The recent Oscar nominations have allowed us to reflect on how fundamental musical scores are to film, and the highlights of last year’s film soundtracks.
It’s a different emotion whenever I read the Urdu language. I’m not a native speaker, nor have I actively pursued learning the language, but as someone who finds solace in reading shayari (Urdu poetry), I wanted to follow it even in Oxford.
A few weeks ago we, the Cherwell fashion editors, were lucky enough to be extended an invite by the Global Fashion Collective to their London Fashion Week show.
Translation should be more than mechanic substitution. It demands that the translator acts as a conduit, conveying the intricacies of emotion, style, and intention, while negotiating the hurdles of linguistic complexity.
Lighthouse Productions’ debut project delivered a fast paced, hilarious version of Sam Steiner’s script. Even the argumentative scenes prompted laughs.
No matter which book is in front of me, I’m almost always reading in twenty-second bursts, and I’m constantly thinking about what else I could be looking at if I only picked up my phone.
Live-action remakes, when viewed with an open mind, can be seen as cultural negotiations, as attempts to revitalise and pass down old stories to new eyes and ears.
If there’s one thing I believe Oxford’s theatre scene is missing, it’s a button-down-shirt-wearing ex-zoology student with a penchant for writing songs about Pret A Manger.
In a small, black-painted room on the top floor of a pub in Islington, known as The Hope Theatre, Madame La Mort was staged for the public for the first time.
The history of film is a cumulative record of what people have wanted to say, show, and create, not only for a contemporary audience, but for the future.
How do you study art if you can’t see? In 2025, I was faced with this question, not out of curiosity, but because half my vision significantly deteriorated.