased outfits influenced by the sociopolitical climate in the US, references to American icons, and the promotion of American designers. Old Hollywood glamour certainly proved a popular sub-theme, with Megan Thee Stallion wearing a Coach dress and Billie Eilish in a peach Oscar de la Renta ball gown. However, it was those who chose to emulate pioneers of the era that stole the show. Yara Shahidi chose Josephine Baker, an AmericanFrench performer and civil rights activist, as an inspiration. Meanwhile, Gemma Chan took inspiration from Anna May Wong, often considered the first Chinese-American Hollywood star. There were, however, odes to more modern icons - notably, Nikkie de Jager

Photo: Wikipedia Commons

and her reference to Marsha P Johnson, a black trans-rights activist who is credited with playing a big role at the Stonewall riots. The “P” in Marsha P Johnson stood for the phrase Marsha used when faced with negativity - “Pay it no mind”, which Nikkie has embroidered on her dress. Other references include Kaia Gerber’s Bianca Jagger-inspired dress worn at the 1981 Met Gala, and Gigi Hadid in Prada using America’s first ladies as a reference point. American Materials were also a focal point. Stars like Ben Platt and Lupita Nyong’o both wore full denim ensembles, whilst Jennifer Lopez and Pharrell Williams adorned themselves with leather and fringing, associated with the American “Wild West”. Whilst most attendees stuck to one or two designers, Kris Jenner and Timothee Chalamet highlighted the breadth of American designers by sporting several different brands in their outfits. In an interview with Vogue, Kris Jenner said: “... mix and match is American fashion,”. Symbols of America and national identity shone during the event. Actress Lili Reinhart wore the state flowers on her dress, whilst Model and Entrepreneur Karlie Kloss sported a dress shaped like a rose, the national

flower of America. In contrast, singers Rosalia and Saweetie referenced their pride in their other identities. Saweetie trailed a Filipino flag behind her dress and Rosalia wore a custom Rick Owens dress inspired by the traditional Spanish garment worn at “Manton de Manila”. Commentary on the sociopolitical climate of the US was also prevalent. Rep. Carolyn Maloney wore a gown with Suffragette colours and banners saying “Equal votes for women.” Rep. Alexandria Ocasio-Cortez also donned a slogan, with “Tax the rich” across her back and handbag. Ocasio-Cortez also chose to wear Aurora James - “A sustainability-focused, black woman immigrant designer.” The catchlines also turned to sexuality and gender. For instance, with model Cara Delevigne wearing a Dior army vest with “Peg the Patriarchy” inscribed on the front and American soccer star Megan Rapinoe’s “In Gay We Trust” purse. Daniel Levy dressed in a Loewe suit was a highlight of the night. The suit was inspired by an art piece from American artist and AIDS activist David Wojnarowicz, christened as a celebration of “queer love and visibility” by Levy on his Instagram. Two attendees chose to embody the traits and words associated with America - bravery, freedom, and hope. Both Olympic gold-medalist Sunisa Lee and Model and Entrepreneur Iman chose to wear gold. Iman, who wore a spectacular Harris Reed gold corset, trousers, crinoline, and headpiece said in an interview with Vogue: “This whole evening is about hope - a ray of light,”. Sunisa Lee chose a gold SUKENIA dress, in reference to not only her gold medal success but “bright light.” These two dresses chose to represent hope and light after a pandemic and a new chapter for fashion. With the Met Gala’s “In America: A Lexicon of Fashion”, a range of designers, visuals, interpretations, and thereby messages would crowd the carpets of the event. Whether Hollywood, nostalgia, national identity, politics, or sexuality, the messages this prompt spurs were wide and varied, showing us that “America” is not composed of a monolith, but an amalgamation of many things.

Fashion

The 2021 Met Gala: What is ‘American Fashion’? By sam Gordon webb “Who gets to be American?” This year’s Met Gala - New York’s most exclusive fashion event of the year - set out to answer exactly that question. Two exhibitions with unique themes, In America: A Lexicon of Fashion, and In America: An Anthology of Fashion, aimed to celebrate the broad and multilayered nature of individual fashion choices throughout US history. In order to answer this question, many began by asking a different one: “What is American fashion?” According to Andrew Bolton, the Wendy Yu Curator in Charge of the Costume Institute, the problem centres “the idea of reducing American fashion down to one definition is totally antithetical to what the exhibition is about”. In the fashion universe, America’s unfashionable relationship with Europe is all too familiar: the simplified younger sibling of a much more refined and elegant elder. Though American fashion has been heavily influenced by European fashion trends - from the fashionable Empress Eugenie de Montijo of France in the 19th century, to the European imprint of fast-fashion through stores such as Zara and H&M, Europe has also benefited from US trendsetters. The 2021 Met Gala has been criticised for demonstrating a white-Eurocentric pattern with unyielding stubbornness. American designers have worked for European fashion houses - such as Virgil Abloh for Louis

Photo: Unsplash

Vuitton, and Marc Jacobs before him. But a simple question arises in the context of our vastly interconnected world: does that make the brand, more American, or the creative director, more European? Few know the definite answer, and many were left confused by the curator’s choice to correspond each outfit with a particular noun, unable to decipher the true meaning of any one exhibited piece. One thing is certain: fashion is in the public eye, and style choices are often dedicated to what we see and hear, with the latest trends adorned by our favourite stars. In America, things are no different. From the silky gowns worn by Jackie Kennedy in the 60’s, to the ripped jeans of the noughties, the thinking goes: we wear what they wear. The essential quality of fashion in the US stems from its democratic quality, allowing everyone to clothe themselves however they choose. For example, President Reagan was once photographed wearing a shirt, tie, and sweatpants on Air Force One. Due to the polarised identity for most countries (Brexit or Remain, Conservative or socialist, pro-vaccine or

anti-vaxxer), finding a single sentence to describe what makes anything truly American is impossible. Instead of focusing on design, many of the country’s most prominent designers understand American fashion - and fashion globally - as a reflection of the nation’s people. What defines fashion in the US instead are the simple yet elegant pieces explaining the success of brands such as Supreme and Obey. We all know why. The average person wears ripped jeans and muddy sneakers, dressing according to their budget. UEA students don’t dress up in Oscar De La Renta dresses and Gucci sweaters for a night out. From Norwich to New York, Los Angeles to Birmingham - affordability and comfort have become the most important ingredients of any successful fashion statement. Consequently, the Met Gala disappointed more people than it inspired.

Fashion

the return of london fashion week

Photo: Wikimedia Commons

by elizabeth woor

September for the fashion world only means one thing: Fashion Weeks. Here in the UK, the London-based event saw 130 designers showcasing their spring and summer 2022 collections. Although the week is memorable for any fashion fan, this year’s shows were perhaps much more anticipated, with the models gracing the catwalks in person without restrictions. With Naomi Campbell hosting the whole event, it definitely did not disappoint. Although iconic British brands Burberry and Christopher Kane were absent from the week, others such as Simone Rocha, Erdem, and Richard Quinn reminded the world of why London is still a fashion capital. Key trends emerged across the board – bodycon and netting being some of the key favourites of the week. Victorian-inspired clothing was also popular, with designers like Yuhan Wang and Edward Crutchley highlighting

voluminous silhouettes. Richard Quinn closed the week of celebrations with a star-studded show. Filled with his signature florals, Quinn showcased colourful pleated trousers and daring, fullskirted gowns. He described how his collection was based on “beauty and tension, and how they work together, after a time when everyone’s been locked up”. After so much time away from the packed rows of fashion week, I am sure many fashion lovers would agree that it has been fantastic to see established designers showing their work again. Likewise, the smaller, newer designers impressed just as much. A stand-out show for many was put on by Maximilian Davis, who is quickly becoming London’s ‘it’ designer of the moment after dressing Rihanna. Heavily inspired by his Caribbean roots, Maximilian showcased genderfluid, sleek outfits, which are

fashion-forward yet wearable. His final piece, an all-black outfit featuring a wearable art piece, dazzled as it flew down the runway. Another young designer turning heads was Chet Lo. Featuring every vivid colour you can imagine and extremely oversized shoulder bags, Lo displayed a fun side to fashion. Having already gained celebrity fans such as Kylie Jenner and Doja Cat, Chet Lo’s signature pinch-and-twist fabric designs are undoubtedly only going to rise in popularity. The London fashion scene is slowly but surely getting its buzz back, proven by all the spectacular designers that helped rebuild the high-end fashion community. Outfits were bold and thoughtful, often reflecting on the past few years of struggle, and yet the week was a tremendous celebration of what London designers have to offer. Personally, I cannot wait for the next.

EditOR: Zorsha Taylor Suich

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creative writing

Fracture By Molly Phillips before I realise that I am dreaming Falling i am walking to the tower, (the same I walk round every day to watch the waves come home), and all is as it should be except it’s quieter, grayer and My limbs pinned to my sides so I cannot even writhe, worm-like in the quieter gray and and I realise. The air does not feel like air, it feels like nothing, I feel like nothing, detached from the consequences of who I am and who I was i am nothing and I like it and When did I learn to be nothing? More than that, when did I learn to like it? i used to be someone and enjoy it. long for it. The ground is too far to be sensical I am waiting for now I’m nothing and I like it. Ground myself in sense, in remnants of my life, what my life was And I wake. I awake into what my life has now become. He is beside me, he is always beside me, asleep on the stool he’s spent the night perched on like a bird, but folded over, forehead on the straw mattress, accidental sleepbreath slow and sweet. I think about what I thought. I never thought I’d see him again, but now he’s there and I see him so clearly. I could reach out and smooth the hair that sprouts so softly from his crown. The sky outside the window is grey, and I am falling again, flexing my hands into branches at my side. My hands are bony, the veins are green and bold, with torn fingernails altering the line of their once confident edges. He stirs beside me, to lift his head and turn, but does not wake. I think about the moment that I knew I was going to die. I cannot find it. I cannot find a lot of moments I thought I’d made. If they exist they do so in halves and quarters. I think I exist in halves and quarters myself now that there’s light again. I push myself into a sitting position. He sleeps on, so I slip out of the bed. Every movement feels wrong, each half of my body lagging like it barely exists. Looking out the window. I see where it all Where it Where it happened and parts of memories try to filter back through the recesses of my pounding skull. They do not succeed. They are fractured and they themselves are hairline cracks in the bone of thought. In the dream I was no one and I liked it but I can feel my splintered self becoming someone again because it’s over, isn’t it? Even though I feel like it will all fall away like a baby bird from a nest in moments, it doesn’t. I am a person now. I wasn’t, for a moment, but I am. What memories I can make to replace the ones I’ve lost. Must be something big. Something important, to have lost it so easily. Grapple with it, the weight of something forgotten, something that has passed and disappeared, yet somehow is heavier than what remains.

creative writing

The Mirror By Ella Weeks - Pearson

As I study the face I see before me, Old but with wisdom in those lines, The wrinkles tell a story of who they were, When they laughed, and when they cried. I look at the woman quietly sitting there, Her hair so short, fragile, and grey, Quite a contrast to the fiery red locks I had, That I walked proudly with each day. The sapphire of her eyes looks tired, Sad almost, but why? I’ve been told her family visited today, Though I’ve forgotten their names and the time. That smile though, oh that beautiful smile, Has also faded and gone away. Those pearlescent white teeth that could light up a room, Hidden by the depression in the uncertainty of each day. Though the necklace she wears is familiar, A golden padlock and delicate chain. My husband gave me one oh so similar, As to remind me of our wedding day. Yet I look at the woman before me, Forgetting what I was going to say. The story of who I am and what I loved, Gone for another day.

I hope I make another appearance tomorrow, I wish that this time I could stay, But dementia is a gatekeeper, Who pushes me and my memories away.

Photo: Unsplash

Now I’m left simply looking at a mirror, Barely recognisable to myself, That woman is me, that face is mine, But the memories and life has drained out.

creative writing

Memory Loss My name is Lucy Greenland. I’m 56 years old. I have three sisters, and a brother. I had a brown Labrador called Billy. My parents were teachers. I broke my arm once whilst riding my bike. I had a red cast on for eight weeks. My favourite colour is orange. I wanted to be a dancer when I was growing up. Now, I’m a writer. I studied psychology at university. I met up with my friends for lunch yesterday. The five of us were friends from school. We went to a lovely vegan café in the city. I had a roasted vegetable pasta. It was so lovely catching up. I talked about getting a cat from a nearby shelter. We went to visit one, she was a lovely ginger tabby. Memory. It’s a special thing. You don’t appreciate it until it’s gone. It’s all your favourite books, lyrics to beloved songs. It’s your mum’s mobile number, or your dad’s favourite colour. It has all your past holidays, all your old school friends. It’s the names of your neighbours, all your old addresses. Your memory makes up who you are, because it holds your past experiences, all of which shape you into your present self. Memories can be relived through photos and videos, or diary entries. But the best memories are the ones that come up out of the blue. You’re walking, and you see a woman in a dress, and you think back to that summer of ‘84, when you were on a beach with your family, eating ice-cream and turning golden in the sun. My name is Lucy Greenland. I’m 56 years old. I have three sisters, and a brother. I had a brown Labrador, but I can’t remember his name. My parents were teachers. I broke my arm once, but all I can remember is that I wore a cast. I’m not sure what colour it was. My favourite colour is orange. I’m a writer. I studied psychology at university. I met up with some old friends last week, but I can’t remember what we did. I’d love to have a cat to keep me company, I saw a ginger tabby somewhere last week. You hear a name, and you think back to school, laughing in class with your friends at something stupid the teacher did. You remember turning red with the effort not to laugh out loud, the ache in your side from trying to keep it in. The chuckles from the class as you were sent outside.

You try a drink, and you remember the night you had your first kiss. You were in a bar, and a cute guy came over and started chatting. It felt so natural, and you were so happy. It didn’t work out past two dates, but the kiss was nice. You remember feeling free, feeling so much love for everyone around you. Memory. It's funny; It can come and go in a blink of an eye. You can walk into a room and forget what you wanted, or you can remember something from when you were four years old. Until, of course, you can’t. My name is Lucy Greenland. I’m 56 years old. I have three sisters, and a brother. I had a dog called Billy. My favourite colour is orange. I’m a writer. I went to a cat shelter last week. Memory. It’s a special thing. You don’t appreciate it until it’s gone.

Photo: Unsplash

By Louise Collins

EDITOR: Izzy murphy

Music

Why Taylor Swift’s Red is the Perfect Autumn Album by Louise Collins associated with new life, nature’s revival. But autumn is a fresh start for people – it’s the return to school, the chance to reflect over summer and find ways to change and grow, or follow newfound interests. Many of Red’s songs follow this pattern – The Lucky One highlights new identities in new towns, like a new high school, Everything Has Changed and Begin Again tell the story of new beginnings and new love. There are multiple mentions of autumn throughout the album - “like the colours in autumn” (Red), “autumn leaves falling down” (All Too Well) - but there’s also the more subtle aesthetic references, such as the colour red, scarves, and plaid. Taylor perfectly creates the aesthetic of autumn – the photos having shades of red, a mixture

of warm and cool filters, the bowler hats, the use of shadows. To further the autumnal feel, Red was originally released in October 2012, and is set to be rereleased this November. These next months, I’ll be channelling autumn vibes and playing Red on my record player, eagerly awaiting the arrival of Red (Taylor’s Version).

Photo: Unsplash

There are songs which are ‘summer anthems’ and then there are albums – usually Christmas ones – which are on repeat throughout winter months. But do people associate music with spring or autumn? Not so much. Unless, of course, you’re a Taylor Swift fan. Taylor’s music is cleverly crafted to fit certain aesthetics, and to mirror specific moments of her life. It makes sense, therefore, that her albums are associated with different seasons. Take Red – it’s a perfect autumnal album. And I’ll tell you why. In her rerelease announcement, Taylor describes Red as “resembl[ing] a heartbroken person” and her return to the studio “like trying on pieces of a new life”. What is autumn if not a chance to say goodbye, and start again? Spring is

What’s happening in Norwich this year? By elizabeth woor Norwich has a vibrant history of showcasing musical talent of all genres. Whether you’re looking to experience an intimate gig featuring up and coming bands, or are wanting to hear some worldfamous performers, Norwich has something to offer. Luckily, this year is no exception and local venues are hosting an incredible array of musicians from around the world. Just around the corner is Wildpaths festival - a multi-venue music festival situated right in the heart of Norwich. Between the 14th – 17th of October, over 200 acts will perform across 20 stages. Felt like you missed out on seeing live music during the pandemic? Well, this might just be the perfect cure. With headliners this year including Sports Team, Biig Piig and Palace, it’s

definitely not one to miss. There are even late-night DJ sets for all of you who never want the party to end.

“local venues are hosting an incredible array of musicians from around the world.” Another festival to keep an eye out for in the latter half of the academic year is the Norfolk and Norwich festival, which will be celebrating its 250th anniversary in 2022. Although the festival doesn’t solely focus on music, they put on an impressive showcase of talent. Earlier this year they actually collaborated with

Wildpaths to host the likes of Poppy Ajudha and Moses Boyd. Make sure to keep an eye out for more details. Of course, UEA’s own LCR is also set to bring in some big names this year. With something for everybody, acts include Wolf Alice, Oh Wonder and Architects. Especially if you’re on campus, why not take a look at what the LCR has to offer? World class acts are literally playing right on your doorstep. If somehow none of the above has caught your attention, then perhaps the Waterfront or Voodoo Daddys Showroom will have what you’re looking for. I personally recommend Voodoo Daddys for a night of great music, drinks and pizza. The Norwich music scene has so much to offer. Why not make this year the one where you get involved?

Music

A Conversation With Echo & The Bunnymen Guitarist Will Sergeant By Tom manning Echo and the Bunnymen are one of the most important but also one of the most overlooked post punk voices of the 80s. If you haven’t heard of them, your parents certainly will. Originally comprising of frontman Ian McCulloch, guitarist Will Sergeant, and bassist Les Pattison, the band released their first album four decades ago and since then have established a remarkable catalogue. I had the opportunity to interview guitarist Will Sergeant to talk about everything from the early days of Echo and the Bunnymen, his new found love for jazz music and the prospect of returning back to live shows. Calling me from his home in Merseyside, the first thing I can’t help noticing about Will is just how friendly and open he is. The band are re-releasing their first four albums on 180 gram vinyl, with a number of limited edition versions too, just over four decades after the release of their debut Crocodiles. Speaking on the reissue of these vinyl’s, which is set to be released on the 22nd October, Will said that, “I’ve gotta say that had nothing to do with us! That was more to do with the label than anything else, I didn’t really know much about it but I’m a big vinyl fan so it’s always nice seeing the albums getting reissued. I’m not really big on first editions and all that crap.”

“We were pushing each other about on the ice and to think one wrong move we would have fallen off the edge!” As we were on the topic of records, I couldn’t resist asking Will how many he owned himself (I mentioned I had a meagre collection touching 50). “Yeah, I’ve probably got a few thousand. You can still get some good bargains if you know where to look, charity shops I’ve found to be pretty good with that…I’ve recently been getting into jazz. Miles Davis and the like…there’s so much of it to get into, it’s brilliant.” The bands first four albums are perfect examples of The Bunnymen’s unique approach to post punk incorporating elements of psychedelic music too. The album artwork reflects the bands early music. Photographer Brian Griffin and designer Martyn Atkins

were involved in each of their first four albums which creates a continuity to the atmospheric theme of each cover. “Yeah well we all had a part to play in them. We wanted something quite psychedelic as that’s what we’d been called at the time. With the first one being in nature, in the woods and then Griffins brought a light to give it that effect. “When it came to Heaven and Hell we decided to head down to the beach and Griffins brought a bag of whitebait with him and threw it around us so the seagulls would come down. He made us stand facing away from the camera which was pretty unorthodox at the time with 80s album covers.” Will then paused to recall an anecdote of their time in Iceland as the band took photos for their third album Porcupine. “Then we went to Iceland. For the shot we did we were on this about four-foot ledge wearing the complete wrong clothes and shoes. We were pushing each other about on the ice and to think one wrong move we would have fallen off the edge!” While I had the opportunity to talk to Will, I couldn’t miss the opportunity to ask him about the bands unique sound. “At the time, post punk gave us that space to be different. I couldn’t really play the guitar but with the music we were making I learned what sounded good and didn’t and stuck to that. I’m not sure if we knew it was special but we wanted to create classic albums, that’s something we knew we

Photo: Wikimedia Commons

wanted to do.” The band are back on tour early next year playing here at the LCR on the 11th February. I asked Will how he felt about going back to touring after Covid, “daunting. Quite daunting. 2019 was the last time we properly performed live and my fingers are so soft now. You know when you play, they get really hard but now they’re as soft as a baby’s bum.” Earlier this year, Will released his first memoir which details his life growing up in Merseyside and the early beginnings of The Bunnymen. Talking about the book he said that he “would normally write 3000 words a day sometimes more sometimes less. I started writing the book in 2019 so while it didn’t really come about because of the whole covid thing it did give me the time to write it and concentrate on it.” Looking towards the future, Will mentioned that another memoir is in the works as well as some more music from Echo and The Bunnymen in the coming years.

Declan McKenna at the LCR By Tshequa Williams Navigating the live music scene in the pandemic has been difficult for artists and fans alike. Cancellations, rescheduling, lockdowns and, in Declan McKenna’s case, false positive tests, have put many plans up in the air. Despite a few days of uncertainty whether the gig could happen, the Nick Raynes LCR came alive in the presence of Declan McKenna’s ever energetic, exhilarating performance. Support came from CMAT, also known as Ciara Mary-Alice Thompson, an Irish indie-pop singer whose satirical songs reflect on the emotional roller-coaster of life. The most memorable moment of her set for me was I Wanna Be a Cowboy Baby, a note on feeling trapped by loneliness and wanting to be as free as the people in the Vine it’s referencing. Regardless, her nostalgic, country-esque melodies were enough to ease the crowd into the night. As the band walked on to The Beatles’ With a Little Help from my Friends, the room was buzzing with excitement, beginning the set with Beautiful Faces. McKenna played a mixture of material – well-loved classics from his debut album What Do You Think About the Car? including Make Me Your Queen, Isombard and Brazil , as well as songs

19 from his second album Zeros, which this tour supports. Zeros is rich with 70s nostalgia and influence - The Key To Life on Earth, Be an Astronaut and Daniel, You’re Still A Child defined by rich guitar riffs, groovy baselines and piano pieces. The LCR was filled with scattered light from giant disco balls, particularly beautiful in slower songs like Emily , but nothing was brighter than the joy on all the dancing faces. The glitter-clad McKenna’s lyrics often critique society, everything from mental health, transphobia, police brutality and the failures of the Government ( Listen to Your Friends particularly relevant with recent cuts to Universal Credit). For our generation, however, screaming out the words to protest songs with deceptive rhythms is increasingly familiar. This isn’t the only time I’ve seen Declan perform this year, being there at Latitude Festival for his (and many other artist’s) first dive back into live music since the pandemic started – both times I’ve been impressed by the charisma and energy he brought to the stage. His latest single My House was released back in July 2021, meaning it’s unlikely that we’ll see anything new from Declan for a while - but if you can catch a show at some point, you won’t be disappointed.

Photo: Tshequa Williams

Music

EDITOR: Tom manning

20 13 GAMES COME TO XBOX GAME PASS Hooray Xbox Game Pass subcribers, 13 games are waiting for you to pick up and play! The new games include 5 existing games and 8 new releases that were scheduled to launch from the 15th of September. Whether you are looking for an adventurous story or a battlefield, there is something for you. These 13 games rolled out between the 15th of September and the 1st of October. The first on the list being Flynn: Son of Crimson, an action and fantasy-packed game that invites players to devour and discover Crimson energy. Its 2D platform game mode mirrors the next coming release of an oldie, Lost Worlds: Beyond the Page. A variety of games became available towards the end of September such as Lemnis Gate, a first-person shooting game that requires combat strategy. Debuting

on Xbox for the very first time, the Lemnis Gate game director James Anderson hopes the ‘mix [of] some strategic gameplay with something a bit more pugilistic’ will resonate with players. Moreover, another game called Astria Ascending made its debut on the 30th of September. In the fantastical world of Orcanon, you play as a hero to restore peace. The Xbox Game Pass satisfies both FPS and RPG fans alike. As exciting as it sounds, Phoenix Point wraps up the collection of releases. A thrilling title similar to XCOM, operates with new mechanics and a distinctive manual aiming system. In its futuristic and sci-fi setting, players fight against alien invasions and formulate their own tactics in battle. Of course, saying hello to new games meant saying goodbye to old games. The previous releases on Xbox Game Pass including Drake Hollow and Ikenfell announced their

My all-time favourite game When I think of my favourite game, I think of hours spent in my room, playing The Sims 4, creating characters and little stories within the game. The franchise is basically a lifesimulator game where you can create your own ‘sim’ and walk them through life, completing milestones like getting a job, building a house and raising a family. However, this type of gameplay is only surface level, which makes the game so appealing to so many players. There are no rules when it comes to The Sims; players can do whatever they choose – for example, those with Machiavellian tendencies can go round causing havoc to the world, killing sims just because they can! The Sims team even encourage this, creating unconventional deaths such as being killed by a mutated plant with the head of a cow (creatively named a Cowplant). The developers certainly have

a sense of humour and have further encouraged players’ wacky interests by bringing out different expansions of the game to suit each taste. For those like me, who want to play a more conventional, world-building game, there is a pack released called Parenthood which allows deeper relationships and stories to be made between parents and children. For those with more fantastical sensibilities there is a pack named Realm of Magic where you can explore a wizarding world. One doesn’t even have to play with characters; what makes it so popular to some is its focus on building, bringing out packs which centre solely on build items. Another reason why I love The Sims so much is down to its community aspect. Those who play it feel a sense of belonging created by both The Sims team and other players – the developers constantly listen to players, sending out polls and questionnaires to see what they want next from a pack, and they also invite YouTubers of the game to test upcoming expansions

Gaming By Melody chan

exit. On the 31st of September, these games were no longer available to the pass’ subscribers. Drake Hollow initially released in August 2020, is favoured by those who enjoy survival and management games. It can take up to 25 hours to complete its 50 achievements. Likewise, Ikenfell, popular among RPG enthusiasts, requires approximately 20 hours to unlock all its achievements. A review critic, Heidi Nicholas explains the charms of the game, ‘the strength of Ikenfell’s story and characters, the wonderful music, all come together in a wash of cutesy pastels, magic, and a gentle sense of humour’. The new additions did bring excitement for Xbox Game Pass subscribers, yet the halt on other great games was a tragic loss.

By Hamilton brown and report their experiences online. It may seem unexciting from an outside eye, but once you start playing you get lost in the experience, something I feel is a positive sign of a good computer game.

Photo: Unsplash

gaming Best games for mobile phones

21 By Holly jackson

An often-overlooked way of playing video games is through your mobile phone. Both the App store and the Google Play store have plenty to offer for everyone, so I thought I’d take a closer look. 1. Pokémon Unite is a popular free game in which players can engage in team battles. It allows you to play ranked matches and make your way up the leaderboard. It is also compatible with Nintendo Switch meaning you can play across both platforms. 2. Mario Kart Tour is a great way to play Mario without having to spend anything. This allows you to play with friends and join in tours and features classic courses from the original Mario Kart. 3. A personal favourite of mine is 8 Ball Pool, which has been popular for years now. It enables you to play pool with either your friends or other users from around the world and climb up the leaderboard, as well as being a good cure for boredom. 4. If you’re looking for something more relaxing, I suggest Tiny Wings. This vibrant game is very simple, the goal is to help your bird fly through as many islands as possible. The soothing music can easily send you to sleep. 5. A puzzle-solving game that I would recommend is Monument Valley. This game is very visually pleasing and has a stunning colour palette, which has been greatly praised. In this game you work to rearrange the optical illusions of its architecture in order to unlock each level. 6. Grand Theft Auto: San Andreas is also available for mobile devices. Previously available only on consoles, its graphics have been remastered and enhanced for mobile. This game is packed with action and offers players over 70 hours of gameplay. 7. Hasbro’s classic board game Cluedo has been adapted into a popular mobile game and can be played wherever you like! You can play single player, or multiplayer to solve the murder mystery of Tudor Mansion. 8. For quiz show fans, you can try your luck at beating The Chaser on the mobile version of The

Chase. This game also allows you to assume the role of The Chaser and challenge your friends or family, which could be a good addition to game night! So, why not take a look at some of these games and see which one takes your fancy?

Photo: Unsplash

22 do video games encourage violence? The link between engaging in graphic video gaming and impulses to inflict real-life violence continues to be a debate of strongly divided opinion. The American Psychology Association (APA) suggests that playing violent video games like Doom, Wolfenstein 3D or Mortal Kombat indeed have potential to increase a person’s aptitude for aggressive thought, feelings, and behaviour. The researchers emphasised that violent video games were likely more harmful than violent television and movies as they are interactive, engrossing, and demand the player to identify with the aggressor. Research by Psychologists Craig Anderson and Karen Dill suggests that ‘young men who are habitually aggressive are potentially at a heightened vulnerability to the aggressionenhancing consequences of repeated exposure to violent gaming, and that even those without this predisposition are vulnerable to temporarily increased aggressive behaviour resulting from exposure. Psychologist Dr Anderson expands that ‘violent video games provide a forum for learning and practicing aggressive solutions to conflict situations’, implying that playing violent video games appears to affect aggression through primary aggressive thoughts. This develops into longer lasting, internalised emotional responses as the player learns and practices new aggressionrelated scripts. This becomes increasingly accessible for use when real-life conflict situations arise. Researchers determine that this link perhaps arises because video games provide players with an interactive process, allowing them to create a closely affiliated identification with the often brutal and unforgiving traits of the main

character. These theories have been exacerbated by real life news stories which indicate that violent attacks of terrorism could be linked back to engagement with graphic gaming on behalf of the perpetrator. For example, the gunman who killed 22 people and injured 24 others at a Walmart in El Paso, in 2019, made a fleeting reference to video game soldiers indicating that he was familiar with video violence. The APA concluded that while there was ‘no single risk factor’ to blame for aggression, violent video games did contribute. Research from the University of New South Wales in 2018, for instance, found that those who frequently indulged in violent video games were less disturbed by violent images generally, creating a phenomenon the researcher coined ‘emotioninduced blindness’. On the other hand, counterarguers are equally firm in their stance. Dr Mark Coulson, associate professor of psychology at Middlesex University, acknowledged ‘that exposure to repeated violence may have shortterm effects… but the long-term consequences of crime and actual violent behaviour, there is just no evidence linking violent video games with that’. He appears to observe this quite bluntly, stating ‘if you play three hours of Call of Duty you might feel a little bit pumped, but you are not going to go out and mug someone’. In support of this argument, a study by the Oxford Internet Institute last year suggested frustration born by being unable to play a game was more likely to bring out aggressive behaviour than the content of the game itself. Possibly counter to expectation, although between them, the various studies included

gaming By adelaide cannell in the research reported a range of effects, including a small positive correlation between violence and video-game use, there was no overall conclusion in the rest, with one 2011 study finding a negative correlation. Despite the conflicting viewpoints, it is important to consider the enormous spectrum of individuals partaking in these games in terms of their psychological and emotional condition while also recognising the agency that individuals have when partaking in such activity, to determine the ‘risk’ involved. Arguably, analysis by the APA demonstrates the viewpoint Laswell’s Hypodermic Needle Model suggests about audiences, that we are passively responding in predictable ways to content we receive – in this case, violent stimulus. In conclusion, it is important to consider our individual capacities to negotiate how we respond to and interpret such media. The link between playing video games and engaging in acts of violence appears to depend on the individual.

Photo: Unsplash

Editor: Holly Jackson

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FILM Ask a Prop Master: Discussing LA, Hollywood and that time Ryan Gosling saved a woman from being hit by a taxi by Liz Lane “The stereotype of LA is true,” Sam tells me sleepily, as he tries to shake off the jet lag of being in London on LA time. “You’ll probably run into somebody famous.” Samuel Cortez is a 32-year-old Prop Master living in California. His favourite film is Back to the Future and he’s a P. T. Anderson and Sam Rockwell fan. He’s been staying in London for a short while with his girlfriend. Before we start the interview, he downs a cup of tea. “Tea? How long have you been in England?” I ask. “I’ve been trained well,” he says. We begin. So what exactly is a Prop Master? “Overall, I have dominion over props,” Sam explains, “which is anything a character holds or manipulates. That means I work closely with production designers and art directors on the general aesthetic of the film. It’s very detailoriented in that manner. If I’m lucky enough, I’ll be able to fabricate props that cannot be found or bought easily.” Recently, there’s been a shift in the entertainment industry. With the rise of streaming-services and the decline of in-person cinema, what does this mean for people like Sam? “It’s a double-edged sword for the industry,” he says. “There is an insane amount of new services, which means there’s an insane amount of content, which means there’s an insane amount of jobs. The rise in channels, as well as coronavirus, put this weird dam on content creation and then once the restrictions lifted, there was just a flood of work which has not stopped since then.” So what’s the downside? “There’s a bunch of caveats that are there for every individual production. So a lot of people will find themselves working for less money and longer hours, being twisted and turned a little more than is normal.” I have to ask about celebrities. Has Sam seen any about? “You know Ryan Gosling?” he asks. What – the star of La La Land and my flatmate’s dreams?

Photo: Unsplash Sam recalls, smiling, “and I’m like – holy shit, that’s Ryan Gosling.” Next, we talk about LA. Why does everyone there always seem so damn happy? “So damn happy?” Sam echoes. “Oh, whoa. That’s a surprising perspective. For me, I think it can be kind of a bleak place. At least, emotionally. If people are happy and that’s the vibe they’re giving, I would say it’s mostly [because of] the weather.” Does Sam think everyone secretly wants to be famous? “I think that the westernised idea of success promotes that concept,” he says. “I think everyone everywhere kind of wants to be famous a little bit. One thing that’s expedited that is social media. You go to TikTok and you can be famous tomorrow. Everyone feels the whiff of that now.” A lot of people originally went to California for the Gold Rush. What are people looking for when they go there now? “For all the negative things you can say about LA, in my experience, any time I’ve ever wanted to create something, especially anything collaborative, I didn’t have to stretch my arms too far out before I

Yes, I am familiar. It turns out, Ryan Gosling is a ‘low-level superhero’. Sam

grabbed somebody that was totally willing to participate. There’s something unique about that.” Lastly, Sam’s been in the UK for a while now. Has he noticed anything strange about being here? “I see a lot more similarities than I see differences. The same kind of economic and cultural expectations exist here too – take the American dream,” he says, “I do think that it exists here too – it’s just a westernised idea of success.” His girlfriend has been listening in on the interview and is thinking.

plunges into anecdotes about how Gosling saved a woman from being hit by a taxi, stopped a street fight in New York and helped a broken-down vehicle get out of the road. “Somebody got out of their convertible and ran over,”

“Have you found the people here cold?” she asks him. “Compared to Americans?” “No,” he laughs and he turns back to me. “Everyone’s been really fucking nice.”

FILM

The Importance of Watching International Films by Elena Rodgers

Photo: Wikimedia Commons

Parasite made history when it won Best Picture at the Oscars.

Hidden Dragon. However, Parasite is the only one to win in that

her vulnerability in a performance which earned her the title of the first French actress to win an Oscar for a French-language film. However, Cyrano de Bergerac is my personal favourite: the English subtitles maintain the poetic rhyme of the original 1897 play by Edmund Rostand, emphasising the film’s attentiveness to detail. Gérard Depardieu’s portrayal of Cyrano in the 1990 film is extraordinary - he brings panache and a sincerity to the role which is essential to the flamboyant yet insecure character.

category. In the director’s acceptance speech, Bong Joon-ho claimed, ‘Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.’ I could not agree more. Bong Joon-ho’s comedy-thriller is but one in an endless

Love, loss and inequality are internationally recognised themes which resonate with us. Films have an innate power to capture our attention and alter the way we perceive life. The subtitles become irrelevant when we are hooked on a storyline, allowing us to expand our knowledge and understand the human

number of films which might initially be overlooked because of ignorance, with the belief that subtitles are a hindrance rather than an advantage. When I first watched Parasite, I was in awe of the beautiful cinematography and the astute script which addresses the class disparity and social inequality in Korea, as well as the capitalistic world in which we live. The film brings to light issues which permeate modern society such as the economic and social order reenforced by staircases leading up to the wealthy and down to the destitute.

experience. There is still a long way to go in terms of the prevalence of international films, especially regarding western recognition. High profile awards, such as the Oscars, do not acknowledge international films, nor the actors within those films, as much as their western counterparts. Hopefully, Parasite will be the

Not only was it the first subtitled film to do so but it was the first South Korean film to be nominated for an Academy Award. Parasite also took home Best Director, Best Original Screenplay and Best International Film. Only twelve foreign language films have been nominated for Best Picture in the 92 years of the Oscars, including Life is Beautiful, Crouching Tiger, and

La Vie En Rose, another Oscar winner, recounts the tragic life of the infamous French singer Édith Piaf. Marion Cotillard emphasises Piaf’s passion whilst simultaneously highlighting

first of many to begin paving the way to wider recognition for international actors and films. When this occurs, one-inch subtitles will no longer be a barrier rather a bridge to ‘so many more amazing films.’

FILM

Shang-Chi : Review by Caitlin Telford

Shang-Chi and the Legend of the Ten Rings is one of Marvel’s latest releases amongst the many series and movies they have released this year. Shang-Chi and the Legend of the Ten Rings is the first stand-alone film in the MCU to feature an AsianAmerican superhero. The movie had amazing cinematography and fight scenes, which were a standout to me whilst watching the movie. I was also impressed by the exceptional performances from the cast. Despite being an action movie, Shang-Chi tells a brief and authentic love story that can pull at your heartstrings. Shang-Chi’s love for his family and friends is what helps drive him down the road of self-discovery.

As we follow this journey, we get a great sense of female empowerment in this film from his fearless sister, Xialing, and his friewnd, Katy. This empowerment is great to see from Marvel movies as it gives young girls a role model to look up to and to learn from, rather than being presented as the damsel in distress that ‘needs to be saved’ which is usually seen in action movies. The film incorporates a combination of Chinese American culture. From material arts to traditional music, the director’s goal to make the movie more authentic to Asian culture is evident with a good portion of the movie being spoken in Mandarin with English subtitles. In my opinion, this film appeals to all

audiences. Many audiences may feel that they can connect to the ideas and traits detailed in the film. Shang-Chi has many positive attributes and values which can relate to everyday life. The movie’s central theme is to accept who you are.

Photo: Unsplash

Why Stardust is a Must-Watch by Louise Collins

Stardust is one of those films that almost

Stardust is about a young man called

everyone has seen but it’s never at the forefront of people’s minds. We forget about it until something reminds us of it

Tristan who vows to find a fallen star for

- then we’re hit with a wave of nostalgia, and such a strong love that we must rewatch it. For a while, it takes over our thoughts, and scenes plant themselves in our heads, bringing smiles to our faces. At least, that’s how it is for me. Stardust is one of my all-time favourites. I used to watch it with my mam several times a year, and we’d beam as bright as Yvaine when the feelings begin to surface. We’d let the credits play and sing along to ‘Rule the World’ by Take That. For those who’ve never seen it, and have no idea what I’m talking about,

his beloved. When he reaches the spot, the star is in a human form, and the two must travel the dangerous lands of Stormhold. What starts as disdain between Tristan and Yvaine grows to friendship, and maybe even more. The film also features seven brothers in a bloody battle to become the next King of Stormhold, and three witches seeking out immortality. You might be thinking, “it sounds cheesy”. It is. But that’s the best part. It’s filled with so much magic and wonder that I’d be surprised if anyone finished it without a smile on their face. But it also has darkness – the witches cut out hearts of stars, the brothers murder each other, and one of them is turned into a voodoo

doll – after all, it IS based on a Neil Gaiman book. As I grow older, this film becomes so much more magical to me, especially now I’m in Norwich, which Stardust has its ties to. Parts of Stormhold were filmed in Norwich’s own Elm Hill, with The Slaughtered Prince – Stormhold’s public house – being The Briton’s Arms. I will never not go feral when discussing this film. It’s one of the films I hold so close to my heart, and yet it’s rare to hear people talking about it. If you adore Stardust as I do, rewatch it and allow yourself to disappear

into the magical world of Stormhold for two hours. If you haven’t seen it, get to it, you won’t be disappointed.

EDITOR: Laura Patterson

Adapting Narratives to the Small Screen BY benjamin smith

characters, and all other elements, when done well, purely because it has more space and time, not needing to be squeezed into a two hour-ish margin to hold audiences’ attention. Television also tends to be a medium well suited for more plot-driven narratives and smaller, intimate conflicts rather than large spectacles and dramatic action more commonly seen in feature-length films. Not every story is going to be best suited for the original medium they were produced in, and not every story will thrive in anything but their original medium. Take the His Dark Materials trilogy by Phillip Pullman, for example. It’s first literary installment, Northern Lights, achieved vast success when it was published in 1995, but the 2007 film adaptation - entitled The Golden Compass - was a financial dud (we won’t mention the video game adapted from the film). Then, the 2019 series on the BBC, His Dark Materials, allowed the magic of the books to successfully be recaptured on screen. The adaptation from novel to TV was the better choice for the narrative, due to the density of the novels, both in length and content, as well as the tales’ character development, which needs proper time and pacing to be explored. A TV adaptation also provides the adaptation with the opportunity for further seasons to adapt the other books in the

trilogy, and their companion stories. The accessibility of TV also makes it highly suitable for adaptation, with large audiences being available to view from the comfort of home and minimal need for extra payments. However, like all forms of adaptation, things can go too far and get out of hand. Shows such as Game of Thrones and The Walking Dead started to stray away from their source material in their later seasons, and as a consequence the quality of the series started to decline, moving away from an adaptation, and into original content. With the development of fan favourites that can recur throughout a show and unique structural methods, adapting to television gives you a large expanse of space for new creative ideas to express stories in continually fresh and experimental artistic ways.

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Throughout history, we have been telling the same stories via different mediums. Religious teachings becoming masterpieces of portraiture, word-of-mouth stories whittled into wood or carved into stone as a visual version, novels into plays into films into television series into whatever other creative mediums await us in future. Adaptation allows for the reinvention of a story in a new light with changes made depending on who tells the story, with the core remaining the same. While it is called adaptation, transferring a story from one medium to another is almost like translating words from one language to another; you have to rephrase and accentuate details that are more visual and can be more easily expressed through action, movement and perspective, or less visual which are better expressed in poetic language and structure on a page. Never has an adaptation been completely accurate, detail-for-detail or word-for-word. Each artistic medium has its own area where it excels, but all also have areas where they lack, and some aspects have to be lost or gained in translation to make the story fit into the mould of the medium. Television, however similar to film, allows for longer narratives to be shown than film ever could. The episodic nature of TV shows allows for better pacing and development of the story,

Review: Sex Education - Season Three By Sophie colley

*Trigger warning: sexual assault/ abortion Sex Education has been met with huge success and popularity from viewers since its premier in 2019, so it was hard to imagine the newest season could live up to this expectation. However, this is exactly what Season Three did. Being a show which had already tackled a significant variety of hardhitting topics of contemporary interest including sexual assault and abortion, Sex Education has a name for presenting important subjects that are often not spoken about, and this trend continued throughout season three. Although entertaining, every episode could equally be a therapy session, constantly raising taboo topics that

need to be addressed. The season starts with Moordale High, the branded ‘sex school’, being introduced to the new head teacher Hope, who initially seems as though she only has intentions to help improve the school and ditch its unofficial branding. This quickly turns around when drastic changes to the school policies begin to target students who don’t fit into certain criteria. Caught up in all of this is a new addition to the show, Cal, a non-binary character who repeatedly clashes with Hope, when the Headteacher fails to understand why they will not wear the “correct” uniform. Once again, the show raises such an important topic, the issue of ignorance shown towards non-binary students in schools, and in

a larger societal respect. Alongside Cal’s storyline, season three also deals with IVF, divorce, sexuality, the lasting impact of sexual assault, and the trauma of childbirth; and that only scratches the surface of what the season is about. The show delicately and subtly teaches us a lesson in every single episode. The show validates questions and concerns every pubescent teenager will have in their life, poking fun and gently soothing all in one dramatic and quirky gesture. Having been picked up for a fourth season, I have high hopes for the Sex Education’s future!

The Emmy Awards: American TV’s Biggest Night! BY benjamin smith

woman has won in this category; Kate Winslet in ‘Best Actress, Limited Series or TV Movie’ for her performance in the American Midwestern crime drama Mare of Easttown, and Ewan McGregor in ‘Best Actor, Limited Series or TV Movie’ for his performance as American stylist and fashion designer Roy Halston Frowick in Halston. Ted Lasso, a comedy about an American football coach hired to manage an English football team, won big in the Comedy awards section, winning four awards, including ‘Best Comedy’ and ‘Best Actor, Comedy’ for Jason Sudeikis’ portrayal of the show’s eponymous character. While there was much to celebrate there were several drawbacks to the evening. For example, though a record number of people of colour were nominated in the acting categories, (including Mj Rodriguez being the first transgender performer to be nominated in a lead acting category for her work in Pose), none walked away with an award, a decline from four POC winners the previous year. This means that, though recent years have seen progression in racial diversity of nominees, the recognition of the talents and work of POCs as the best

in the highly politicised entertainment industry still needs to be cracked wide open, and to include more Asian, Latino, and other minority demographics in mainstream entertainment that award shows like the Emmys celebrate.

Photo: Wikimedia Commons

September 20th 2021 saw the biggest names from the small screen over the last year gather for one of the most prestigious entertainment award shows in the Western World, the Emmys. The 73rd edition of this ceremony saw many stars awarded for their work through some of the most trying recent times, and British talent was on full display! One of the most successful shows of recent years, The Crown, won big, snatching seven trophies, including ‘Best Drama’. The show also swept the 4 acting categories for serial drama, with Norwich native Olivia Colman winning ‘Best Actress, Drama’ for her performance as Queen Elizabeth II, as well as wins for Josh O’Connor in ‘Best Actor, Drama’ for portraying Prince Charles, Tobias Menzies in ‘Best Supporting Actor, Drama’ for portraying The Duke of Edinburgh, and Gillian Anderson in ‘Best Supporting Actress, Drama’ for chillingly portraying Margaret Thatcher. Other notable British wins were for Michaela Coel in ‘Writing for a Limited Series, Movie or Drama Special’ for her sex, consent, and relationships drama I May Destroy You, the first time a black

Feature: Norfolk Screen Talks: Writing Comedy For TV By Laura Patterson As an avid comedy-watcher for as long as I can remember, I was keen to attend an online talk on Writing Comedy For TV, hosted by Norfolk Screen Talks on September 22nd. Professor Brett Mills was fantastic chairing this downto-earth panel of writers: Laurence Rickard (Actor, Co-Creator for Ghosts, Horrible Histories, Bill and Yonderland), Helen Serafinowicz (Co-Creator and Scriptwriter for Motherland), and Phoebe Walsh (Actress and Writer for Ted Lasso and Four Weddings and a Funeral). Being a third-year student who is uncertain of my future after graduation, it was comforting to hear the wins and losses of each writer in their career, as well as the turning points that kept them writing and creating. For Laurence, it was a few silly sketches he made with his friend one summer after graduating, catching his ‘big break’ sending his work over to Channel 4. Helen spoke of the personal writing she did when she had children, which she was able to pitch later to producers, creating Motherland. She emphasised the importance of writing everything down – even a small anecdote. Phoebe talked of how good university is for meeting like-minded people, but she also discussed how far you can go if you stop comparing yourself to others and concentrate on your own talent and skill. It was fascinating to hear the

challenges each writer has at the early stages of their writing. The content needs to be funny, but it must also have an interesting character development and arc throughout the series. All the writers spoke of the extensive group discussions they would have in preparation, throwing gags and quotes onto whiteboards and post-it notes. This is where their ideas would evolve and be tied together, allowing them to have fun later in the writing stage. Laurence expressed how there were benefits to writing independently, but he was grateful to have all the “eyes and minds” of his team to polish off his thoughts and make them a reality. The panel also mused over what makes writing funny in the first place. Of course, there is some science and formulae to it, using well-known structures and techniques to make an audience laugh on demand, but they recognised that the best jokes were actually the irrational ones. Phoebe emphasised how following this ‘gut’ feeling is integral to comedic writing. In the editing stage, Laurence reflected on how easy it is to second guess the funniness of a joke when the screenplay has been read over and re-drafted multiple times. He assured his listeners to have faith in your past self as a writer. Helen added on saying it also takes great discipline

to ‘let go’ of the bits that don’t sit well, even if you’re very attached to them. Good comic writing is also intertwined with drama and emotion. The characters in these successful shows feel real because they have heart to them. Phoebe spoke beautifully of how her writing in Ted Lasso tries to emulate the truth of life - it includes the highs and lows and a balance between comedy and pathos. The sole aim of writing in general is to move your audience in one way or another. I certainly felt moved and entertained listening to the wise words and wit of these talented writers. TV Comedy has always filled our screens with joy and delight for the comforts of our home - it was great for these creators to share the secrets of their scriptwriting and to keep on inspiring up-and-comers like myself.

Photo: Unsplash

EDITOR: Benjamin Smith

Only At

JAMES BOND NIGHT

VERA VENUE Learning to love yourself again

From baILEY, 19 Q. “My mental health is really struggling right now. I thought it would get better when I moved to uni. My family don’t accept me for who I am or who I love and I thought being away from it all would be so much easier but in a way it’s almost like I’m missing it? I feel so lonely and I miss all the noise albeit from shouting and arguments. I know I need help and I want to get help but I have no idea where to start. I’m scared that even the person I ask for help won’t accept me as that’s basically been drilled into me since such a young age.” the same thing. Society, Pride. Membership is totally Hello Bailey - thank you for writIn terms of where to start with getfree, and they run a number of different ing such a genuine and vulnerable mesting help, the best thing you can do is social activities (including sober ones)! sage. Starting uni is hard for everyone keep an open mind and try a few differPride would be a great place for you to for a variety of specific reasons, and it ent things. It might seem terrifying to not only meet people at Uni with simisounds like you have a lot on your plate. open yourself up, especially as you’ve lar interests and passions, but also meet You’re facing a huge challenge in come to expect nothing but rejection, other queer people who will understand moving away from home and leaving but it’s the only way you’ll be able to your journey all the better. You can also your comfort zone behind. Even when prove to yourself that you will be acmake use of UEA’s Support network, our home environment is filled with cepted. Your parents’ attitudes towards which can be found via the uea.su webconflict and makes us feel unwelcome, you are not representative of everyone’s site. Student Minds is also a fantastic for a lot of us, it is still home, and what attitudes towards you. resource, with loads of support options we’re accustomed to. One avenue I would highly recomthat you can explore at studentminds. You’re not alone in having confusing mend you explore is UEA’s LGBTQ+ org.uk. feelings about missing it all. I think one of the biggest processes of going to Uni is realising which things you love about home, and which things you don’t want to take with you into your own space. It is your chance to re-evaluate the things you took for granted and had no control over, and it can be just as exciting and freeing as it is intimidating. Though you miss the noise, I’d encourage you to take some time to embrace the new quiet you’ve found at University. Uni can be a noisy place in and of itself, and this could be a chance for you to take time - proper time - to be alone. Like you say, loneliness is a big factor of your distress at the moment, but this is probably made more negative because you’re not used to being alone. Once you’re comfortable with it, being alone is great. You can do what you want, go where you want, and wear what you want, without having to worry about anyone else’s needs or anxieties. Try to actively spend time with yourself, doing things you enjoy. Take yourself on a date to the Sainsbury Centre, or go for a wander through town. You might find that being alone and loneliness are not

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32 VERA VENUE fresher pressure: HOW TO COPE WITH SHYNESS AT UNI From dIXIE, 19 Q. “What advice do you have for someone starting uni with a really shy personality? I’ve always been quiet but now I don’t want that to hold me back when I’m trying to make new friends and become a new person. I just get so worried that people will think the things I say are stupid or weird. How do I get past that? Thanks!”

A. Hi Dixie! Starting Uni is a brilliant time to be reflecting on your own confidence, because 99% of people are in the exact same boat. When I started my first year, everyone was absolutely bricking it, because we all harboured the same anxieties. Will I fit in? Are my clothes cool enough? Will people want to be my friend? As much as your fellow first-years may cover it up or play it cool, I can guarantee you that almost all of them are just as nervous as you are. On that note, my next piece of advice is one that sometimes gets misunderstood. It may sound harsh at first, but most of the people you interact with on a daily basis aren’t as interested in you as you think they are. Be-

cause you spend every hour of every day with yourself, you’re hyper aware of yourself. All of your ‘embarrassing’ moments, all of the traits you think are annoying, all of the neuroses and insecurities you might have - they’re all extremely familiar to you. It’s human nature to expect everyone else to be as aware of these things as you are. I spent all of first year trying so hard to fit in, and whenever I slipped up, I felt like the whole world was laughing at me behind my back. Everything every outfit, every conversation, every party - was so high stakes, because in my mind, all of these people were looking at me and studying me and judging me. In reality, everyone else was so preoccupied with their own anxieties that they hardly even noticed when I did

something stupid. And if they did notice, they found it funny, and it became a way for us to become closer friends. It’s part of our wiring to assume that the world revolves around us, but at the end of the day, it is just a self-centred anxiety. All of the energy you put into worrying about other people’s perceptions could be put into one of your hobbies, or working on your confidence, or speaking to someone new. You don’t need to worry so much about what everyone thinks of you, because the truth is, they don’t think of you nearly as much as you do - and most of them are far too busy worrying about what you think of them.

About Vera: Maja Anushka is this year’s Vera, Concrete’s Features Editor, and on the MA Broadcast and Digital Journalism course. As well as being almost as nosy as she is empathetic, Maja has almost a decade’s experience of making YouTube videos which have covered topics such as mental illness, LGBTQ+ issues, grief, relationships, body dysmorphia, and self-esteem. Her goal for Vera Venue is to promote self-love, mental wellbeing, and healthy relationships, and create a space where people can see that they are not alone.

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