The Founder - Volume 4, Issue 6

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A classic tastefully revisited

thefounder

the independent student newspaper of royal holloway, university of london

A BIG result for students?

Justin Champion (Head of the History Department) the theme of the meeting was “the student experience” at Royal Holloway.

Introduced by James Pigeon who stressed the unity between university and Students Union before cogently and neatly defining the student experience. There then followed four presentations covering differing aspects of the student experience. Professor Katie Normington spoke on the subject of student assessment and feedback, including the steps being taken to standardise and increase feedback. Liz Wilkinson, Head of Careers, sought to recognise and celebrate the 645 student Students at the BIG Student Debate held by the Students’ Union last volunteers and all those involved in week extracurricular activities. Director Photograph: Tom Shore

Ed Harper

News Editor

Tuesday 19th January saw the Big Student Debate: an incredibly important opportunity for communication between university, Students Union and the student populace that holds the potential to dramatically improve the lives of students at this university.

The Debate, chaired by a friendly albeit firm Marie Davies, Director of Special Projectsat RHUL, the Big Student Debate gave all students the chance to ask a panel any questions they had about how the university was being run. With the panel including Professor Rob Kemp (Acting Principal) John Tuck (Director of Library Services) and Professor Continued on page 2 »

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Volume 4 | Issue 6 Friday 29 January 2010 thefounder.co.uk

Orbitoil Union paper runs low on funds The Orbital and its supplementary magazine Junction 13 are to become online-only publications amidst funding problems and an Editorial resignation.

Tom Matthews Editor

The announcement, made at the SURHUL General Meeting on Tuesday 12th January, stated that the move to an online-only format for the student-funded publication would only be temporary whilst the Editorial Board increased their Continued on page 3 »

News

Comment & Debate

Living in The Age of Stupid

Selling ourselves short? The The Joshua Deller exploitation of internships Christmas Appeal

Alissa bevan fills us in on this latest climate change campaign

david armitage highlights a growing problem that graduates are facing

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The Founder | Friday 29 January 2010

The Founder The Independent Student Newspaper of Royal Holloway, University of London Email: editor@thefounder.co.uk

thefounder.co.uk For the latest news, reviews, and everything Holloway, get online Submit Online Write your articles online with our online submission feature Just navigate to: thefounder.co.uk/articleupload.php

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tf editorial team Editor Tom Matthews

Lead Designer (vacant)

Film Editor Daniel Collard

Chief Sub-Editor Camille Nedelec-Lucas

Music Editor Jack Ingram

News Editor Ed Harper

Arts Editor Alexandra Kinman

Comment & Debate Editor David Armitage

Sport Editor Lucy McCarthy

Features Editor Thomas Seal Editor of Extra Camron Miller

Pictures Editor Tom Shore Designed by Jack Lenox & Tom Shore

The Founder is the independent student newspaper of Royal Holloway, University of London. We distribute at least 4,000 free copies every fortnight during term time around campus and to popular student venues in and around Egham.

The views expressed in this publication are those of the author and not necessarily those of the Editor-in-Chief or of The Founder Publications Ltd, especially of comment and opinion pieces. Every effort has been made to contact the holders of copyright for any material used in this issue, and to ensure the accuracy of this fortnight’s stories.

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A BIG result for students? » continued from front page

of Development, Patrick Wilson, introduced a large number of new ideas including a new SU website.

Many visibly leant forward with increased attention when John Tuck, Director of Library Services, took to the floor. Explaining planned improvements to electronic resources and learning spaces, a decision was finally made on the extension of library hours. Carried out next term this pilot scheme will extend library opening hours at evenings and weekends. However a question from the floor questioned how much of a difference this would make when Bedford library has previously been open 24 hours a day during the third term. The debate over library hours looks set to continue with the university arguing that all day opening could be detrimental to student’s

health. It must be questioned however whether a university committed to moving into the “top tier” is still asking students to leave its library when in universities both above and below Royal Holloway across various league tables the facilities remain open.

The main focus of the evening was however the chance for those present to question the panel. During the ninety minutes available for questions a wide range of issues were covered with several overarching themes becoming apparent.

Space to work, rehearse and revise was a central concern of several students representing groups including Musical Theatre Society and Dance Society.

Admitting that the university’s available rooms were already stretched to its limit the panel explained that plans have been made

Resignations follow student loan nightmare Ed Harper

Please recycle this newspaper when you are finished Recycling bins are located at: Arts Building, The Hub, Gowar and Wedderburn Halls, T-Dubbs

Editor-in-Chief Jack Lenox

News - In Brief

for the building of increased space but that sufficient funding has yet to be found. Lack of funding also proved to be a recurring issue with a number of other planned projects.

In response it was asked whether the university was making attempts to build up relationships with local businesses. Responding to this the university said that it was in contact with possible sponsors but in the current economic climate they too were suffering from funding difficulties.

Above all else the Big Student Debate gave Royal Holloway students the chance to ask the questions they wanted to. Communication between university and students has been and will continue to be fundamental especially when it becomes increasingly hard to see how budget cuts cannot but adversely affect the student experience.

With the start of this academic year marred by the collapse of Student Finance England and financial turmoil for over 100,000 new and returning students, many expected inquiries and resignations. Five months on this has finally been achieved, albeit only to a degree.

Published last month the Independent enquiry carried out by Sir Deian Hopkin, snappily titled “Review of the delivery of financial support to students in England by the Student Loans Company for the academic year 2009/10 and plans for academic year 2010/11” examines why so many applications were not processed and how such problems can be avoided next year. Coming to the conclusion that the problems stemmed from untried scanning technology, management decisions and the prevailing “inward-looking and process-driven” culture at SFE; the forty-nine page report goes into considerable detail.

Following the release of the Hopkin report two Directors, Wallace

tf

Gray and Martin Herbert have since resigned. Responsible for SFE’s computer network and customer services, both of which came under considerable criticism, these resignations mark more of a sacrificial offering rather than a restructuring of SFE management. Ralph Seymour-Williams, Chief Executive of the company will remain in his post.

In addition to an examination of why so many students were left waiting Sir Deian’s report lists a number of recommendations that should avoid a repeat of this year’s fiasco. With application forms for loans and grants already being posted to students across the country it appears that SFE would plans to start the process as early as possible however without first addressing their own internal failings a repeat of Augusts breakdown seems almost inevitable.

The publication of this report and resignation of two draws to a close the derisory tale of SFE that has now dragged on for five long months. It can only now be hoped that the start of the academic year does not witness a repeat of such a catalogue of errors.

Next deadline

The next deadline is Wednesday 3 February, send your submissions to: Editor - editor@thefounder.co.uk News - newsdesk@thefounder.co.uk Comment & Debate - comment@thefounder.co.uk Extra - extra@thefounder.co.uk Arts - arts@thefounder.co.uk Film - film@thefounder.co.uk Music - music@thefounder.co.uk Features - features@thefounder.co.uk Sports - sports@thefounder.co.uk Pictures - pictures@thefounder.co.uk Thanks!

You can also keep up-to-date with everything that’s happening at Royal Holloway on our new (and improved) website:

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The Founder | Friday 29 January 2010

News

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Orbitoil: Union paper runs low on funds » continued from front page budget through ‘external funding avenues’. However, contradictory statements from various sources interviewed by The Founder indicate that this may not be the case.

A further announcement at the General Meeting indicated further problems at the publication, with Deputy Publications Editor Keta Hunt resigning from her position with immediate effect, stating she had been “demeaned” and “overlooked” by Publications Editor Nick Stylianou.

Mr Stylianou, who took over as Editor of the publication after an unopposed election last year, made the decision, against the will of some within SURHUL, to change The Orbital to a Maga-Newspaper format, printing two publications in place of the previous one. Yet barely six months after this decision, Mr Stylianou cites environmental concerns as one of the primary reasons for the change to an online-only format.

Whilst the change of format did not significantly raise printing costs, the increase in publication frequency and a lower-than-expected advertising revenue meant that the publication has now hit severe financial trouble. David Cummins, Vice President (Communications and Services) at SURHUL told The Founder: “The Orbital has not run out of money. The budget line for the publication is still above zero, by approximately £2,500.” He also stated that concerns were raised “last term” that The Orbital was not gaining enough advertising revenue to continue in the current format. SU President James Pidgeon told The Founder the Union had “tightened The Orbital’s financial expenditure.”

Former Deputy Editor Keta Hunt revealed: “David Cummins has requested that the remaining money be left where it is to fund the first issue that the new Editorial Board will produce in the summer.”

The statements from Hunt and the SU seem contradictory to the comments made to The Founder by Editor Nick Stylianou, who stated “We merely feel that it is the perfect

time to engage with students in a new form, one that is far more sustainable and friendly to the environment…We would like to reflect the changing demands for media today.”

Clearly this is contradictory to statements from Ms Hunt and SURHUL, stating that the Union had intervened and requested that no more money be spent.

Mr Stylianou’s words in recent days also seem contradictory to those made both prior to, and shortly after, his election win. In his speech at Candidates Question Time, Mr Stylianou stated his aim was to “improve how [the publication] is running at the moment: online and in print”. The Orbital website also clearly states, in a passage written by Stylianou, how the aim of the publication is to “inform the students of Royal Holloway, both online and in print.” So why the sudden change of heart?

In a conversation with a member of The Founder Editorial Board in September 2009, Mr Stylianou stated that he would need “about £1,000 in advertising” for every edition of the publication, in order to make it financially viable. With the credit crunch still biting business hard, the advertising market has notably decreased in the past 12 months, with companies as big as ITV and Channel 4 expressing concerns about the future of their funding.

It thus remains unclear as to why, in such a tough economic climate, members of the Editorial Board did not decide to reduce expenditure, rather than to increase the frequency and size of the publication.

Former Deputy Editor Keta Hunt told The Founder: “Nick will maintain that he chose to print The Orbital on a more frequent basis in order to ensure that the publication remained up-to-date and relevant…

This is a fantastic aim but only if it could be maintained throughout both terms.”

Whilst the publication will continue as an online-only publication, it seems strange that the former Deputy Editor, the VP ComServ and the President of the Students Union all seem to disagree with Mr

Now online, at the time of going to print, the Orbital’s site was showing a lead article dated 4 June 2009 www.theorbital.co.uk Stylianou’s insistence that the move to an online format was made purely to embrace new media technologies, and out of a recently-found concern for the environment.

Mr Stylianou also informed The Founder he had managed to secure a Benefactory Grant from the RHUL Annual Fund in order to purchase new equipment to “set up The Orbital for years to come”. However in a statement, Royal Holloway told The Founder: “We had not heard that the Orbital would not be producing any more issues this year and can assure anyone who asks that the agreement to give this money will be re-examined in light of the development.” Students we spoke to questioned why a publication which simply failed to properly manage its finances should be bailed out by a College fund.

Mr Stylianou told The Founder the money would be used to ensure the publication “can offer up-to-date training to budding journalists for the next decade and beyond”, but rejected claims that this amounted to providing “journalism training for a select few” with College funds.

According to the minutes from the last SURHUL General Meeting, Mr Stylianou insists he is developing a new form of publication and is ‘so excited might wet himself ’.

At the same General Meeting, Deputy Editor Keta Hunt announced her resignation, with immediate effect, sparking fears of deeper problems within the Editorial Board of the publication. A letter of resignation, read out by VP ComServ David Cummins stated Ms Hunt had been “unable to achieve [her] aims” due to being “demeaned” and “undermined” by Editor Nick Stylianou.

In her letter of resignation, Ms Hunt claims the duties of the Deputy Editor were severely curtailed by the alterations to the constitution made by Mr Stylianou, and also maintains that “the Editor has shown very little public respect to me…I have been demeaned by the Editor on several occasions, both in person and via email, to a point that has made other board members feel uncomfortable.”

Mr Stylianou insists that some of the points raised by Miss Hunt

about the operation of the publication “are erroneous, and should be taken with a pinch of salt.” He also states he believes Ms Hunt resigned due to “personal constraints”, which Ms Hunt vehemently denies.

Ms Hunt, in a statement for The Founder, said in response to Mr Stylianou’s comments on her resignation: “Nick was very much aware that I was not happy with the way that he was acting towards me…I explicity told him that his actions had upset me during the summer but he chose to, in his words, ‘politiely ignore’ that information.”

Mr Stylianou has wished Ms Hunt all the best in her next endeavors, whilst Ms Hunt wished “everyone at The Orbital the best of luck” saying how “everyone on the Editorial Board works really hard and they have been doing a fantastic job of producing a publication to a very high standard.” Ms Hunt’s replacement will be elected at the next General Meeting on 2nd February.

The Orbital will continue to be available to students as an onlineonly publication through their website: www.theorbital.co.uk

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The Founder | Friday 29 January 2010

News

The changing fortunes of British Higher Education Alissa Bevan

Mandelson proposes two year degrees Amy Norman Vice-chancellors will soon have to find new ways of coping with reduced funding as yet more cuts in university spending have been announced. Next year university funding will be cut by £518 million, and many universities now face a move towards two year ‘fast track’ degree courses.

Business secretary Lord Mandelson wrote to the Higher Education Funding Council for England to ask them to develop proposals for more flexible degrees, saying “over the next spending review period, we will want some shift away from fulltime three year places and towards a wider variety of provision”.

Lecturers described the news as a ‘Christmas kick in the teeth’ for students and university staff, and also prompted warnings that shorter courses will lower academic standards. Sally Hunt, General Secretary of the University and College Union, which represents lecturers, said “we will see teachers on the dole, students in larger classes and a higher education sector unable to contribute as much to the economy and society”.

Professor Les Ebdon, Chairman of the university think-tank Million+ and vice-chancellor of Bedfordshire University, said the shift towards two-year degrees was “tinkering with the edges” and while

two-year intensive degrees work for some students, such as those who do not have to fund themselves with part-time jobs, they will only be offered in very limited numbers.

The fast track or ‘compressed’ degrees were first introduced in 2006 in five UK universities and involve having a third teaching term in the long summer vacation. However, by reducing the opportunity to work during the holidays, to be able to afford living costs throughout the year, means this may not be such a suitable choice for lower income students.

In addition to the two-year degree proposals, universities also face fines of £3,700 per extra head for recruiting more students in the autumn than ministers had budgeted for, and with estimates indicating that 22,000 additional students were taken on these could amount to nearly £60 million.

The Conservatives have attacked the Government for fining universities that were trying to meet the target of getting 50% of young people into higher education, calling it a “bizarre situation”, yet ministers are hoping that introducing more two-year courses might help achieve this target. Wes Streeting, president of the National Union of Students, said the cuts “will sound chimes of doom for existing students in cutshit universities and for talented school leavers set to fail to secure a university place”.

Quietly made public just three days before Christmas, a 6.6% cut to the higher education budget for the next academic year has caused serious concern about the future of English universities. Representing a £135 million cut in addition to the £180 million worth of “efficiency savings” announced in the 2009 budget, previous investments in higher education under Labour have been all but reversed.

For Royal Holloway a 6.6% cut to last year’s funding allocation would represent an overall loss of £2.47m in funding. It is however important to remember that the extent to which Royal Holloway’s funding changes, for better or worse, depends entirely upon the HEFCE allocations later this year. In a statement for The Founder Royal Holloway described the announcement as “disappointing but unsurprising” that will prompt the university to consider “”the options available to us under various funding scenarios” while “preparing very carefully and thoughtfully for the very high possibility of further substantial spending cuts.”

On the subject of any layoffs the university said: “whatever we do, we do with a view to ensuring that current standards are maintained, within available resources, both in research and teaching” while “doing everything possible to avoid compulsory redundancies and to maintain investment in the whole student experience”.

Great Britain has long been renowned for its superb higher education system. The country today remains the second most popular destination for international students. Britain has the best universities in the world, with eighteen institutions in the top one hundred.

Yet this international reputation is now threatened by a series of budget cuts from a government who appear to have adopted a curious strategy of fighting the recession by supporting failing industries while allowing the higher education system to suffer.

Elsewhere, other world leaders

have recognised the value of improving their nation’s skills to encourage economic recovery. Nicholas Sarkozy has recently announced an €11 billion investment towards French universities, claiming that he wants them to be “the best universities in the world”. Germany meanwhile has pumped a total of 18 billion Euros towards promoting world class research alongside their universities. Barack Obama has pledged an additional $21 billion to additional federal science spending.

In a letter to the chairman of the Higher Education Funding Council for England, Secretary of State for Business Innovation and Skills Lord Mandelson laid out both the new budgetary limitations and his plans for two-year degree courses. Explaining how “across the public sector we are all facing difficult choices” due to the effects of recession, Lord Mandelson asked the HEFCE to “do all you can to widen access to our higher education system”, while “increasing the variety of undergraduate provision” at the same time as maintaining a “high quality student experience, with excellent teaching well supported by the latest technology”. These often reiterated yet important aims of higher education must now be pursued with considerably less money.

Universities, teachers unions and students have all met the news with disdain and anger. In a vehement letter to Gordon Brown then published in The Guardian, Prof Michael Arthur, chair of the Russell Group and vice-chancellor of the University of Leeds, predicted how the cuts would have a “devastating effect not only on students and staff, but also on Britain’s international competitiveness”. Going further the president of Universities UK, Steve Smith, has warned that institutions face having to close hundreds of courses, with fewer academic staff and bigger classes. Further proposals that include two-year “McDegrees” and bias towards more ‘employable’ subjects such as business, science and engineering will also only serve to further jeopardise the quality of British degrees and also limit the enjoyment and experience

of university life for students.

During an interview for the Observer, Professor Danny Blanchflower called for student fees to be raised, enabling universities to charge the richest students large fees while providing financial aid to the less well off. The economist lectures at Dartmouth College in New Hampshire, an American university that is a member of the Ivy League.

“People there pay $50,000 [£31,300] a year, the real price of education, and we are flooded with applicants,” he said. “But there is financial aid for half the students. We have a ‘needsblind’ system [that offers financial support for families who cannot afford the fees]. That is much more egalitarian than any UK university.”

He also compared the difference in British attitudes towards paying private school fees to forking out for university costs as ‘crazy,’ pointing out that parents are happy to pay up to £30,000 a year for elite schools such as Eton but are not prepared to pay within the same region for their children to receive a university education.

How such savings are to be made has been the principal concern for students and lecturers. Fears that the most recent cuts will lead to the laying off of up to 14,000 staff has made strike action by some unions a possibility. Funding cuts have already caused The University and College Union branch of the University of Leeds to threaten industrial action and call a series of emergency meetings. Increased class sizes have been seen as the almost inevitable result of funding and staff cuts, an eventuality that many argue will adversely affect academic standards.

If this is the winter of student discontent then the future looks little brighter. With the current cuts likely to genuinely affect higher education in England and no guarantee that a Conservative government would do anything differently. Student fears that their degrees are losing their value have been building for some time now with the announcement of these cuts only adding to student anxiety.

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The Founder | Friday 29 January 2010

News

The term ahead Francesca Wilski

Holloway hit by Winter whitemare Ed Harper Britain’s coldest winter for 30 years may have left the idyllic sight of Founder’s draped in snow but in many cases it caused chaos, virtually bringing the country to a standstill.

Just when the initial snowfall was beginning to thaw, and a degree of normality had returned, another heavy fall meant that wrapping up and donning winter boots is set to stay for a while yet, with some experts predicting more icy weather to come.

While the main routes on campus have been kept clear, some areas such as around the back gate remained incredibly icy, providing the entertaining sight of students waddling down the slippery slope as they try to remain on their feet.

Some areas of campus were closed off altogether, such as the main steps up to the International Building, as snow falling off roofs became another difficulty – with students looking up warily at snow perched ominously on the edge of its sloping roof. Medicine and The Stumble Inn also stayed closed as the steep slope to reach them was deemed too dangerous an obstacle to navigate down, let alone up.

On January 5th, six inches of snow

fell overnight in the Runnymede area. While this created some postcard scenes, such as Virginia Water lake being frozen over, this has been overshadowed by stories of students who have returned to their houses only to find their pipes frozen or boilers broken.

Many departments cancelled lectures, as staff could not get onto campus. The English department even decided to cancel all lectures on the first day of term the Friday before. While students celebrated with the inevitable snowball fights in Founder’s quads, schoolchildren across the country also made the most of hundreds of schools being closed. January A Level and GCSE exams meant many pupils did have to make the difficult journey into school, however exams watchdog Ofqual said that in cases where candidates were disadvantaged by the weather, applications could be made for “special consideration”, which involves pupils being awarded up to an extra 5% of the maximum marks.

Many students faced severe difficulties in returning to Royal Holloway after the Christmas vacation as transport systems were disrupted with airports closed and flights delayed, train services limited or nonexistent, and roads treacherous to drive on. Many people across the

UK were forced to sleep in their cars for a night as they were literally snowed in on the motorways, while passengers discovered the hard way that Eurostar trains react badly to cold weather when trains broke down in the tunnel and remained there for fourteen hours.

Meanwhile stockpiles of gritting salt held by councils for roads began to run thin, prompting concern over the safety of roads as some areas have started to cut back on road gritting. Surrey County Council stockpiled 9,000 tonnes of salt and grit but last week these reserves were already in need of replenishment. In an average winter, 6,000 tonnes of grit is spread across Surrey, yet this year 4,000 tonnes has been used in one week.

But it isn’t just grit which is running out – the National Grid issued a warning to power suppliers to use less gas last week following a 30% rise on normal seasonal demand. It has urged power firms to switch to coal, and order more gas supplies from Belgium and Norway. Fears of being trapped in their houses also led to people panic buying.

Staff at Tesco in Egham reported that the shop was even busier in the bad weather than in the run up to Christmas, with people stocking up on tins of food, bread and pasta.

An interview with our Students’ Union sabbatical officers gave an insight in the many varied events that will be taking place across this term.

The Unscene Festival, coming to the Jane Holloway Hall on January 30th, see’s the Drama Society collaborate with the Writing Society to produce three plays. With a chance to see some exceptional talent, this event is likely to sell out quickly.

The Drama Society is also presenting a love story, Tristan and Yseult.

Appropriately running just before Valentine’s Day, it plays from the 10th to the 12th of February. In the same week, Musical Theater Society present their production, The Belittled Mermaid, an amusing twist on the Disney classic.

From February 3rd, campaign aides will be descending on the campus hoping to sway your vote in SU Elections – with next year’s Sabbatical Officer Positions being decided.

Presenting the greatest opportunity to influence your student union, this is not an event to be passed up.

David Cummins, our Vice President Communications and Services, chose Go Green Week, running from the 8th to the 12th of February, as his most anticipated event for this term, saying “we want environmental and ethical responsibilities to stand out on campus in a big way”.

Emma Montague, Vice President Student Activities, is particularly ex-

cited with the Societies and Colours balls, 13th of February and the 20th of March respectively.

The Big Spring Clean from the 24th to the 26th of February will hopefully see a troop of eager volunteers determined to clear and clean up our surrounding areas.

Clubs and societies are encouraged to sign up in groups, but anyone is welcome.

Our Students’ Union President, James Pigeon, is particularly excited about Culture Week running between the 1st and 5th of March. A new addition to the events list, this week promises to have events representing all cultures both British and international cultures. In the same week the drama society revisits the stage in Disappear Completely and Never be Found. President Emily Simpson describes how “this extraordinary play follows one man’s desperate attempts to buck the system, and asks what really makes us who we are in the 21st century”.

And last but not least on this impressive lineup, President of the Savoy Opera Society, Peter Quigley, spoke to me about their upcoming production The Sorcerer: ‘Weaving together a magical theme inspired by the Victorian fascination with the occult, and romantic mismatches in the style of ‘A Midsummer Night’s Dream’, this darkly comic show is filled with memorable musical numbers!’ In the SU Main Hall from the 6-8th of March, Savoy will undoubtedly deliver an entertaining evening.

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6

The Founder | Friday 29 January 2010

Students’ Union in the spotlight: BBC chooses college as film location Tommy’s Bar was transformed into Baron’s Concert Hall for the night when it became the focal point of filming for a BBC factual drama.

the Internet. In the online world she is a lonely princess living in a castle, and he is called White Knight.

It turns out the pair have a lot in common Directed by Richard Turley, an alumnus of so they arrange to meet up at a gig for their favourite band - the Poison Apples the college, the 30 minute programme, who are playing live at the Baron’s Concert was filmed during the Christmas break.

Hall. But on arriving at the venue, the princess soon discovers her new friend is no Drawing on influences from fairy tales, knight in shining armour, but a man more the drama sets out to create something than three times her age. of a modern day fable. The film centres around following the fictional story of a Interspersed between the main story line girl who becomes friends with a boy on

are various reconstructions of real life experiences from children, ranging from examples of cyber bullying, gaming addition to issues on personal information security.

It will be aired on February 9 on BBC one, BBC two, CBBC and on the internet, to coincide with Safer Internet Day, which aims to raise awareness among parents and teachers as well as youngsters on using the internet more safely across the globe.

Richard, who graduated with a History degree in 2002, said: “The Internet is a great place full of amazing possibilities but children are often unaware of the dangers that exist online.The idea behind the film is to help raise a greater awareness of all the issues to be mindful of.”

He added, “It was great being back at Royal Holloway. The Students’ Union were very accommodating - although it was a little bit different being there without a pint in my hand!”

Lecturer’s film scores place in top ten movies of 2009 It’s that time of year again to reflect on the top tens of the year gone by and ‘Sleep Furiously’, directed by Gideon Koppel of the Department of Media Arts, has been hailed as a firm favourite in the film polls of 2009.

artful… wistful, charming, ironic and sad all at once.” It rated among the top ten films in the Guardian, Financial Times and New Statesman, among others and has also been short-listed for the Guardian First Film award.

‘Sleep Furiously’, has been voted as one of the top ten movies of last year and Time Out describes it as the year’s best British film, calling it “unassuming yet

The feature film is set in an isolated hill farming community in mid Wales, which Gideon describes as ‘a landscape and population that is changing rapidly as small

scale agriculture is disappearing and the generation who inhabited a pre-mechanised world is dying out.’ He was very much influenced by his conversations with the Austrian writer Peter Handke, in developing a lyrical and observational approach to story telling. ‘Sleep Furiously’ is also noteworthy for being the first and only feature-length film with a soundtrack by cult musician-composer Aphex Twin.

“It was really gratifying to see my name alongside the likes of Haneke, Campion, Varda in the ‘Best Films of 2009’ lists published by several newspapers and journals,” said Gideon.

‘Sleep Furiously’ is available to buy or rent on DVD and Founder’s Library has three copies available to loan.

Are SAT NAVs a dangerous distraction for drivers?

With a recent study implicating driver inattention as a factor contributing to 78% of observed vehicle crashes, a team of psychologists are examining the potentially dangerous effects of ‘SAT NAV’ in-car navigation systems.

Although there is now legislation aimed at removing some of the likely causes of driver inattention – such as hand-held mobile phones – the effects of other possible distractions have received much less consideration. Dr Polly Dalton, from Royal Holloway, and Dr Pragya Agarwal, of Lancaster University, will be assessing

the cognitive impact of SAT NAV use.

NAVs, the team will test participants with a computer-based task mimicking the demands imposed by the typical in-car navigation system.

In-car navigation technology has only recently become widespread, and very little research has examined the impacts of such “If we see any worsening of attention technology on driving. or memory performance while people are carrying out the navigation task, this The researchers have secured funding to might indicate that the navigation sysrun experiments measuring the attentem imposes demands on the participant tional and memory demands imposed by which could be dangerously distracting”, the task of processing and responding to explains Dr Dalton. “By the end of these navigational information. After assessing experiments, we will be able to provide the types of information drivers receive clear measurements of the ways in which and the responses they must make while the use of in-car navigation systems using navigation systems such as SAT

might interfere with attention and memory performance.”

Dr Agarwal adds, “With the increasing reliance on technology for navigation, it is important that such technology is designed so that it supports rather than detracts us from our primary task of driving. We hope that this research will contribute to the development of guidelines for the design of more effective, safe and user-friendly in-car navigation systems.”

EXTRA

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The Founder | Friday 29 January 2010

Film

EXTRA

Nine David Bullen **** When, in years to come, scholarly folk start scrutinising the Noughties and come to looking at the film trends of the decades, it’s quite likely they’ll find that two genres have had a massive comeback: comic-book adventures and musicals. The latter of course had already experienced a great vogue some fifty-odd years previously but in the intervening time has had only patchy success. Perhaps one of the critical moments that helped thrust musicals back into the public eye was in 2002 with the release of Chicago, directed by Rob Marshall. It went on to become the first musical film since Oliver! in 1968 to win Best Picture at the Academy Awards, and scooped up a bunch of other gongs to boot. Now Marshall returns seven years on with another thoughtful song and dance extravaganza – Nine.

Based on the Broadway musical of the same name, Nine centres around Italian film director Guido Contini (Daniel Day-Lewis) as he struggles to find inspiration for his latest picture, ambitiously entitled ‘Italia’. Having reached the age of fifty, all the conflicting aspects of his life that previously inspired artistic genius now collide to prevent it. Each of these aspects

are represented by the women who have shaped him – his mother (Sophia Loren), his wife (Marion Cottilard), his mistress (Penélope Cruz), his favourite actress and muse (Nicole Kidman), his confidante (Judi Dench) and even a prostitute remembered from his childhood (Fergie). As the story unfurls, Guido dips in and out of fond recollections and bewildering musical fantasies until he reaches the point where his life, and the

lives of those around him, change irrevocably.

The film is a sexy, sassy and sensual feast for the eye and ear, and while it does not do badly for the brain either, one cannot help but sense Marshall has Chicago still very much in his mind – indeed, the staging of some of the numbers bear striking resemblance to the 2002 hit. On the upside, this has the advantage of retaining Chicago’s feverish energy and as a result

the songs come alive with vivid choreography and clever camera work. Furthermore the production, especially costume, is simply outstanding, helping to conjure the sumptuous world of 1960’s Italy that forms the backdrop for Guido’s angst. The numbers, for the most part, take place in the imagination of the characters and play out in Guido’s film set mindscape – it’s an effective idea executed to a tee.

The songs themselves are catchy, particularly Fergie’s brazen ‘Be Italian’ and Kate Hudson’s groovy ‘Cinema Italiano’, even when the singers themselves aren’t as polished as they could be. Fergie and Hudson here stand out particularly – neither have huge roles in the film, but they belt out their respective numbers with such panache that they finish as prominent as any of the other big names.

While singing was not always top notch, the cast were unanimously on peak acting form. Amid the film’s veritable galaxy of stars, Day-Lewis remains steadfastly at the heart of it all, coping with the pressure of being the only constant in the film

with all the light and shade we have come to expect of the Academy Award winner. Ultimately, however, he is eclipsed by the ensemble of spectacular women that surround him, with Cotillard and Cruz shining most brightly. Playing Guido’s wife and mistress respectively, each brings an ineffable spirit to their characters, avoiding the cliché of ‘victimised wife, evil mistress’ entirely and instead crafting two complex, charming and heart-breaking performances. This is not to say the other women fade into the background: Dench brings a cheeky twinkle to her reassuring presence, Kidman manages to create an intriguing, thoughtful character with very minimal screen time and Loren summons every ounce of gravitas her name deserves.

In many ways, Nine is more akin to a haunting dream than a film – it immerses itself in Guido’s world of memory, symbols and emotion. What tacks it to celluloid is the 60’s glossct coated nicely over the characters and the setting they play against. Plot doesn’t seem to have been Marshall’s top priority but the film is all the better for it.

The final result of this unusual mix of razzle-dazzle and artsy blackand-white will undoubtedly cause division amongst audiences, though there is one thing none can deny: Marshall, who set the musical world ablaze at the beginning of the 2000’s, has ended the decade with one remarkable feat of acting, dancing, cinematography and downright finesse.

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The Founder | Friday 29 January 2010

Film

EXTRA

Youth In Revolt ence, hates his mum’s dead-beat boyfriend, hates his last name. Only two things give him joy: the music of Frank Sinatra and the films of Federico Fellini. But when forced to

The last time I left the cin- take an impromptu family vacation, ema ecstatically grinning from ear- Nick meets Sheeni Saunders (aggravatingly gorgeous newcomer Portia to-ear after a teen rom-com was...

Doubleday) it (rather predictably) well... never, which I believe is an indication of just how engaging, in- changes his life completely. But spired and original Youth In Revolt while there are the (also predictreally is in relation to the genre – if able) religious, overprotective parents and far-too-perfect exit can even be said to truly belong to it. Based on the best selling novel boyfriends to overcome, there is also the small matter that Sheeni’s of the same name by C D Payne, future husband, in her mind’s eye, and starring Michael Cera in what is a confident, charismatic French will surely be one of his defining poet named Francois – everything roles for years to come, Youth In Revolt follows the adventures of the Nick isn’t and couldn’t possibly ever be. After their sweet yet ultimately very intelligent yet socially inept Nick Twisp (fitting Cera’s awkward fruitless holiday fling ends in Nick returning home, he decides become frame like a glove) as he blows up the man he believes Sheeni wants trailers, infiltrates French boardand deserves, creating his blueing schools and evades the forces eyed, cigarette-smoking, moustaof law and order, all in the pursuit chioed alter-ego Francois Dillinger. of love. So far, so quirky indie What follows is a teenage answer flick. We’ve seen plenty of those in recent years. But Youth manages to to Fight Club, as Nick/Francois proceeds to commit every act of produce the same cleverness and teenage rebellion under the sun to warmth present in films like Juno break free from his old life and get and Superbad (both starring Cera, the girl. of course) whilst producing the Michael Cera is in his most imaginative and resoundingly element, and while in Nick Twisp truthful portrayal of adolescence one finds him very much in his since Rushmore or even Ferris standard character model, in FranBueller. Like these films before it, cois Dillinger he shows just how Youth shows a young man’s world versatile an actor he can be. His develop through his own whimsical fantasy in way that cannot help brilliant comic-timing is a constant but fondly remind you of your own throughout, but he manages to succeed in portraying the kind of experiences growing up. cocksure swagger and downright Nick Twisp hates his life. nastiness in Francois that one He hates his lack of sexual experi-

Daniel Collard Film Editor ****

Films of 2010: A Preview Tom Greenaway The last decade has been an interesting one for film. At the start of 2000 we had The Lord of the Rings, Harry Potter, Gladiator and Billy Elliot. Some might say that film lost its way after that.

Rom-coms and comic book heroes seemed to dominate film, whether it was Bridget Jones, Spiderman or the travesty that was The Fantastic Four. So what does the new decade have to offer?

Perhaps it’s best to start with a film that has just been released: The Road with Viggo Mortensen.

Oscar-tipped, this is a post-apocalyptic film without the overdone special effects, just bare humanity. Based on a novel written by Cormac McCarthy (author of No Country for Old Men which one

four Academy Awards in 2008, including Best Picture). Cinemagoers are guaranteed to feel uncomfortable, scared and impressed.

Time to waste a paragraph mentioning the Hollywood sequels on offer in the next year: Harry Potter will be back, as will Narnia. Both are personal guilty pleasures. The abominable Twilight Saga will return too (if it isn’t the acting it’s the storyline, if it isn’t the storyline it’s the pandering to teenage girls). We will also have a new Toy Story; far be it from me to suggest the abuse of a classic, but in cash-strapped Hollywood it appears that the safe bets are all we are going to see until the recession ends.

On to foreign film, look out for a French film called Un Prophète.

Critics are already lauding it (it recently won the Grand Prix at Cannes), and from the synopsis we can gather that it is a Shawshank Redemption-come-Scarface plot (i.e. it’s set in a prison about a man who tries to become a gang lord).

It’s out on 22nd January although

would never expect him to be able to pull off. He is aided by a superb supporting cast: Doubleday’s free-spirited and equally intelligent Sheeni is captivating, Ray Liotta is wonderfully vicious as cop Lance (another of his mother’s flings), Fred Willard nearly steals the show as the extremely good-natured, often naked, yet never creepy neighbour Mr. Ferguson, and there are simply too many other memorable performances to name.

The film’s real triumph is in inspiring a palpable sense of nostalgia, reminding you of a time when you really had none of the answers and your imagination roamed free. Director Miguel Artea paints a picture of youthful impetuousness with live action interspersed with stop-motion and hand-drawn Hollowegians may have to go a bit further afield than Staines Vue to get a look at it.

Next month will see a match made in heaven: Morgan Freeman as Nelson Mandela. Invictus is a film about the South African rugby team in the 1995 World Cup. Mandela tries to unite a divided nation with the captain of the Springboks, played by Matt Damon. The film should be a Valentines winner, uniting sport and weepy moments all into one film.

Fans of Stephen Fry can look forward to March and seeing him as the Cheshire Cat in Tim Burton’s Alice In Wonderland. Iron Man 2 will also be coming out, Robert Downey Jr. carrying his ego into fabulous fight scenes and the arms of Gwyneth Paltrow. Can’t be bad.

Finally, look out for the following: Prince of Persia, Clash of the Titans, Shrek Forever After and Robin Hood. Who knows, one of them might be worth it.

animation overseen by art director Gerald Sullivan (who did similarly brilliant work with Superbad).

Artea keeps the action as fast-paced and erratic as the imagination of a teenage mind, and endorses whimsical tangents many directors might have dismissed as superfluous to the story’s development. The result is an immensely entertaining mix of comedy, action and fantasy, reminiscent of a simpler yet altogether more complicated time in one’s life.

Every man was once a young Nick Twisp dreaming of being a Francois Dillinger. We’ve all known a Trent Preston (the afore-mentioned ex-boyfriend), a seemingly perfect and thus altogether despicable individual we feel we couldn’t possibly aspire to become – nor would want to. We’ve all wanted to forge a

new identity and escape our boring existences at one time or another.

Nick Twisp’s adventure is just the kind of fantastical adventure filled with swearing, drugs, sex and crossdressing we used to dream about before exams, degrees, loans and jobs heralded an end to such flights of fancy. If you have ever known a teenage boy, or been one yourself, then Youth In Revolt is guaranteed to delight you, and more than likely to wake your teenage imagination out of its responsibility-induced slumber. Sometimes, we all need to become Francois Dillinger to get to where we want to be; sometimes, we need to “be very, very bad.”

Youth In Revolt is out in cinemas from 5th February.

Win ‘Youth in Revolt’ Goodies!

Have you ever been been a youth in revolt? Or even just a revolting youth? Write up your best moment of teenage rebellion in the most cinematic way possible in no more than 300 words and send it in, and the most entertaining and dramatic story will be published in the next issue and win a Youth In Revolt goody-bag (including a t-shirt – I have one myself, and it’s proper bo, I tell thee)! Send all contributions in to the Founder Film email address: film@thefounder.co.uk.

Deadline for submissions is Wednesday 3rd February.

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The Founder | Friday 29 January 2010

Film

EXTRA

Paranormal Activity Boyana Draganova *****

in their big American home. Unfortunately, they have bigger problems than who left the toilet seat up, because ever since she was little, What is the thing that terrifies the girl has been regularly haunted people the most? Is it watching by some kind of demonic presence. mind-numbingly stupid chicks and Deciding to put these uncanny dudes getting killed in the most visits on camera, the couple set up predictable way possible? Or is tit a digital camera in their bedroom, something that you never quite see, which they carry around the house but still gives you goosebumps? during the day. As the nights go by, If your answer is leaning towards this unearthly creature becomes the second option, then I’d defimore and more enraged; they go to nitely suggest watching Paranormal bed with a steadily escalating sense Activity. Directed and scripted by of foreboding. One of the tricks Oren Peli, this movie will make you used to increase the already present think twice whenever you hear a tension in the movie is the showing door slam on its own. of events through the naturalistic The film starts off with a seemview of a portable video camingly innocent beginning: a young era. Whatever the characters see couple adjusting to living together through the lens, we see it; whenev-

er they drop the device, our direct witnessing of the action is blocked.

Get ready to cover your eyes and ears because what you hear will be enough to get your imagination going. Unlike movies like Saw or Hostel where disgusting scenes are shown to the most morbid detail and thus completely ruin the scary effect, this thriller makes all your senses come alive precisely by making your eyes search for something that may or may not appear. It is an intensified sense of the missing and yet present, of the invisible and yet unstoppable being that gets the heart racing the most. Not to mention that with all the stories circulating the web about exorcism and being possessed by demons, there will be plenty of sources to

about him, especially in delivery of his ever-quotable dialogue.

Of course, one hilariously over-the-top hero can’t hold a movie up by himself. The very likeable Dennis Dun plays Burton’s partner-in-crime Wang Li, displaying an impressive array of martial arts skills (especially considering he’d had very little training prior to the film). They are joined by lawyer/human-rights enthusiast Kim Cattrall, who, whilst being undoubtedly annoying, plays the feisty love-interest well opposite Russell. the universe. Pretty standard stuff, Joined by a host of other minor Daniel Collard right? WRO...no, actually, still right. characters (most memorably, loveFilm Editor But write it off at your peril – this able old magician Egg Shen), they film is as good an Action/Comedy/ journey through the underworld of Welcome, explorers of the Movie Fantasy/Horror as you’re ever likely Little China, encountering many an entertaining fight sequence.

Cosmos, to Cult Corner. Here dwell to see. For one thing, it has one of cinema’s funniest and most acces And boy, aren’t they just. the films built on ideas too big, too sible heroes: Jack Burton (Russell).

As Jack and Wang chase after one extravagant and too bizarre to fash Here is a true Everyman Chinese gang (the Lords of Death, ion a place in mainstream movie hero, someone thrown in at the bad guys) they encounter another history. Instead, they have become deep end of Chinese mythology, Chinese gang (the Chang Sing, part of something deeper, threads armed only with his trusty hunting good guys) who are attacked by yet woven into the rich tapestry of knife, his bravado, and an endanother Chinese gang (the Wing the cinematic underworld that is... less supply of one-lines.

Again, Cong, very bad guys).

This hapCULT. none if this will strike as incredibly pens a mere 15 minutes into the In this, the first edition of original, but Russell imbues the role movie and is the first in a series of with an irrepressible swagger and ruddy good fisticuffs. And as if the Cult Corner, we will delve into the ridiculous self-confidence.

One can sight of these highly trained men mythical, enchanted and altogether really relate to him as a hero of cirkarate-chopping each other into litbad-ass world of John Carpenter’s cumstance, a “reasonable guy who’s tle pieces wasn’t enough – enter the ‘Big Trouble in Little China’. The just seen some very unreasonable Three Storms: Thunder, Rain, and premise in a nutshell: A bemulleted, things” and just wants to kick some Lighting.

Yeah, three indestructible, wife-beater-sporting Kurt Russell very creepy and extremely powerand his diminutive Chinese-Amer- ass without all the mythological mumbo-jumbo.

Every time he picks ful demi-gods turn up and start ican martial artist/restaurant owner a fight and gets the crap knocked mopping the floor with everyone friend team up to go in search of out of him (which happens a fair in sight. All these are but chump the latter’s rather mute girlfriend bit), he’s right back up, mouthing change, however, in comparison to who is kidnapped by a Chinatown off like Ali at a prize-fight.

Russell the McDaddy of Evil Sorcerers – Lo gang (assisted by some very lax said that “at heart [Burton] thinks Pan. Could that cankerous, disturbairport security) working for a two he’s Indiana Jones but the circumingly shrivelled, little old man in thousand year old undead Chinese stances are always too much for the wheelchair really be a 7-footsorcerer, who seeks to wed her in him, ” and indeed, there is much tall doom-wizard? You bet your order to regain flesh and take over of an exaggerated Harrison Ford ass! Not only that, but by god, he’s

feed your fear in answering the question: Do demons exist, and if they do, what do they want?

Apart from the spookiness, the movie is also interesting to watch for the realistic portrayal of how differently the man (Micah) and woman (Katie) deal with paranormal activity: the former always searches for a logical solution, while the latter needs to find a deeper meaning to the occurrence.

Also, the film sheds some light on how useful modern fighters of evil spirits can be. “What happens when you sleep?” is the tag-line, and the answer will leave you doublechecking every dark corner of your room. If you’re still in doubt whether the movie is as scary as the critics and media say, then read this: the ending of the film was co-directed by Steven Spielberg and rumor has it that when he first saw an advanced copy of the picture, he

got so terrified, he threw it in the bin and refused to have anything more to do with it. Eventually, he realized that if it managed to affect him so strongly, with all his experience in creating suspense and thrills in films like Jurassic Park, then surely it would be a huge hit.

The options for watching the motion picture are two: either go see it in London, or another large city, as it is no longer available in Staines, or get the DVD and squeeze the hand of someone that will not make fun of you whenever you squeak at random moments (there is nothing more annoying than a ‘courageous’ male boasting with his inability to be scared by any movie). In any case, it is strongly recommended that you don’t watch it alone if only because it’s so much more fun to have someone to be paranoid with later.

a witty son of a gun, played by the ingenious Victor Wong (who’s been in everything from Blade Runner to Mulan) – the dialogue between him and Russell is the best stuff in the film, and why they don’t do standup together is beyond me.

While the main charm of ‘Big Trouble’ is undoubtedly the plethora of memorable characters, the irreverent dialogue, and a roller-coaster ride of fight

up Chinese mythology. However, if you take all these as given (there’s a reason it never won an Oscar), they actually add to the enjoyment of a film devoid of Hollywood pretension.

Despite a veritable bevy of goodness in this one-and-ahalf hour package, the film was a considerable flop at the box office, grossing just over $11 million (compared to its $25 million budget). But it is on such financial failures that cult statuses are formed, and this film truly is one of the greats. Don’t watch it if you’re expecting some deep, meaningful cinematic masterpiece (if you do, you clearly haven’t read this review). However, if you get a thrill out of kung-fu thrill-fests you can quote from until your tongue drops out, hop aboard the Pork-Chop Express to Little China, and don’t forget: “It’s all in the reflexes.”

Would you like to know more?

Find all things Big Trouble at the Wing Kong Exchange: www.wingkong.net

Cult Corner: Big Trouble in Little China

scenes, the film is also awash with outlandish special effects (buildings exploding into huge green mushroom clouds is a particular highlight), a fantastic soundtrack, a gorgeous set, and the best assortment of grotesque monsters this side of Mos Eisley. It does, of course, have its slight bad points: some of the acting is predictably atrocious; the script is dripping with clichés (“I’ll go alone if I have to” and “I was born ready” make groan-worthy appearances); and it is nigh on impossible to keep up with the deluge of made-

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The Founder | Friday 29 January 2010

Film

EXTRA Sherlock Holmes

coherent and socially apt sidekick.

Alongside the two leading roles are two beautiful women, Rachel McAdams who plays the femme fatale and Kelly Reilly who plays Dr Watson’s fiancé. It seems that nothTom Greenaway ing could go wrong.

However, despite the strength of **** the characters and the acting, this film could have done with a better The spirit of Sir Arthur Conan story. It starts off strong; the openDoyle has been brought back to life ing scene is dripping with English in an energetic adaptation of his charm and fighting expertise. The most famous characters, Sherlock plot then thickens when the evil Holmes and Dr. Watson. The film villain does not die when he’s suphas received mixed reviews from posed to. However, after that the critics but this reviewer thoroughly film starts to lose it’s way and the enjoyed it. ending does not feel quite right.

The story of the film is not based The pieces of the puzzle do fit on a particular book, so don’t think together but one begins to feel that that you can read it before seeing some of them have been forced into it. Instead, the film has placed the a space that was not quite the right characters into a whole new plot. shape.

But what characters! Robert Downy That is not to take anything away Jr. is impeccable as Sherlock, playfrom the cinematic experience. This ing a role he has always come close film is blessed with some incredto playing in previous films but ible and extraordinary fight scenes, never quite realised. Few actors can magical special effects and a lot produce such charm and arrogance of very funny comic moments. in one performance. Jude Law, too, Both Holmes and Dr. Watson have is excellent as Dr. Watson, the more

1001 Films: High Fidelity

“Fear of commitment, hating your job, falling in love and other pop favorites.” ity, The Out of Your Leaguer, The

Rebound and, finally, The One. I realize that it sounds like it sounds Kayleigh Dray like a mushy, suicide-inducing tune-fest, but what we actually The turn of the millennium get here is a hilarious homage to wasn’t really famed for its wide the music scene and a whimsical offering of big buck blockbusters. glimpse into a male view of the afHowever, nestled in amongst the fairs of the heart. dire buffet of cheesy rom-coms, “What came first, the music or animated chickens and schoolchilthe misery? People worry about dren murdering one another, we kids playing with guns, or watching had a golden nugget of clarity. violent videos, that some sort of High Fidelity cannot be summed culture of violence will take them up easily. However, if I were to over. Nobody worries about kids attempt such a thing, I would class listening to thousands, literally it as one of the first films with a thousands of songs about heartgenuine appreciation for music. break, rejection, pain, misery and We’ve all managed to put a soundloss.” track to everything we experience, The film is based on Hornby’s from break-ups to birthdays. And book of the same title and follows so, from this theory alone, we are the ‘mid-life’ crisis of Rob, a thirtyoffered Rob Gordon, played by the something record-store owner, who heavenly John Cusack, who believes must face the undeniable facts - he’s in classifying his entire life by his growing up. In between insulting Top 5 Records and, generally, Top 5 the customers and displaying that Everythings. This film concentrates oh-so-common disorder known on his Top 5 Break-Ups of all time. as ‘music snobbery’, Rob and the Here, we are offered a view of the wacky, offbeat clerks that inhabit typical relationship prototypes: his store (Jack Black and Todd LouThe First Kiss, The Loss of Virginiso) expound on the intricacies of

become exemplary fighters and the enemies are either magical or seven foot of French muscle. When watching the film one might feel that Sherlock is a more attractive and athletic Dr House. Certainly, some of the insights and witty dialogue could have been stolen from the popular TV show. However,

life and song all the while trying to succeed in their adult relationships.

Are they listening to pop music because they are miserable? Or are they miserable because they listen to pop music?

In a similar manner to Ferris Bueller’s Day Off, this film casually bulldozes the Fourth Wall and addresses us, the viewer, directly, drawing us into the action and further deepening our affections for the characters involved. We are utterly bowled over by the way Rob beckons us into his life, into his mind, telling us deep dark secrets which the other characters are not aware of. It makes us feel special; in fact, pampering to our ego in this way is a lazy form of seduction.

Yet we mustn’t forget that this is a comedy. Absolutely littered with macabre one-liners and musical

where one is eternally reliant on a moment of inspiration, the other (Holmes) always seems to know the answers.

The film, almost inevitably, leaves a wide-open space for a sequel.

It seems that films cannot just be films any more, they have to be franchises. However, do not let that

put you off. Despite the sometimeslacking plot, this is a good film.

Sherlock Holmes is a well acted adaptation which is well worth seeing at the cinema. As the title of this piece suggests, it does not mess around. It is suave, sophisticated and comic. Go, enjoy.

references, as well as a wide sampling from the comedy table: black humour, silly humour, complex humour. There is something for everyone, although, admittedly, you will enjoy this more if you’re not desperately seeking the You’ve Been Framed school of laughs. This is a comedy for the mind. And it should be respected for this, not dismissed.

“Should I bol every time I get that feeling in my gut when I meet someone new? Well, I’ve been listening to my gut since I was 14 years old and, frankly speaking, I’ve come to the conclusion that my guts have shit for brains.”

John Cusack (who also co-wrote the movie) plays his character with quiet aplomb. Utterly engaging, remaining a paradox of simple and complex at the same time. We are forced into a strange intimacy with

Rob, and it is difficult not to understand why he attempts/says/does even the most stupid things.

Directed by Stephen Frears, who knows just how to allow his characters time to pace themselves from one set-up to the next, whilst keeping the smart patter gleaned from the book alive on screen.

The film was nominated for ‘Best Screenplay – Adapted’ at the 2002 BAFTAs, as well as a whole host of other nominations across the award ceremonies that year.

I whole-heartedly recommend this as one of the greatest comic offerings of our time. It briefly murdered mediocrity in the midst of a grey millennium, and has since inspired numerous attempts to recreate the magic of music. But no one can ever come close to High Fidelity.

tf The Founder

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The cast & director of Drama Society’s ‘How To Disappear Completely & Never Be Found’

James Pidgeon speaks at January’s General Meeting

The Big Student Debate

J Bailes

EXTRA

Holloway View

pictures@thefounder.co.uk

Daniel Woodruff

14

The Founder | Friday 29 January 2010

Arts

EXTRA

The Habit of Art The Lyttleton, National Theatre Julia Armfield I have a confession to make: I may finally have OD’d on Alan Bennett.

Having reached this conclusion two days before Christmas, when I descended upon the National Theatre with all my usual dark intentions for their bookshop and emerged two hours later from the new Lyttleton production of The Habit of Art with yet another stream of camply caustic one-liners to wish I’d written, I found myself, as first, not quite sure of how to proceed.

The problems, as I saw them, were threefold.

Firstly: The charm Alan Bennett held for me had apparently reached such heights that it now seemed positively usual to find myself laughing at jokes about Radio Oxford and old men peeing in the sink.

Secondly: It didn’t matter how hard I tried, I was never going to be able to come up with the simple genius of a line like “Tolkein’s writing again. More fucking elves.”, even if I slaved for a decade, so I might as well give up and get a job at Subway.

Thirdly: Surely no one was supposed to feel quite such a familiar and comfortable buzz at the prospect of yet another round of cardigans, bag ladies, Auden references,

lonely homosexuals and parts quite obviously written for Russell Tovey (and yet, for reasons that can only be blamed on Russell T Davies, not played by him)?

It was this third problem which, unpleasant though it actually wasn’t as a viewing sensation, nonetheless gave me pause. Thinking back over the evening’s entertainment, and even bypassing the irrefutable amount I had enjoyed myself, the notion still remained; humming guiltily somewhere between childhood memories of Bennett’s Wind in the Willows and the six hundred or so times I had seen the first cast of The History Boys in performance at the National. The notion that I had seen it all before.

The Habit of Art, at least for Bennett, is a complex mess of old and new. Focussing on an imagined reconciliation between the poet W.H. Auden (Richard Griffiths) and composer Benjamin Britten (Alex Jennings) after a twenty-year separation, Bennett’s wickedly clever comedy oscillates between the discussions had between the two famous men and the exasperated actors and crew actually trying to stage them. Britten is facing a creative crisis with the composition of “Death in Venice” and wants Auden’s advice with the libretto; the entire “play” then focussing on Auden’s anticipation of this momentous visit and the eventual awkwardness as the two finally meet. We are watching, throughout, a play within a play, a set within a set.

Auden and Britten interact on an

Matthew Bourne’s ‘Swan Lake’

island in the centre of a rehearsal room, whilst the crew populates the outside edges, commenting and heckling and looking inwards as we look in on them. Auden awaits the arrival of Britten in squalid university rooms, receiving a visit from a rent boy and keeping a compulsive eye on the time whilst, upstage, Britten sits at a piano, accompanying a young treble with many a helpful shout: “Lift your little pinkie! It’s meant to sound horrid. This is modern music.”. Interrupting at intervals are the scripted narrations of Humphrey Carpenter (Adrian Scarborough), the biographer of both men, and the increasingly exasperated interjections of the stage crew, including Frances De La Tour as the harried stage manager and Elliot Levey as the playwright no one really wants around; all trying make sense of a play even more convoluted than the one we are watching.

This conceit in itself is refreshing, the in-joke created immediate: the play being rehearsed before us is awful. An experimental mess of biography, soliloquy and new-wave nonsense; Auden and Britten are surrounded by spectacular moments of theatrical cobblers – the assistant stage manager (John Heffernan) steps in with wonderful drollery and deep embarrassment to read in for a missing actor, claiming to be “Auden’s Chair” and later, “One of Auden’s Wrinkles”, declaiming in hilariously highfaluting verse, whilst the surrounding actors and

poise that will have you on the edge of your seat.

Back at the palace, the Prince and Queen hold a ball, at which the arrival of the Stranger (danced by the same person as the Swan) increases the ballet’s sexuality and provides with the male swans, whose incredthe audience with what is arguably ible grace and fluidity of movement another voyage into the mind and utterly capture the sense of freedom fantasy of the Prince as he is overIf the sight of two men dancing to- for which the ballet’s lead characcome by jealousy and desire. gether offends you, then this show ter (described only as ‘the Prince’) While I don’t pretend to know any is probably not for you. However, longs. more about ballet than the little I if you would consider yourself a Set to Tchaikovsky’s original score, learned in a village hall at the age of more tolerant sort of person, who the story shadows that of the more six, what the show brings to an audiwouldn’t feel inclined to walk out of traditional version, following the ence is an intensity of feeling that is the theatre at the suggestion of ho- character of the Prince, at times unmatched by anything else that I mosexuality, then I would definitely straying into the suggestion of his have ever seen; the chorus of male urge you to go and see this. nightmares and fantasy. In the park swans are entirely breathtaking, the Matthew Bourne’s modern take at night, he sees a group of swans; Prince and the Swan dance together on Tchaikovsky’s traditional ballet although initially rejected by the so flawlessly that at times it was famously takes the conventional fe- Swan, eventually the two dance toalmost impossible to comprehend, male corps de ballet and replaces it gether with a beauty and a sense of

stage crew either fall about laughing or surrender to despair. Everyone involved, not least the “actors” playing Auden and Britten, seems to have their own idea of how the play should go. Fitz, who is Auden, it critical and believes that it is only Auden’s work that should matter, whilst Henry, who is gay and plays Britten, is far more concerned with the artists themselves and the importance of their sexuality. The matter of where to end is a subject of great contention – Fitz wants to read Auden’s poem on the death

It didn’t matter how hard I tried, I was never going to be able to come up with the simple genius of a line like “Tolkein’s writing again. More fucking elves.” of Yeats and leave it at that, but the actor playing the rent boy has more questions to be answered. How can one reconcile art with life and secrecy with openness? Why does no one write about rent boys, and only the famous men they serve?

The entire production is built on art (and artifice): “I’m a device!” wails the “actor” playing Carpenter in one particularly comic climax, but in truth, everything Bennett sets before us is technical smoke and mirrors. The make-believe set, the “stage crew”, the squabbling, even the imagined reconciliation, are all just devices. The writer and composer may sit and discuss art in their isolated island of a college room, but all around them, art, or a kind of chaos resembling art, is being created. The “Habit of Art”,

while the character of the Girlfriend lightens the mood with some superb comedy relief.

Despite not appeasing its audience with the stereotypical image of girls in white tutus, the ballet manages to attain a sense of elegance and beauty, and provoke an upsurge of emotion, that leaves you reeling as the lights come up.

Whether you are already a keen dance-lover, or you have never even thought about seeing a ballet before, this will open your eyes to a whole new way of looking at ballet.

If you see nothing else during 2010, get on the internet and get yourself a ticket. It will definitely be worth it.

Showing at Sadler’s Wells until January 24th, and Woking New Victoria from 26th-30th.

as Auden muses, is its endless, unstoppable creation; the nervous energy of constant turmoil that runs through the unfinished play, the need to keep on and continue until you run out of time. Time is a constant spectre here; Britten is dying, Auden is a compulsive timekeeper, and the actor playing him is on a similarly tight schedule; he’s doing a voiceover for Tesco’s at four.

All this is ingenious, as well as eminently enjoyable, and yet the fact still remains that there do seem to be certain areas and topics of discussion which, to the average Bennett fan, may be starting to wear a little thin. With Griffiths having stepped in to fill a role originally intended for Michael Gambon, the shadow cast by his Hector from The History Boys, whilst perhaps unintentional, is still long. Auden, already one of Bennet’s stock figures, is a Hector of sorts – “a sad life, but not unappreciated” – and Bennett, too, seems to identify with him, although as ever, there are touches of Bennett everywhere. Everywhere, too, are further stalwarts of Bennett’s oeuvre – cynical matriarchs and candid young men. Britten is a sympathetic character, but he likes to touch the choirboys after practice. Time, as well, seems to be becoming something of a fixture where Bennett is concerned, and the need always to be doing something. The play whizzes by in a chaotic flurry and we are left, at the end, pondering whether anything has really been completed, and whether there shouldn’t still be more to tell; but then again, if there is, Bennett is sure to cover it next time round. Bennett, it seems, has fallen into his own habit of art; and though I may have to stop my ears the very next time he brings up Auden, Sheffield or Raymond Huntley, I still say long may it last.

Image: Jillian Rose Taylor/flickr

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The Founder | Friday 29 January 2010

Arts

EXTRA no ego or self-conscious. Bruce Lee wrote “Art reaches its greatest peak when devoid of self-consciousness” Although if the artist’s expression does happen to communicate with us then it is a bonus, if it stirs up something within then it is beautiful. It is then we call the expressor an “Artist” and their expression “Art”.

How does one judge art? To judge is of a philosophical nature but why describe the pleasures that arise Alexandra Kinman art is wholly your own opinion, label it in that way? It is quite a sali- from our sensations. This is very Arts Editor there is no truth in opinion. Truth ent one. I see you reaching for that common and conventional in the is fact. The truth in art lies in the Let me try from the first to Oxford dictionary and some of you West. What happens when we artist. Did they produce their indicate the point I’m aiming at. experience, when we observe an art reaching for the computer keyexpression, their art in an ego-less The point is this, Art lacks a sufboard to find that answer, they both without judging it, without labelate of mind? This can only be done ficient definition. The terms, “Art” are feeble attempts. The answer lies ling it according to our emotions? when the ego and the desires to and “Artist” are relatively new Just observe it how it is without within. impress or to make an impression and defining them is of constant opinion.

What is that piece by Beethoven have dissolved. Therefore the adjeccontention. Honestly what is Art? Art, true art is the expression of that we label as “beautiful”, what is tives of good, bad, high and low And if we were to find a definition the self. The self being the emotions that sculptor by Michangelo that that are used to describe art should that holds, how should one judge and feelings of the expressor, be we describe as “handsome”? All be rendered as useless. Plato said it? I know you’re probably thinkof these we happen to call art. It is them anger, happiness, determithat that art is an imitation; maybe ing well art is just art; this is not very true that the words “Art” and nation, sadness or what not. The he is correct to a certain extent an answer. The questions above meaning of the self as the philoso“Artist” are relatively new, they are when we look around today and see are quite essential. For the majorphers know can be expanded in labels that we have assigned as we so much self-image actualization. ity listing various forms of art is a meaning in the study of metaphysdo with the majority of things, are Only when there is self-actualisatisfactory answer. Poetry, music, ics, but here is not the place for they not? As late as 1912 it was zation can art be expressed in it’s painting, dancing, calligraphy, that at this time. I do believe on the assumed in the West that all art martial art, et cetra. Yes these are all aims a beauty and that anything not most fundamental level, art has no purest form. I’m sure you’ll agree after some thinking that to honestly forms of art but they do not yield audience. The true artist if expressbeautiful was not art. Once again express yourself without your ego as answers. It is true, the question ing their self in an honest way has we have used adjectives, labels to

When Art Reaches Its Greatest Peak

2010: A Preview Jack William Ingram Music Editor

Eluvium

Similes

Release Date: February 23rd Eluvium is the long-running moniker of Matthew Cooper, one of the more prominent ambient artists verging on the mainstream indie scene. His previous records have always individually represented a committed departure from the aesthetic of their precursors, and Similes, from first glance, seems to be offering a similar commitment to artistic transformation.

2007’s Copia was a grandiose,

Midlake

The Courage of Others Release Date: February 2nd

The Trials of Van Occupanther was one of the unexpected critical highlights of 2006, blending Fleetwood Mac-esque melodic sensibility with subtle, yearning lyricism and a wistful fascination

even regal, affair, incorporating strings, woodwinds, brass and piano to exquisite effect. The two promo tracks made available from Similes, “Leaves Eclipse the Light” and “The Motion Makes Me Last”, sound rather more low-key, yet not too reminiscent of 2005’s evocative ambient-guitar project Talk Amongst the Trees. This isn’t true ambient music as such, but rather stands on the precipice of shoegaze, electronic and neoclassical. The appeal of the record isn’t diluted, however, and instead presents a remarkable testament to the encompassing talent of the musician. Interestingly, Similes incorporates vocals for the first time. It’s difficult to detect whether or not the additional presence of the voice (in contrast

with woodlands, log cabins and turn-of-the-century Americana.

In the 3-and-a-half years since Van Occupanther, we’ve heard virtually nothing from Midlake.

I like to think that they’ve spent the time isolated in the American wilderness recording this latest record, but whether that’s true or not, The Courage of Others certainly appears to be a labour of love.

A couple of album tracks from the new album have been given a single release on 12’’ vinyl, “Acts of Man” and “Rulers, Ruling All

standing over you with a club is very hard indeed. In the East it is suggested that this itself is an art which has been named paradoxically as an “Artless Art”. I do firmly believe that it is in this state of being that is outlined above is when art reaches it greatest peak. The Chinese say that the highest skill is performed on an almost unconscious level; that I couldn’t agree with any less.

I suggest that whoever ranks art or places themselves in certain groups according to their judgement and “taste” of art must take a different stance when they observe art. Try and see and observe it without judgement and devoid of the filter of your conditioning. That is without you’re perceived notions of beauty or ugliness (words which I feel to be written in inverted commas) and the other adjectives that you, that we all use to label our emotions. I think that the sagacious words from Bruce Lee are most suitable to portray art, “Art is never decoration, embellishment, instead it is work of enlightenment. Art in other words is a technique for acquiring a personal liberation”

Music to the immersive instrumentals of previous records) will mean this can still be considered ‘ambient’ in any real sense. For better or for worse, Similes will undoubtedly be poles apart from anything Eluvium has released before. Such changeability offers a refreshing – if occasionally frustrating - contrast to the usual approach of ‘finding your sound’ and sticking with it, which, more often than not, simply leads to stagnation.

Download: “Leaves Eclipse the Light” and “The Motion Makes Me Last” - http://www.eluvium. net/

Things”. Both tracks are deceptively understated, and belie a formidable lyrical reach. At first appearances, they lack the muscular crescendos or synthesiser trickery of “Van Occupanther”, yet lay down a statement of intent just as profound as that of “Roscoe” from the earlier record. This time, however, expect something edging more towards Crosby, Stills and Nash or Fairport Convention rather than the Fleetwood Mac end of the spectrum.

16

The Founder | Friday 29 January 2010

Music

EXTRA The Besnard Lakes The Besnard Lakes are the Roaring Night 9/2

Release Date: March 9th

good as anything the band has ever recorded, charting out an idiosyncratic trajectory thanks to the uncanny mingling of analogue fuzz and string section pizzicato.

Since 2008’s line-up change in the wake of the convoluted Thirteen Blues for Thirteen Moons, SMZ are now a quintet, with Efrim Menuck remaining as the only guitarist.

On the evidence of this one track preview, however, I think it’s fairly safe to say this has been a move in a positive direction. Bury 3 Dynamos Release Date: February 8th is a mesmerising slab of post-rock goodness that ends up soundThe Constellation label’s posting like an unholy Acid Mother’s rock powerhouse, Thee Silver Mt. Temple / Kronos Quartet crossoZion (revitalised, as usual, with a ver. Nobody is producing music new name and roster for their latest quite like Thee Silver Mt Zion, and record) have followed an interesting thanks to the back-to-basics revicourse since the group’s origins as a sion of their line-up, there can be side-project of the mighty Godlittle doubt Kollaps Tradixionales speed You! Black Emperor. “Kollaps will turn out to be something very Tradixionales” looks set to demon- special indeed. strate that the band has lost none of its frenetic power and iconoclastic Download: “Bury 3 Dynamos” zeal. can be streamed at http://www.tra“Bury 3 Dynamos”, a preview la-la-band.com/preview/ track from the album, sounds as

Thee Silver Mt. Zion Memorial Orchestra Band

With their unique style of atmospheric, multi-layered indie rock, The Besnard Lakes were responsible for one of 2007’s unexpected breakout albums, the entirely epic The Besnard Lakes are the Dark Horse.

2010 will hopefully be a similar annus mirablis if the follow-up record, The Besnard Lakes are the Roaring Night holds true to the direction indicated on its preview track, “Albatross” – a triumphant listen, benefitting from the unlikely influence of shoegaze, Led Zep stomp and Beach Boys harmonies.

Download: “Albatross” track http://www.thebesnardlakes.com/

Peter Gabriel Scratch My Back Release Date: February 15th Although it’s been a few years since we’ve seen anything particularly exciting from Peter Gabriel (2000’s OVO was probably the last highpoint), Scratch My Back is an interesting prospect. Consisting largely of vocal/orchestral interpretations of other artists’ songs, it’s difficult not to be intrigued about how Gabriel’s version of Bon Iver’s “Flume” will sound, for example, or the Arcade Fire’s “My Body is a Cage”. There are no previews yet, but watch this space.

E X T R A Extra Want to contribute to any section of Extra?

The Founder 2.0 ...is finally finished and online!

With an integrated twitter feed, new commenting features and much more dynamic content using a WordPress framework, thefounder.co.uk is your one-stop shop for everything Holloway!

Why not drop Camron a line at: extra@thefounder.co.uk

Let us know what you think of the new site at: editor@thefounder.co.uk

17

The Founder | Friday 29 January 2010

Music

EXTRA

The Knife

Yeasayer

Tomorrow In A Year

Odd Blood Release Date: February 8th We’ve heard very little from Yeasayer since 2007’s All Hour Cymbals, aside from one track, “Tightrope” on 2009’s excellent AIDS-benefit compilation Dark Was The Night.

Considering the calibre of fellow contributors to this assemblage (Arcade Fire, Bon Iver, The Decemberists, Andrew Bird, etc.), the fact that “Tightrope” was possibly the best track on the record demonstrates that Yeasayer have the potential to be one of the most exciting bands in the indie constellation.

This year’s Odd Blood is shaping up to be the testament of a group at the height of their creative powers, as the single release, “Ambling Alp” indicates, offering a kaleidoscopic vision of truly original song-writing, and granting Yeasayer that rare accolade – the seeming ability to make a damn fine pop song whilst remaining fully committed to musical experimentation. Google “Ambling Alp video” to see something truly mind-bending (yet strangely affirmative).

Release Date: March 1st

Download: “Ambling Alp” track http://www.amblingalp.com/

Shearwater

The Golden Archipelago Release Date: February 15th Shearwater is the brainchild of Okkervil River refugee John Meiburg, initially a vehicle for the release of low-key acoustic material, but somehow, from these inauspicious beginnings, responsible for one of the best albums of 2008 (and possibly the entire decade), Rook - a dynamically vast yet peculiarly pastoral affair that soared like Talk Talk’s Spirit of Eden but boasted an elaborate attention to even the smallest aspects of its sound.

Judging by the track (“Castaways”) available to download from their site, it’s clear that the thematic and sonic flourishes that made Rook so compelling have been refined yet further: Meiburg’s haunting voice, the ‘sturm und drang’ instrumentation, as well as a characteristic fascination with

ecological concerns and the natural world. The Golden Archipelago could well be a baroque-indie masterpiece.

Download: “Castaways” track http://www.shearwatermusic.com/

EXTRA

Music

music@thefounder.co.uk

One of 2010’s stranger prospects comes from revisionary electro outfit The Knife, who, fresh from 2006’s Silent Shout (recognised by many, including Pitchfork Media, as the best record of that year), have decided to write an opera for a Danish performance group based on Charles Darwin’s “On the Origin of Species”. Tomorrow in a Year is a collaboration between The Knife and performance artist/DJ Mt. Sims and visual artist Planningtorock.

Interested parties can acquire a sample of this bewildering concept piece from The Knife’s website. A towering 11-minute exercise in musical grandiloquence, “Colouring of Pigeons” sounds unsteady at first, but the intricacy of its structure is a slowly dawning realisation. We are privy to a truly stunning composition, a swirling miasma of vocal ululation, swelling percussion and atypical chord progressions that all sound genuinely like nothing else.

If this one track is anything to go by, the record will stand on the very outer limits of musical experimentation. In addition, the possibility that this isn’t even the best song on the record makes Tomorrow in a Year a highly enticing prospect.

Download: “Colouring of Piegons” track - http://www.theknife.net/

EXTRA Photograph: J Bailes

The Founder | Friday 29 January 2010

& Debate

19

tf Comment

A political forecast...

Tom Greenaway This summer (bets are on May 6th) will host a General Election. The country goes through this every five years or so. However this election is looking to be less straightforward than the last two. In the last two elections Labour walked to victory, their opponents were disunited and unpopular; Labour seemed evergreen. This has changed. New Labour is failing and the Conservatives are united. So what will the General Election bring?

The first thing to look forward to will be the three televised debates between the three major parties. It’s never been done before in Britain.

A good performance could make the election for one of the parties; a bad performance could lose it.

It’s well known that during Prime Minister’s Questions Cameron usually has the upper hand. But an open debate is different in nature and Cameron could be caught out.

The true benefactor of the televised debates will be Nick Clegg of the Liberal Democrats. Whilst Cameron and Brown are at each other’s throats with rhetoric, he could play the role of the man apart, almost above politics. That is not to suggest that Clegg could win the election in three hours, but it could make his party more important.

The election will be fought over a surprising issue, cuts. All the parties will advertise spending cuts as if they’re the answer to our happiness. I’d prefer jobs, but they’re not as easy to provide. Another hot point will be immigration. I believe that the moderates in the population don’t care too much about immigration; it is more to limit the appeal of the extreme parties that can take votes from both Labour and the Conservatives.

So, what will the outcome of the next election be? It shames me to predict a narrow Tory victory.

However, that is who I’m betting on. Some sources predict a hung parliament, which would be great.

A hung parliament would put the Lib Dems into an influential position. If it were to happen I would be rooting for a Labour-Lib Dem alliance with Vince Cable as chan-

cellor. We can dream. Yet, if you’re willing to bet on a dark horse, go for a narrow Labour victory. Everyone, it seems, has written them off.

This could be perilous.

Some other general notes for the election. There will be a large influx of new MPs. The expenses scandal has forced a lot of MPs out of the door. We can look forward

to a newer, younger, less male dominated parliament. And, if my prediction is correct, a newsreader as PM with Gideon (that is his real name) as his second in command.

Do not see this election as a repeat of 1997. Most people are unenthusiastic about change and cannot see a difference between the two parties. In 1997 Labour membership

A response to Bill O’Reilly on the Pidgeon administration

The last edition of The Founder featured ‘new political satirist’ Bill O’Reilly who launched a full on assault on the Students’ Union under a title which revolved around some sort of witty pigeon pun. It was all downhill from there. Indeed, the mildly amusing title was as good as it got.

Oh, and no pseudonyms here.

I am writing under my real name unlike Mr O’Reilly who felt it necessary to ‘protect’ his identity.

Yes, very cunning Bill. I feel that if you are going to so publicly criticise anyone then you should at least give them the respect of using your own name!

Within a page of ‘political satire’ Mr O’Reilly did little more than present 2 points, both of which were half-hearted and trivial criticisms with no solutions offered.

Firstly, he thought that the Fresh and Fruity nights were the same as last year. Yes, I would love a little more variety and a few more big names at bargain-bin prices wouldn’t go astray, but what were you expecting? There is only so much that can be done given the resources at hand. The Union is not exactly the O2 and 5 quid doesn’t go far. The second criticism was that the smoking area shelter was too expensive. If these are the biggest criticisms so far then the ‘Pigeon administration’ can consider itself a raving success.

This brave bit of journalism then accused the SU of being a dictatorship and urged all students to abstain from getting involved in its activities. Hmm...is that right Mr O’Reilly? Being the fool I am, I shall ignore such wise words on the basis that SURHUL is one of the most engaging in the country. In fact the SU urges participation despite being largely ignored with only a few hundred students choosing to vote each year. I am sure that if the was up, there was enthusiasm, yet at Bill had anything constructive to the moment Conservative member- say and presented his ideas in an ship is declining and the outlook is appropriate form (not his ‘satirical’ pessimistic. This election will be an column) then the SU would only be election of apathy. The only people too happy to engage with him. celebrating will be the political parties. The rest of us will be at home, Ben Parfitt too poor to go out for a drink, with the lights turned off, unable to afford the electricity bill.

20

Comment & Debate

The Founder | Friday 29 January 2010 Don’t like what you’re reading?

Got a different point of view?

Email David, our Comment & Debate Editor, at comment@thefounder.co.uk

A Library Poem I thought a bit of poetry Was different from the norm And so I hope that you will see That prose is getting worn.

The libraries at Holloway Are in a dismal state The problems we can’t underplay No, we cannot negate.

The fact that Founders library Has a piteous collection And if we want a cup of tea We’re faced with bleak rejection.

Computers in the upstairs room Are few; and if they work It’s very easy to assume You’ll sit next to some jerk That plays his music far too loud Or whispers on the phone And so you sit there furrow-browed In the ‘quiet’ zone.

A new dawn for British Democracy? population was asked to offer suggestions of possible policy changes, ranging from the introduction of a proportionally representative electoral system to holding a referendum on EU membership. These were then In a disenfranchised and apathetic nation, a new way consolidated into 58 proposals. The policies were then of doing democracy is launched, allowing people to debated by a random sample of 200 members of the choose how the country is run. general public, including one Hollowegian, who scored On January 18th a poll opened allowing people to the proposals. By assessing the results of this poll, a choose from a selection of policy proposals, originatshort list of proposals is being launched, which the ing from the public and decided on by the public. general public will be able to vote on. This non-partiPower 2010, a campaign aimed at increasing the san way of choosing policies will offer the real views of power of the population in our democracy, plans to the public, free from politicking and spin. put forward five policy proposals to each of the main This campaign is supported by the Rowntree parties. It is hoped that they will then pledge to make Foundation and the peer Baroness Helena Kennedy. these proposals policy if they win the election.

However, to make a change, as many members of the After the Expenses Scandal, public faith in our depublic as possible need to back the campaign. This can mocracy collapsed. People no longer trust politicians to decide how the country is run. However, rather than be done by voting for policies on the Power 2010 webresorting to apathy, people are being given the oppor- site during the five weeks starting January 18th. This will allow people to choose the issues they want the tunity say how they believe the country can be fixed. upcoming election to be fought on, rather than letting Unlike lobby groups, Power 2010 is using a unique method of determining what people want. The general Westminster decide.

Dominic Collinson Hollinghurst

The journals are a huge disgrace Why can’t we take them out?

We’re adults now, we won’t deface – but we cannot go without.

Loan repayments, what a joke!

Eighty pence an hour!

We’re students, so we can’t invoke That monetary power.

Give us a break, buy a machine For coffee, hot chocolate, tea We don’t do well without caffeine And we cannot guarantee We will not spill it on the books, The desks, PCs or floor, We couldn’t bear your angry looks We’ll try to win rapport.

Compared with Bedford’s modern build We’ve really got it hard No sofas, drinks – we’re unfulfilled Give us the same regard.

Some talking space, some swimming fish…?

A printer credit box We’re not asking for something swish Just chairs arranged in blocks.

Now really, do you think it fair That if we want a break, We have to walk across the square Our papers left at stake?

Lengthen library opening times We like to work at night And maybe then we won’t get fines In the morning light.

A sentry posted at the door Is all that it would take Who cares if our eyes get sore?

How can you dictate?

Please recycle this newspaper when you are finished Recycling bins are located at: Arts Building, The Hub, Gowar and Wedderburn Halls, T-Dubbs

So listen up, we’ve had enough Of being badly treated.

This time we’re getting tough We will not be defeated.

Anon.

21

The Founder | Friday 29 January 2010

Comment & Debate

A decade of magical thinking Liam Hoare “Call it the Decade from Hell, or the Reckoning, or the Decade of Broken Dreams, or the Lost Decade. Call it whatever you want - just give thanks that it is nearly over.” - Andy Serwer, Time, November 24 2009.

Bookended by economic crises, acts of terror and questions surrounding the fragility of democracy, it is not unreasonable to label the Noughties the Decade from Hell, or the Uh-Ohs, although somehow this is not quite apt.

Above all, this was a decade during which we blindly hoped and foolishly acted in ways which only evaded facing the inevitable. Suppressed realities surrounding our Western liberal capitalist model of American unipolarity, became horrendously apparent in a series of cataclysmic events. This was, in fact, the decade of magical thinking.

The period of post-Cold War peace and economic prosperity - or the ‘Long Nineties’ if you will - were brought to a shattering halt by three events of tremendous importance: the bursting of the dotcom bubble; the disputed election of George W. Bush; and the terror attacks of September 11 2001. The latter of these will come to be seen as the most significant, since it demonstrated in the clearest sense that after twelve years of American diplomatic totality, alternative centres of power and theory were beginning to emerge.

September 11 transformed our understanding of the wider ideological paradigm, a concept previously believed to be dead.

Once, capitalism had fought against communism; now it was secular democracy seeking to combat the rise of militant Islam. As a result, after a period of fumbling about in the dark, the West turned on the light to recognise its common purpose and clear enemy. That said, throughout the decade, it became apparent that the secular democracies themselves did not necessarily understand their new foe.

The War on Terror, the invasion of Afghanistan and the Mesopotamian fiasco exemplify this magical thinking. All three were applications of outmoded forms of combat onto the new world stage. This is particularly true in the case of the Afghanistan intervention, and our attempts at nation-building in an

ungovernable state. For sure, NATO allies did on the whole succeed in driving Al-Qaeda out of Afghanistan, but the democratic structures implemented to replace the Taliban proved to be as shaky as a fiddler on the roof. Moreover, unable to launch attacks from inside Afghanistan, Islamist terrorists merely relocated in the mountainous, lawless regions of Pakistan and failed states like Yemen and Somalia.

Western powers’ handling of economic conditions further demonstrated a pathological need to avoid acknowledging reality. When the dot-com bubble burst throughout 2000 and into 2001, it ought to have been a repudiation of the ‘get

rich quick’ ethic on Wall Street and in the City. However, rather than institute new financial practices, President Bush merely sought to solve America’s economic woes by slicing taxes for the rich and allowing these reckless stock practices to continue.

Where one bubble burst, another inflated. New wealth was built on real estate and debts relating to it.

Once house prices began to decline in 2006 in the United States, and the United Kingdom in 2008, people began to enter into negative equity: debts increased, mortgage agreements collapsed, foreclosures skyrocketed and out of this global recession ensued. In the decade of

magical thinking, Western governments could foresee crisis and even recession, yet thought it better to appease their financial centres in the pursuit of short-term economic growth.

In terms of its wider significance, the accession of George W. Bush proved to be the most important event for American democracy since the resignation of Richard Nixon. The fraught nature of his election, coupled with the arrogant manner of his presidency, would have disastrous consequences for the expansion of freedom, liberty and democracy around the world.

Once a democratic hegemony had seemed inevitable, but in different

pockets of the globe alternative regimes emerged, providing new answers to regional problems that they believed Western capitalism could no longer answer. In Latin America, Hugo Chavez, Evo Morales and Fidel Castro formulated a powerful leftist bloc, offering an alternative economic model built upon Venezuela’s petroleum-centred prosperity which has influenced the rise of the left in neighbouring states like Paraguay, Brazil and Argentina.

Moreover, China - economically more liberal yet still politically repressive - used the rewards of rapid economic growth to entrench its influence in Africa. In return for oil, minerals and other natural resources, China has granted African states billions of dollars with no strings attached in regards to internal development vis-à-vis poverty and democratisation. For instance, the Chinese leadership consistently supported Robert Mugabe, and today continues to provide aid to Omar al-Bashir’s genocidal regime in the Sudan and the murderous military junta in Guinea.

Therefore, the decade of magical thinking was an epoch in which the United States and the West refused to recognise the changing nature of Weltpolitik with disastrous consequences for the global influence of its politico-economic model.

Western powers proved to be in many respects the cause of their own decline: in the system’s failure to recognise an oncoming economic firestorm, its inability to act as a responsible beacon for an ideal democracy, and most importantly, its consistent incompetence in dealing with the rises of international Islamic terrorism.

The Noughties, thus, have been a painful, decade-long transition from uni- into multipolarity. India and Brazil are still relatively embryonic, but Russia is in a period of resurgence and, most critically of all, China has emerged as a contender on the diplomatic stage. Make no mistake though, the United States is still very much the kingmaker, but her role and influence has altered significantly through the blossoming of China’s economic prowess.

China will have a tremendous influence over the next ten years, of that there can be no doubt; but the next decade will ultimately be shaped by the West admitting to its previous flaws, its state of delusion and its magical thinking, and resetting its course within a changing world.

22

The Founder | Friday 29 January 2010

Sport Hi all and happy new year!

Sorry for a lack in stories in the section this week. Due to recent weather conditions up and down the length of the country many sporting events have been cancelled. Please keep your match reports and articles coming in!

Lucy McCarthy Sports Editor sports@thefounder.co.uk

Top 10 Moments in Sport Each issue we will be counting down the top 10 British sporting moments.

If you would like to comment on a particular moment or tell Holloway your top 10 please email sports@ thefounder.co.uk No. 10 – Paul Gascoigne’s tears during the 1990 World Cup Semi-Final against West Germany On 4 July 1990, the World Cup semi-final involving England and West Germany (at this point Germany was still divided) took place in Turin, Italy. England went 1-0 down early in the second half, but Gary Lineker equalised with ten minutes remaining, and forced the match into extra time. Gascoigne, having already having been warned with a yellow card during England’s 1-0 victory over Belgium in the second round, showed his doggedness manner again fouling Thomas Berthold and was booked, meaning that he would be suspended for the World Cup Final if England won. Cameras on the sideline showed that Gascoigne was beginning to well up after the referee had given the yellow card. The match climaxed in a penalty shoot-out with Gascoigne, who originally intended to take the third kick, which was scored

by Platt. Howeverhe Germans eventually won and England failed to reach the final. Five years later, in 1995, a TV advert for Walkers Crisps (also featuring Gary Lineker) mentioned Gascoigne’s losing semi final tears.

23

The Founder | Friday 29 January 2010

tf

sports@thefounder.co.uk

Report Giving children their Match RHUL Squash Right To Play 11/01/10

We can all remember playing as a child, and even now most of our student life is focused around playing, whether a sport, an instrument or just playing about. November marked the 20th anniversary of the UN convention that recognises every child has a ‘Right To Play’.

Put simply, this right is important not just because it guarantees a child’s right to be carefree whilst they grow up, but more crucially because play is central to a child’s physical, social, and mental development.

Right To Play is an international humanitarian organisation whose work is focused on giving children in developing areas of the world this very right. Not only are children in areas ravaged by war, poverty and disease given their chance to play, they are also educated about the problems they are experiencing whilst they do so. Play is therefore both a development tool in its own right, and a vehicle for delivering a curriculum that teaches them about peaceful conflict resolution, health promotion and social inclusion in a way they can enjoy and engage with. 750,000 children every week currently enjoy receiving all these benefits on Right To Play’s programmes. However this not an article for you to just read and perhaps nod along to – it is a plea for you to do something.

Right To Play is the official charity of BUCS and we work really closely with students across the UK. We are extremely proud of this and the fact that last year through our collective efforts we managed to give over 8000 children their right to play. I am a Student Ambassador for Right To Play along with Ben Parfitt and we would love for you to get involved with Right To Play in 2010. Already in the pipeline we have a Continuous Cycle around campus, a lecture about the work of Right to Play in developing countries and lots of other events that we would like to have your help and support with: • ‘your change can make change’ – just £25 can give a child a year’s worth of regular, twice weekly, participa-

RHUL Men’s 2nd ULU team hosted London School of Economics this week in an early start to the squash season 2010. It was extremely cold on the courts with the heaters providing little comfort, and the ball was showing no bounce at all, leaving many players stuck at the back of the court. Will Walton received a walkover victory as the other team did not field a fifth player, so, even though he is number 1 seed, he stepped down due to injury. As a result, all players were moved

tion in RTP activities. And with a UK-wide network we can really make a difference • ‘together we are many’ • You can help Right To Play achieve its mission to reach 1 million by 2012.

Last year we raised £8000 for Right To Play through fundraisers; like the Women’s Rugby Touch-athon, Basketball 3 on 3, the RAG triathlon and the Colours Ball Raffle. We also took part in sponsored events; I myself took part, along with six other participants from Holloway, in the Edinburgh to London Cycle this summer and Ben, with some friends, ran in the

London Parks Half Marathon. This year we hope increase our efforts and raise over £10,000 this year with your help.

So why not get involved with the exciting things that will be happening at Holloway or join us in July for our London to Antwerp bike ride, where we’ll watch the Tour De France!

For more information about what is going on at Holloway join the Facebook Group; Right to Play – RHUL or email me Grace Shaw at g.r.shaw@rhul.ac.uk for information about what we are doing here at Holloway, and how you can help or get organising yourself.

up. Joe Mathew fought hard but couldn’t clinch it in the end and lost 3-2 in a close game. On the opposite court Simon Green won 3-1 giving RHUL a lead of 2-1.

However, both Jon Davis and Ben Hine lost their matches 3-0 and 3-1 respectively leaving RHUL on the wrong side of a 3-2 result. An unfortunate result for the guys as they trying to chase down a tough Imperial team at the top of the league. Better luck next week!

tf Want to write for the Sport section?

If you’re keen to get involved with the sport section of this newspaper as a photographer or reporter, email:

sports@thefounder.co.uk

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