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Review: Around The World in 80 Days

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★★★★★

In Around the World in 80 Days, the English gentleman Phineas Fogg has a wager with the men of the Reform Club that he can circumnavigate the globe in eighty days. Accompanied by his French valet, Passepartout, they stumble across strange characters along their travels, while pursued by a Scotland Yard detective who suspects Fogg of bank robbery. The gardens of St John’s College were the perfect venue for this mad-cap and rather eccentric romp through the Victorian world, performed with grace and considerable gusto by the OUDS cast. The humour was fun, clean and clever, with the right balance of slapstick, wordplay, innuendo and audience interaction to keep the comedy fresh and entertaining.

One of the things that brought the show to life was the absence of a fourth wall of any kind, whether it was the bandits trying to ambush our heroes while stalking through the audience, or Detective Fix’s constant asides to the audience (played by a perfectly whiny Luke Rollasson). This was accentuated by the set design and staging itself. At the back was a wooden semi-circle of a clock, which the cast would stand front in front of, their backs turned when not in the scene. On either side of the stage were coat stands holding the costumes and props.  It gave the set a very bohemian, light-hearted feel, which suited the play itself incredibly well.

The fact that it was in a garden could have been disastrous, being at the mercy of the elements which threatened to dampen the experience. But the troupe managed to use this to their advantage. The gentleman of the Reform Club, already silly in false moustaches and uttering comical huffs and gruffs, were made even more ridiculous by the tufts of grass that their top hats had collected from the lawn.

With such a talented ensemble, the choreographed group scenes such as the travelling by rail, ship or elephant were a joy to watch. Particular praise must be given to Ellie Wade’s outrageous French accent as Passepartout. The cast had such a good chemistry that potential disasters, such as the collapse of a table doubling as an elephant, were turned into some of the highlights of the show, with ad-libs and asides that demonstrated the comedic timing of the cast. Yet in spite of the obvious ability on show, the ending nonetheless felt somewhat rushed. But even this was knowingly referenced by the cast and turned into one of the more sophisticated gags. And anyway, as Mr Fogg would know, the ending is inconsequential; rather, it is the journey along the way which provides the memorable experiences, and Around the World in 80 Days proves that to be the case.

 

 

Sweat. Tears. Smiles. The struggle for a football legacy

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“What a tough one to take. This is an England team that have given their all. As people my players have sacrificed so much for this tournament. But they will go home knowing they couldn’t have given any more. Blood, sweat, tears, smiles – we gave it all. I know there’ll be a lasting legacy for the women’s game back home.”

These are the words of England coach Mark Sampson, moments after Laura Bassett’s injury time own goal had prevented any chance for the otherwise defensively excellent squad to move past Japan into the final. The finale of the match was as unforgiving as sport possibly can be; not a misplaced pass, a midfielder slip or a goalkeeping howler, but a freak deflection in a situation which the defender had absolutely no choice. There has been much discussion in the inevitable post-mortem of England’s run to the semi-finals concerning Sampson’s vague ‘lasting legacy’, alternating from understandingly hopeful towards the downright patronising. There is a hope, however, that even this most brutal of exits can act as the catalyst women’s football needs to push it to the forefront of the public consciousness.

This was a world cup undeniably of the highest calibre. The Germany/France quarter final and the Germany/USA semi-final, as well as the performance of Carli Lloyd in the final, deserve to be viewed not as brilliant examples of women’s football, but the sport in general. Outgoing OUWAFC president Becca May acknowledges the “teething problems” of the expanded 24-team format, including the massive victories by most established teams against the newcomers to the game, but even these “showed great quality”. This quality is paying dividends. 2.4 million stayed up till the 12am kick-off to watch England and Japan’s semi-final, whilst the 25 million Americans who watched their team prevail in the final smashed the 19 million record for a football game in the states (set, incidentally, during their 1999 final victory).

Public opinion, finally, appears to be coalescing with the recent surge in funding from the FA into the Women’s Super League (WSL). May talks excitedly about watching the first round of WSL fixtures after the world cup, where the normal 300-400 spectators had been replaced by 2000. “I saw a man reluctantly take his daughter away from the crowd, telling her that they’d have to wait until the next week to get autographs.” She continues, “though aftermath of the world cup might not last at the same high numbers, but I do think that there’ll definitely be a marked improvement in people turning up to watch games and in the level of media coverage”.

The issue which remains for women’s football in the UK; how to translate the explosion in interest into marked grassroots change. The recent misguided tweet from the FA, in which the women were welcomed home as “mothers, partners and daughters”, alludes to the deeper structural problems which this happy world cup honeymoon must contend with. Though it has been 10 years since FIFA president Sepp Blatter called for women to play in “tighter shorts”, media coverage of women’s football, and sport in general, continually obsess over appearance. Many WSL players are still part-professional, and male clubs particularly in the WSL second-tier deny access to the best stadiums and facilities. A failure by the media, advertisers and investors to support women’s football publically and financially disuades many clubs from making the drastic changes necessary to bring the WSL on par with their male counterparts.

But it is not all gloom. WSL attendance figures have been consistently rising by 100 a year, even before the world cup, whilst grassroots women’s football is finally getting the attention it deserves. There is hope that this most cruel of accidents can ironically act as the catalyst which pushes the gradually expanding game permanently into the public consciousness.

Who is ‘Horn’?

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Just as the tranquillity of the long vac was beginning to take hold panic arose in the popular facebook group ‘Oxford University Marginalia’ as admin and founder April Pierce was deposed as admin of the page. A mysterious character by the name of ‘Horn’ had taken her place. Cherwell looks into this controversial character by asking who is ‘Horn’? What do we know about him?

1. Horn is a Usurper

In a move that would have impressed Richard III himself Horn struck in the dead of night and out of nowhere to take the Marginalia throne. An opportunist if ever there was one he seized the Crown when nobody was expecting him.

2. Certified Party Animal

Cherwell has uncovered that Horn is a veritable party animal, he was one of a select few awarded the coveted ‘Best Clubbers of Freshers’ Week’ by the Tab.

We aren’t quite sure why our mystery man chose warehouse of all club nights but who are we to judge him?

3. Crusader against the internet police

It seems like Horn has his hands full explaining himself to the internet police. Will he make it through this encounter unscathed?

4. Horn is loved

While many scorn his very existence, during his time as marginalia overlord Horn developed a cult following by those who appreciated the extent to which he rustled some jimmies. His support base is less vocal but nonetheless present.

5. Horn is hated

6. Horn is munificent.

While some question his methods in sharing his power when he could have kept it for himself Horn showed his greatest virtue – munificence- however much like all tragedy heroes this great virtue was to be his undoing as his disciples removed him from his throne. 

7. Horn is no more

A sad day for trolls across oxford.

 

 

NUS crackdown in plan to enforce Coca-Cola boycott

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The National Executive Committee (NEC) of the National Union of Students (NUS) has put forward a motion affirmimg its August 2014 decision to “cut all ties” with the Coca Cola Company, as part of their commitment to their campaign policy of Boycott, Divestment and Sanctions (BDS), and the newly-elected NUS President Megan Dunn has been censured for having broken the policy.

In a new motion, the union’s executive seeks to affirm that this boycott policy applies to Coca Cola Enterprises and demands that the NEC “cut all ties” with the company. It is understood that the policy in relation to Coca Cola has not been implemented yet in practice.

Coca-Cola is currently included on the target list of the Boycott, Divestment, and Sanctions campaign. The BDS movement seeks to increase economic and political pressure on Israel and to support Palestinian interests through various forms of boycott.  

Cherwell is seeking clarification from the NUS as to whether this policy will be applied to other products owned by Coca Cola, which include Fanta, Dr. Pepper, Sprite, Schweppes and Evian, amongst others, as well as what is expected of affiliated student unions, such as OUSU, under this policy.

The BDS policy commits the NUS to “ensuring that, as far as is practical, NUS does not employ or work with companies identified as facilitating Israel’s military capacity, human rights abuses or illegal settlement activity, and to actively work to cut ties with those that do”.

However, 150 sabbatical officers have in recent days signed an open letter calling on the NEC “to reject motion 11 to boycott Coca Cola”.

The letter declared, “Instead of seeking to improve our student’s lives, this motion seeks to play politics and undermine the National President.”

It also stated that its signatories expect “a national Union which represents us as the constituent members of NUS” and that decisions that affect its students “should be taken by us and not NEC”.

Oxford University Student Union (OUSU) is not among the student unions which have signed the letter.

The NUS executive has also voted to censure its newly elected President Megan Dunn for having accepted a sponsorship deal with Coca-Cola for this year’s annual NUS awards ceremony.

The motion criticised, “Dunn’s refusal to accept that Coca Cola is a target of the BDS movement or to release an apology for accepting their sponsorship.” It reportedly passed by 20 for, 14 against and two abstentions.

In the NUS rules, a censure vote is described as a criticism of the individual or group and an indication that the body is unhappy with their work. However it is less serious than a vote of no confidence, which demands that the President is removed.

As a result of the sponsorship deal accepted by Dunn, a number of Senior officers boycotted the NUS Awards 2015 ceremony, held on July 8th in Bolton. 

This included Malia Bouttia, the NUS Black Students’ Officer, Maddy Kirkman, the NUS Disabled Students’ Officer and Piers Telemacque, the NUS Society and Citizenship VP, amongst six other major officials.  

Those officials who decided not to attend said in a statement, “The acceptance of this sponsorship from Coca Cola Enterprises Ltd. is a direct violation of our current BDS (Boycott, Divestment and Sanctions) Campaign policy, and we are seriously concerned at the message this sends out, and the precedent it sets, with regards to NUS’ democratic policy and its commitment to ethics and the environment.”

Regarding the reason behind boycotting Coca Cola, the statement explained, “The Central Bottling Company Ltd, which operates the Israeli franchise of Coca Cola as ‘Coca Cola Israel’ from production to distribution Coca-Cola, operates factories of the illegal Israeli settlements of Atarot, Shadmot, and in the occupied Syrian Golan Heights.

“There is thus a clear, direct line of accountability whereby Coca Cola, through its operations in Israel, is active within illegally occupied territory, in the process keeping occupation a viable exercise for the Israeli state. The responsibility thus lies on NUS to implement its policy and break ties with the company until it at the very least ends complicity in the Israeli occupation.”

“The ‘official’ NUS statement released today mentions that the BDS Movement website states Coca Cola as not being ‘[a priority] for the BDS movement at this stage’. This is not because Coca Cola is not complicit/a target, but because priority campaigns are selected based on their ability to gain traction within wider society and have most impact. As such the list of priorities provided by the Movement is not exhaustive, nor prescriptive.”

Malia Bouattia, the NUS Black Students’ Officer, commented, “NUS accepting Coca Cola Enterprises Ltd’s sponsorship for the NUS Awards broke the Boycott, Divestment and Sanctions policy that we had voted on twice.

“Myself and a number of NUS Vice Presidents communicated this to the President two weeks before the event and asked for an apology to be released to our membership for accepting the sponsorship, and to committing NUS to avoid doing so in future.

“These terms were initially accepted by the President but she then backtracked on them the night before the NUS’ SU2015 event, and went ahead releasing a misleading statement with no apology, despite the opposition of numerous officers, and even with input from the Palestinian Boycott National Committee who co-ordinate the BDS campaigns”

She continued by explaining that the saga reflected “very poorly on NUS as an organisation” in “exposing a democratic deficit” where the President sees fit to overrule policy and “by placing profit over principle”.

She added, “We got involved with the student movement on the basis of principles such as social justice, ethical practice, democracy and liberation – and we know most others do too. We expect the National Union and our President to act in the spirit of these, and if they fail to do so we will take it upon ourselves to live by what NUS preaches.”

“The censure was passed based on the President’s actions regarding the affair, as well as her complete unwillingness to engage with her officers or other representatives since.”

The NUS told Cherwell that they are yet to decide whether to release a new statement regarding the boycott of Coca Cola.

Megan Dunn and OUSU President Becky Howe have been contacted for comment.

Coca-Cola Enterprises was unavailable for comment.

 

The rebels of Amman

I’m sat opposite Lena, a young Jordanian woman, in a cafe in downtown Amman. With an almost unnerving calmness, she takes a sip of her coffee, places the mug back on the table, looks me in the eye and says, “Yes. I could be killed.”

Why?

“Because I’m gay.”

Naively, I had believed that being gay in Amman was not particularly controversial. Homosexuality in Jordan has been legal since 1951. The age of consent is the same for homosexual and heterosexual intercourse and, while government censorship controls how homosexuality is presented in the media, there are various Jordanian publications that are either aimed at an LGBTQ audience or are pro-LGBTQ rights.

But here was a woman telling me that she feared for her life. Behind the seemingly liberal legal system there is clearly a level of pain and fear that I drastically underestimated. According to Lena, being gay is not really legal in Jordan, whatever the law may officially say.

“Honour killings are a big problem here,” she explains. “I know cases where it happened because the person was gay”. These honour killings are then partially legitimised by the legal system’s failure to properly sentence the perpetrators.

Lena has not told her parents that she is gay because she is sure that they will not accept her. However she does not fear that they would hurt her physically. Where physical violence is concerned, Lena fears the wider community – someone on the street who might hear something and take ‘justice’ into their own hands. She even fears the police.

“If a policeman heard that I am gay I would be scared that he would beat me up in the street.”

Lena describes the police as an authority that sometimes enforces the written law and at other times enforces deeper cultural laws. For Lena and other young lesbians in Amman this has particular significance regarding the convention that unmarried women do not live alone. Being gay therefore leaves you with few options. Do you live at home forever with parents who have no idea that you are gay? Strictly there’s no legal prohibition against single women living alone and many richer women do choose this option, but this does not stop the police from helping parents to keep their adult daughters at home. Lena told me that one of her friends tried to move out on her own but her parents called the police, who dragged her back again.

I ask Lena what her plan is, if it’s a choice between marriage and living in her parents’ home for life.

“My parents are asking me when I’m going to marry. But we have back up marriages, where I marry a guy who I know is gay, and we both know we’re gay,” she explains.

The only other option is to leave Jordan.

“My family would let me leave if it was to study abroad. I want to go to Amsterdam.” But even if she could find a scholarship, it would only be a temporary fix.

“I don’t actually want to leave Jordan. My life is here, my friends are here, my family are here.”

Not all gay people in Amman share Lena’s fears or feel the same restrictions, however.

“No, that would not happen,” Madian says, when I ask him whether he shares Lena’s fear of police harassment or violence. “The police are the police. They wouldn’t beat me up on the street.”

Madian is the founder and owner of Books@ Cafe, Amman’s most famous gay bar-cafe-restaurant and book shop, where I meet him for the interview. He is openly gay and is well-known in Amman. He is an activist and he regularly holds talks at the cafe about LGBTQ rights and sexual health.

Madian does not fear for his life and he is able to own a gay bar playing music loud into the night without hassle from the police or from the government.

Why do Lena and Madian have such different experiences? I thought that maybe it is easier to be a gay man in Amman than a gay woman, but both Lena and Madian tell me that they think the opposite is true: it is easier for a woman to pass off a relationship as a close friendship without attracting suspicion. I wonder if their age difference could explain the discrepancy, but while Madian is twenty years older than Lena, he points out that many people he knows who work in or visit his cafe and are part of his social group are in their mid-twenties, like Lena. Madian suggests instead that how easy you find life as a gay person in Amman comes down to how easily those close to you and within your community can accept you.

So who are the tolerant people in Amman? Revealing my own cultural prejudice, I had equated “Western” with “liberal” and assumed that the most tolerant people regarding LGBTQ rights would be the most Westernised – wealthy young Ammaners who study in the UK and the US, speak flawless English and wear Western fashions.

I first suspected that I was wrong about this when I went out for drinks with two very rich, Western-educated Jordanian men. Chatting on the way home I told them that I often go to Books@.

“You know that’s a gay bar…?”

“Yeah…”

“Don’t you mind?”

“No… Why? Do you?”

“It’s forbidden in Islam.”

I am not Muslim and I don’t pretend to know what is or isn’t right in Islam, but I still wondered how they had decided that being gay was wrong, while they were happy to drink and have pre-marital sex — two things which many Muslims believe are forbidden.

One of the men answered: “I know that drinking is haraam [forbidden] but I do it anyway. I know that having sex is haraam but I do it anyway. But being gay is really, really haraam. It’s not okay.”

I asked Madian whether this exchange was representative. Were the rich, Westernised elite actually quite intolerant of homosexuality?

“Yes,” Madian answered. “The less exposed you are to the West, the more liberal you are about it.”

Amman can be roughly divided into East and West. East Amman is poorer, more conservative in terms of dress and alcohol, and sees fewer Western immigrants or tourists. West Amman is richer, dotted with malls and bars, and has a growing European and American population.

“The most liberal are the East Ammaners,” Madian told me. “They haven’t fallen into the trap of labelling and dissecting sexuality – they have a more fluid sexuality.”

Just as in all human civilisations, homosexuality has existed here as long as people have been attracted to one another. Homosexuality has never been entirely uncontroversial, but to an extent it was accepted as a fact of life. Now, the Western desire to define homosexuality has brought people and their sexualities under scrutiny.

“East Amman doesn’t talk about sex like the West does,” said Madian.

Lena agrees that the rich and the Westernised are not necessarily the tolerant. Both stress, however, that it “really comes down to the individual” as no group is entirely tolerant or intolerant. Prejudice is found everywhere, just as open-minded people are. Both Lena and Madian live in West Amman and have open-minded, liberal friends.

So what is the barrier to tolerance in Amman? Without hesitation, Lena and Madian answer: “Religion”.

In Madian’s words, it is “our biggest enemy”.

He is quick to clarify that it is not Islam itself that is the issue because “Nothing in the Qur’an actually says that [homosexuality is wrong]. Politicised Islam is the issue.”

“Christianity is exactly the same,” he says, but asserting that Islam is the greater barrier simply because it is the dominant faith in Amman.

Lena adds that “people are scared to criticise Islam” and that those who try are unsuccessful because there are “no channels” for such criticism. Acceptance of the status quo is taught within schools.

“We need to change the children first,” she stresses. “The lessons are from the government. Children don’t think for themselves.” With social, political and educational factors establishing a barrier to progressive reform, what are the prospects for the future?

“It’s going backwards,” Lena says, referring to social views in the Middle East more generally. “I don’t know what Jordan will be like after a few years. Maybe it will get better, maybe we’ll be like our neighbours, Syria and Iraq.”

The conflict and violence in bordering countries has made people cautious. Social change can be regarded with suspicion as a means of destabilising the country at such a volatile time.

“We want change, but safety and stability are the most important things,” Lena tells me.

Madian, however, has a different perspective.

“You have to have age to view the trajectory. It’s much better than in 1997.” Madian opened Books@ in 1997. It was quickly infiltrated by government spies, concerned about the effect this establishment might have on “public morality”. These spies “outed” Madian to his family and friends. Now, nearly 20 years later, Madian says he has no trouble with the government or the police regarding his cafe and has since opened another branch in another neighbourhood. He sees Amman as a city that is changing every day, still finding its feet.

“Amman is a melting pot. There are so many backgrounds. People don’t know their identities yet.” In his view, this creates an ideal situation in which to take society to new places.

Just as I am getting ready to leave, Madian leans back slightly in his chair, completely at home in the safe space that he has created for “the rebels of Amman.” Smiling and with an unshakeable optimism he insists that the “rebels” are on their way.

The Art of the 140 Character Breakdown

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Teenage Angst is so over. That’s the basic premise of the wealth of accounts which form “Existential Twitter,” a darkly humorous, tragically ridiculous black hole of anti-comedy and self loathing that is fast becoming the popular face of social anxiety and low self esteem. The breakout star of this online sub culture is undoubtedly @sosadtoday, who’s parlayed her unique brand of self-absorbed nihilism into a quarter of a million online followers, celebrity friends, a Vice column, and coming in March 2016, a book of personal essays. God only knows what depths of tragic narcissism this long form format will allow her to reach. A typical @sosadtoday tweet goes something like this:

Extreme narcissism, self hatred, resentment and a jealousy, a penchant for overstatement. It’s all there in those seven words, those 42 characters. It’s both incredibly evocative and entirely meaningless, a passing thought given form, a mild grievance stretched into a manifesto. And the account averages just under ten of these throughout each day, meaning your miserable crisis of confidence or bout of insomnia need never be without external validation again.

The account and its extraordinary popularity has spawned a crop of enthusiastically depressed, equally anonymous imitators:

We see the hallmarks of delusion, obsession with their own mental anguish, the absolute, stifling isolation and self absorption that perceives nothing else except their own incessant internal monologue. And it’s hilarious because it rings so true.

It’s the ultimate comment on the social media age. It’s angst performed in quotation marks, determined isolation as spectacle. They pretend as if no one understands them, airing extracts from a mentally unstable teenager’s diary so that hundreds of thousands of like-minded individuals can read them, favourite them, retweet them, branding themselves through association with this shared isolation. It’s aspirational anguish – the end point of adolescent suburban ennui in this age of oversharing. A knowing wink to our morbid teenage selves.

The inherent ridiculousness of the spectacle is acknoweldged. Each tweet is ruthlessly crafted to go viral, to spread across twitter like a languorous plague. @sosadtoday routinely plays on meme culture and pop phenomena:

The repetitive frameworks and constant allusions to the same singers, feelings, formats creates the sense of unending downward spirals of negative thoughts and emotions. The feeds as a whole are self aware online performance art about the nature of existence in an online world.

 

Interviewed by Rolling Stone, perhaps the clearest indicator of @sosadtoday‘s pop cultural relevance, the brains behind the feed denied any shrewd calculation, claiming “Sadness is universal. Sadness is not a meme.” Her feed begs to differ, and this denial, and its obvious falsity, is perfectly on brand. Self aware self absorption.

 

The writers behind “existential twitter” have not emerged from a vacuum. They owe debts to the wider “weird twitter” subculture and its free form expression, which has produced real life literary stars such as @tao_lin. Perhaps @yokoono‘s twitter feed can be seen as a forerunner to these narcissistic performers. She regularly tweets abstract thought exercises from her recent book Acorn, which takes its root from as far back as the 1964 publication of her book ‘Grapefruit.’ Examples include:

It too is impenetrable and bizarre, turning the outward experience into a reflection on an inner experience. But where Yoko retains a boundless positivity for the capacity of humankind, @sosadtoday and her ilk are determinedly, impossibly moribund. Perhaps some proceeds from her book can go towards paying for what I imagine are her reader’s endless Cognitive Behavioural Therapy bills.

Review: Still The Water

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★★★★☆

Four Stars

Film, above all else, is a formal medium. It’s about the way things are arranged, scenes, shots, items in the frame. It’s about capturing, limiting, arranging. In Still the Water, Naomi Kawase softly, delicately, turns the medium on its head. With this latest film, set on one of Japan’s many small Satsunan islands, she crafts a film that exists beyond the screen and the earthly realities of filmmaking. Kawase creates an enchanting, mystifying fable that drifts and winds and takes on a life of its own. She’s crafted a world which hums with the energy and life of the supernatural one.

Kawase’s career began with the international attention awarded to her personal documentary works, which focused on understanding her emotional memory, such as that between herself and the grandmother who raised her. The films obsessed over her past, her ability with expression and articulation, and the limits of collective memory. More recently Kawase has moved into fictitious filmmaking, and despite becoming something of a Cannes darling in the process, her works have remained elusive in British multiplexes.

This all changes with the release of Still the Water, a haunting, lyrical vision of lives lived on the edge of death, on the border with nature. A body with a giant carp tattoo across its back washes ashore on a sleepy Japanese island, where Kyoko and Kaito spend their teenage years exploring beaches, cycling around the island, and gradually, tentatively, falling for one another. Kyoko’s mother, an island Shaman, finds her grip on life weakening, and the community is readying itself for her departure. Meanwhile Kaito struggles to suppress his adolescent rage, navigating his tightly wound internal world of swirling feelings regarding his parents separation, and his mother’s various paramours. As typhoons sweep in, this potent brew of death, sex and secrets is whipped up into a satisfyingly emotional storm.

The film possesses a kind of magic that hangs in the long silences and unspoken thoughts that comprise much of the film. It’s slow, meandering pace captures the feeling of island life, of limited prospects, of the mourning for a way of existence that’s gradually being eroded by the creeping behemoth of the mainland’s energetic commercialism. The delicate storytelling allows us to feel the weight of every considered utterance, of every emotion, expressed or otherwise. Kawase’s wandering camera, seemingly blessed with the ability to constantly be stumbling across the perfect moment, finds fascinating compositions and visuals which capture the inextricable connection between the intermingled natural, human and spiritual worlds. The story’s human struggles become located, visually and narratively, within a broader vision for humanity, where we must explore, return to, and locate ourselves within the wide, fertile, unmapped lands of nature.

Kawase uses many familiar symbols in the film – the ocean for the ebb and flow of life, storms to express angry outbursts. And thus she evokes the sublime. Thankfully, however, these symbols never feel sloppily conceived or arbitrary. On the contrary, Still the Water feels like a lived, understood, deeply felt attempt to tune our heartbeats to the rhythms and cycles of nature. It’s a film of discovery for the director, as much as it is for its characters to the audience.

The performances are uniformly terrific. Underplayed and still, the simplest conversations hiss with a tension that lies just beneath the ostensibly calm island lifestyle. Jun Yoshinaga as Kyoko is a fascinating centre, preternaturally skilled in revealing everything to the camera with a tilt of the head a down-casting of the eyes, a vague, soft guttural exclamation. Scenes between her and her various maternal figures glow with a shared melancholic pride. Her performance is as graceful as any of the natural wonders that Kawase’s lens absorbs. Her father, played by Jun Murakami, brings a levity and sunniness to an otherwise surprisingly dark film, and newcomer Nijiro Murakami plays his painfully internal arc with suitable, palpable awkwardness.

Still the Water is ultimately a rich, wonderfully observed and painful call to preserve a proximity with nature. In the hearts of the island characters, Kawase finds a stillness and peace that pines for a proximity to nature. A second act visit to Tokyo by Kaito offers the possibility of a population more intensely enamoured with human artifice, whose only link with nature is the cycle of day and night, and even then, this is hardly adhered to. Clearly, Kawase is not one of them. The film, along with Kaito returns to the island, and so she returns her attention to the earth and its textures, its fruits, and finally, its ocean. And so she finds a meditative bliss that washes over her, and her audience.

Style or substance: Djokovic’s 2015 Wimbledon victory

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Before anything, I want to go on record and say that the second-set tie-breaker of the 2015 Wimbledon men’s final between Djokovic and Federer was perhaps the best sixteen minutes of tennis I’ve ever watched. If you don’t believe me, drop everything you’re doing right now and watch the YouTube highlights kindly provided by Wimbledon itself.

Here are a few conclusions that I’ve personally drawn after watching that clip about fifty-seven times:

  1. Anyone who shouted out ‘go Roger’ or ‘come on Novak’ before their serves needs to think about what they were really doing. You’re not contributing anything to their game. In fact, ten pounds says that Novak and Roger are actually thinking, ‘please, can I just serve without you reminding me what my name is’.
  2. Why do players still have to wear white? Why isn’t there more discussion about this? I admit that the white and green aesthetic is refreshing, but surely requiring players to wear all white for every game should draw at least some debate on what tradition means and which traditions are worth keeping.
  3. Roger Federer’s Nike headband has to be the second most iconic sport accessories in human history, right before Allen Iverson’s shooting sleeve, and close behind Wayne Rooney’s unfortunate scalp.
  4. I’m 99.9% sure that Roger Federer is as close to a tennis artist as we’ll ever see. The man doesn’t just hit winning shots – he hits them with such breath-taking elegance that it made me think that this must be what it was like to watch Mozart play the piano or to observe Gordon Ramsay cook a Beef Wellington. At almost 34, Federer still plays with a degree of grace that is unmatched and more importantly is still as competitive as anyone out there on tour right now. Djokovic sprinted out to a 6-3 lead, before Federer fought back to tie it; then each time that he was down, Federer struck back with a ferocious forehand or an unfairly accurate volley. And this was against the number-one ranked player in the world at the peak of his powers.
  5. Speaking of said number-one ranked player, Djokovic is no chump either. The man is clearly very, very good at tennis. Whilst Federer was dazzling folks with his gracious swings and delightful runs to the net, Djokovic remained as composed as ever, hitting each shot with an unparalleled level of control. If Federer’s approach is artistic, then Djokovic’s approach is scientific – every angle is calculated, and nothing is left unexploited. Oh, you’re standing ten centimetres too far to the right? Here, try to return this forehand, I dare you. Yes, he did lose the tie-breaker and consequently the set, but Djokovic nonetheless demonstrated why many consider him to be the best player in the world today.

Ultimately, the final was decided by the contrast in styles – Djokovic’s consistency proved to be too much for Federer’s flare. After shouting at himself and angrily chewing some gluten-free protein bars, Djokovic proceeded to casually win 94% of his first-serve points and committed only two unforced errors in the third set. It wasn’t just impressive, it was downright outrageous. How in the world do you play against that kind of consistent quality?

Djokovic may never be as loved as Federer from a fan’s perspective. As it stands right now, Federer has an edge on Djokovic in terms of titles, pizzazz and fan favour – if you watched the clip, then you can’t help but notice that a lot more people were cheering for Federer than for Djokovic. And in all honesty, this is somewhat understandable – tennis, like many other sports, isn’t all about winning, and often its main appeal is the style and grace by which the player conducts himself on the court. In this regard, Federer exists to be admired, whereas Djokovic normally plays a more villainous role. This is depicted not only through his controlled but vicious playing style, but also through his rather aggressive antics during the game, which typically included ripping a few Uniqlo shirts and hurling abuse in five different languages at himself and everyone within the five-mile radius.

However, despite the fact that there are currently two active players (Federer and Nadal) with greater lifetime achievements than he is ever likely to achieve, Djokovic is nonetheless the best player in the world right now, and Wimbledon 2015 only added to his growing legacy. He may not be as appealing an athlete as Federer nor as overwhelmingly passionate as Nadal. He may lose control of his emotions from time to time that may draw more disdain than love from the fans. But if Djokovic continues to win with his ruthless precision and unwavering competitiveness, then does any of this really matter?

The machine can catch fire, but the machine will keep running, and at this point nothing seems to be able to prevent Djokovic’s domination.  

Lily-Rose Depp and childhood fame

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There is something highly fascinating about Lily Rose Depp. Her mother is the beautiful French singer and model Venessa Paradis, whilst her father Johnny Depp is one of the biggest names in contemporary cinema. At the mere age of sixteen, Lily Rose is set to co-star in Kevin Smith’s Yoga Hosers later this year. And as if that isn’t enough, she is both an ambassador for, and the new face of Chanel. Chosen by designer Karl Lagerfield to be the face of the brand’s new pearl eyewear (due September 2015), Chanel has described her as a “baby doll in a world imbued with sweetness and femininity”. Yet surprisingly, Lily Rose’s parents have received a backlash of anger at their eldest child’s ‘controversial’ debut into the world of fashion, with many pointing out that Depp is too young to be exposed to the industry at such a young age.

The debut Chanel clip shows Depp peering under her lashes at the camera in a pink pair of Lagerfield’s glasses. Despite it being a mere ten seconds long, concerns have been expressed about the ‘seductive’ looks and Depp’s ‘pouting’. Child psychologist Dr Michelle Elliott says, “Sixteen-year-olds are not mentally, emotionally or intellectually able to cope with the pressures that these modelling situations place them in.” Whereas it is true that Lily Rose Depp is still very young, the upset over the campaign and over her ‘tender’ age seems largely excessive.

Both of Depp’s parents achieved world fame at a very young age. Johnny Depp became a teen icon after collaborating with the band Rock City Angels and Venessa hit international stardom at the age of fourteen with her debut single Joe le Taxi. By eighteen, Venessa was herself the face of Chanel. Her wonderful Coco L’esprit de Chanel campaign in 1991 shows Paradis enticingly swinging from a bird cage in a Parisian apartment. It is no surprise that Chanel want a younger version of Venessa Paradis to represent them once more, and if they deem her daughter fitting enough at the age of sixteen, why should they have to wait another two years?

There is no denying that the modelling industry is harsh, and high-end modelling is undoubtedly an even tougher environment, but it is a difficult business regardless of whether the model is sixteen or twenty-six. Nonetheless it is necessary to point out that Depp will always have it a little easier than other models. Her parent’s combined fame has rocketed her popularity, and it is unlikely that she will be used or severely mistreated by the industry; as is often the risk with young models who don’t have her claim-to-fame or who cannot afford a good enough agent.

The expressed anger at Depp’s parents also serves to highlight modern day perceptions that often discharge a child’s capability to succeed. It was not very long ago that children were generally expected to behave as adults from much younger than the age of sixteen. Thankfully our culture has evolved since such pressures were placed on youngsters. This does not mean however, that a sixteen year-old is incapable of starting a successful career, nor of coping with ‘adult’ pressures. The word ‘child’ is often used in a dismissive sense by adults; for someone who is weak, incapable of managing themselves, and unqualified to deal with ‘adult’ situations.

Yet Lily Rose Depp’s parents are both fully aware of the pressures that come with child-fame. If they have been able to recognise that she is capable of starting her career at the age of sixteen, and willing to assist her with it, criticism is the very last thing they should be receiving. 

 

 

Cafe Coco in "racist" poster controversy with students

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A series of complaints have been directed at Cafe Coco on Cowley Road by students this week, concerning a poster which they hold to be racist displayed inside the café which is clearly visible from the street.

Yussef Robinson, BME officer-elect at St. Hilda’s College, the closest college to Cafe Coco, told Cherwell, “The poster is a clear example of old racist advertising. Comparing black people to monkeys and caricaturing our features. It is the familiar trope of black people being portrayed as happy apes. If you look at the poster yourself, the racism is clear.”

Complaints about the poster had been made “in a lengthy email, sent about a month ago to Cafe Coco, [and] which gave a full explanation of issues with the poster’’. Robinson added, “On top of this another student at St. Hilda’s complained over a term ago about the poster in a suggestion slip; this was also ignored.”

On Thursday, a further student, Rowan Davis of Wadham College, who had gone into Cafe Coco to raise concerns, told Cherwell, “I made a complaint to the manager, emphasising the racist nature of the picture and instead of taking constructive criticism about his establishment he ignored the concerns and burst out laughing as I walked away, showing complete disregard for the very real issues that people of colour have brought up to me.”

Zuleyka Shahin of Balliol College, who went into the café to complain yesterday, said, “They basically heard me out and refuted what I stated. It was a long, but calm discussion of sorts. They do not see an issue.’’

A spokesperson for Cafe Coco commented, “No complaints have been laughed off by the management. We take all complaints very seriously.’’ He added, “The complaints are being addressed, and looked into.’’

Yussef Robinson, however, has yet to receive a response from the establishment, saying, “Coco’s management have repeatedly ignored concerns and belittled complaints surrounding this deeply racist poster. Perhaps they think the ‘vintage’ decor theme should be accompanied with 1930s racism too.”

Update 09/09/15: Cafe Coco has told Cherwell that it will be painting over the poster.