Sunday 31st May 2026
Blog Page 1339

Somerville’s summer school shame

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Somerville College has admitted that it is “concerned” about the advertising material on the website of one of the summer schools that uses
its grounds.

The College told Cherwell that it instructs all summer schools with which it has dealings not to hold themselves out as representatives of the College or University, or to claim to be able to help students with admission to Oxford.

The Oxford Institute, which runs a residential academic course for a month at Somerville over the Long Vacation, costing £6,499 for a four week course, informs visitors to its website, “We offer comprehensive courses to help students prepare for the admission process at Oxford and
Cambridge Universities.”

The website goes on to claim that The Oxford Institute is “perfectly placed for students who intend to apply for admission to Oxford and Cambridge Universities”.

James Blythe, OUSU’s VP for Access & Academic Affairs, was keen to quash the idea that paid summer schools would increase a student’s chances of receiving an Oxford offer, saying, “The message must come loud and clear from everyone in Oxford to potential applicants: you do not need to spend any money on any private company’s programmes to get a place here.

“While I understand the financial challenges facing the colleges and the benefits to students that conference income brings, any benefit must always be weighed up against the potential damage to access to this University caused by allowing an organisation use of college premises, with the implicit or explicit suggestion of a close relationship between the college and the organisation.”

Somerville College told Cherwell that they had been in contact with The Oxford Institute and asked them to change their advertising. At the time of publication, however, no changes had been made.

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In a statement, the College said, “When the Conference Office accepted the application from The Oxford Institute originally, they signed a contract agreeing not to represent themselves as being in any way part of Somerville or the University. The current wording on their website is not as clear as we would like, and we are concerned also about the implication that they would be training people in how to apply to Oxford: both of those things have to change if Governing Body is to be content, and we have told Oxford Institute
so.”

However, Adnan Rafiq, Director (Social Sciences) at The Oxford Institute insisted to Cherwell, “Admissions guidance is only a small part of our programme and less than ten per cent of teaching time is dedicated for this purpose. Our summer programme can therefore not be dubbed as ‘Oxbridge Admissions Training’. Blowing the admissions advice aspect of our program out of proportion is unfair.”

He also repeated the claims from the school’s website, saying, “However, our programme is indeed valuable for students who are interested in obtaining admission in top universities and some of our students have indeed been accepted at the best universities in the world, including Oxford.”

“20 per cent of students enrolled on our 2014 programme were on fully funded scholarships… and were selected on academic merit.”

A video on The Oxford Institute’s website refers to Somerville College’s Senior Tutor, Dr Steve Rayner, as a “guest lecturer”, and shows him talking to students. Dr Rayner told Cherwell that he was in fact giving an admissions talk, explaining how the Oxford application process worked.

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There has also been controversy around Oxford Summer Courses, another summer school which uses Somerville College grounds. Somerville JCR voted in Novermber to express its disapproval that College grounds were being used for a school which, in its view, was “damaging to access”. 

However, while Somerville admitted that The Oxford Institute had failed to follow the College’s guidelines on advertising, it denied that Oxford Summer Courses had done anything wrong, pointing out that nowhere does Oxford Summer Courses claim explicitly to help prospective Oxford applicants. 

Investigating this, Cherwell emailed Oxford Summer Courses, posing as a sixth-form student worried about applying to Oxford, and wondering if the course would help. 

Barbara Phipps, the Course’s Admissions & Courses Administrator, replied, “We can certainly help you with interview practice whilst you are with us. All our staff are either current undergraduates or alumni. They have been through the process and will be able to help you with what to expect. All you need to do is decide which subject you would like to study”. 

Back in November, Somerville College told the JCR, “The summer schools we host are not acting as interview training camps,” and it repeated this assertion to Cherwell, saying, “The OSC website does not sell the company as preparing people for the interview process. The email you sent (which we have not seen) was presumably a personal request for interview help, and the answer you quote them as giving appears to be legitimate.”

Meanwhile, Robert Phipps, Director of Oxford Summer Courses, was quick to defend the programme, saying, “To make you aware, I have been through our application data and in the entire history of Oxford Summer Courses less than 0.2 per cent of the applicants have gone on to study at Oxford University and less than 1 per cent of the students who attended Oxford Summer Courses have gone on to study at Oxford Univeristy.

“There are some organisations that offer Oxbridge admissions consulting (with success rates well above the c. 20 per cent average) however we would wish to distance ourselves from those providers as we are in the business of running an academic summer school.”

Abby Carroll, who has just completed her tenure as Access Officer at Somerville, did not agree with the College though, telling Cherwell, “I think it’s encouraging that they’re taking our worries seriously enough to contact [The Oxford Institute] and ask them to remove any potentially misleading advertising, although it’s my opinion that these companies rely on people assuming they’ll be given an advantage in the application process by taking part and do little to dispel this assumption.

“The OSC website is considerably more subtle than The Oxford Institute’s, but it’s about the affiliation with Oxford, the ‘Oxford life’, the Oxford tutorials. Using University property gives the impression that they’re sanctioned and encouraged by the University (although OSC explicitly states they’re not affiliated with either the University or the College), and I think this gives participants the impression they’re helping their chances.”

Another anonymous Somervillian, a former tutor for the charity Team Up, commented, “The University and its colleges need to act to stop our facilities, image and names being used to manipulate potential applicants and do lasting damage to access.”

Oxford students bopping mad at controversial St Hugh’s theme

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St. Hugh’s College made a controversial decision to change the theme of their first bop of Hilary term from the student-elected ‘Queerbop’, to a more generalised ‘Express Yourself’.

The LGBTQ rep at St. Hugh’s, Matthew Shaw, explained to Cherwell, “Over each vac Hugh’s students vote on a poll for the bop themes for the following term which have all been suggested by the JCR and compiled into a poll, out
of which the theme ‘Queerbop’ came top. Numerous concerns appeared to have been raised with the Entz reps over the theme. Concerns were mainly raised for two reasons, people felt uncomfortable or excluded by the theme, or did not understand the meaning of the word.

“Whilst I completely understand that not everyone understands the term queer or queer culture, hushing it away does not improve the situation but merely silences an important voice and damns any further notion of the understanding and progress that can be made. I think it is a shame that what would be a celebration of queer culture and support for the LGBTQ community at Hugh’s could be perceived as exclusionary, uncomfortable, and that people immediately thought they would offend or ridicule instead of celebrate and support; there is clearly more work to be done.”

Tasha Gillies was among those who disagreed, commenting, “The theme just
seemed a recipe for disaster. Any costume under a queer theme would just
represent one of the many harmful ideas of who queer people are, as if all LGBTQ people can be shoehorned into one distinct way of looking.”

Commenting on the change, OU LGBTQ Society President Otamere Guobadia said, “I feel for the queer St Hugh’s community, who are being denied the wonderful feeling of being prioritised and represented in the oppressive framework that is mainstream culture and college life. We have Black History Month and LGBTQ History Month because things like heteronormativity and white supremacy are so ingrained in the way people are raised that minority history and culture are relegated to the margins; I think that this erasive rebranding of the bop under the guise of preventing
offense is ridiculously paternalistic and othering hen it was clearly the popular choice.

“Frankly I give absolutely no fucks if straight people are rendered uncomfortable by the thought of having to, for once, channel nonnormative
ideas of gender and sexuality at a bop without devolving into tasteless parody
or making queer people the punchline of a bop costume. Conversely the ‘kid glove’ fear advocated by straight people who believe it is impossible to interpret a queer theme inoffensively is bullshit. There are lines between
appropriation and appreciation which take common sense and empathy to respectfully navigate, and at Oxford we should all be capable of doing so.

“Misplaced post-queer, assimilationist ideas convince people that there is not a necessity of queer spaces and events because we are all just part of the human race, and there is no ‘straight bop.’ But guess what? Under
Patriarchy every fucking bop is a straight one.”

St Hugh’s Entz reps could not be contacted for comment.

Ebola treatment begins trials in Liberia

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A team led by Oxford researchers has begun a trial of the latest potential treatment for the on-going Ebola epidemic.

The team is investigating a drug called brincidofovir, which has already been used to treat Ebola patients around the world. Ebola, which has claimed over 8,300 lives, still has no definitive cure.

Brincidofovir is an experimental oral treatment developed by private American
healthcare company Chimerix. Run by volunteers from Doctors Without Borders and the University of Oxford and funded by the Wellcome Trust, the cooperative trial will test the effectiveness of the drug.

Up to 140 adult Ebola patients in Liberia’s capital Monrovia, one of the cities hardest hit by the West African outbreak, are undergoing two weeks of brincidofovir treatment. To determine the drug’s impact, researchers will
compare the fatality rate of these patients with previous death rates in the hospital.

Professor Peter Horby of Oxford’s Centre for Tropical Medicine and Global Health, the trial’s chief investigator, said, “The Ebola epidemic is causing an unprecedented health and socioeconomic crisis in West Africa. There are many things that need to be done.’’

“Amongst them is a proper evaluation of experimental treatments that have been developed for Ebola virus disease. The only time we can fully evaluate these potential therapies is during an Ebola epidemic.”

Typically, clinical trials of treatments for deadly viruses like Ebola take over a year to organise. However, the scale and urgency of the epidemic means that this Oxford-led trial has come together in less than four months.

Since the epidemic’s outbreak in late 2013, Oxford has been a leading figure in Ebola research. Over the past few months, Oxford has hosted several trials of mass-produced preventive vaccines that may be used to protect healthcare workers in affected countries.

Oxford’s efforts to develop a treatment, which include an upcoming study of another drug in Sierra Leone, are part of a wider global rush to develop therapies, vaccines, and even a cure for Ebola.

Professor Trudie Lang, another member of the Oxford research team, emphasised the value of thorough, well-funded scientific trials like the one run by the University of Oxford and Médecins Sans Frontières. “It is important to do a trial because you cannot learn about a drug from treating individuals,” she told Cherwell.

“We are setting out to evaluate several potential therapies within the rigour and formal protocol of a clinical trial, with the aim of identifying an effective and safe treatment that is oing to be available for African communities
at scale.”

The first Ebola patient received the study drug on January 2nd 2015. If this ongoing trial is successful, Lang explained, there will be a second, larger trial in one of the three countries most affected by the epidemic – Guinea, Liberia, or Sierra Leone. If that too had positive results, brincidofovir would be released on a wide scale.

City Council Slashed by Central Government

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The Government Revenue Support Grant to the Oxford City Council is expected to fall from its current value of £4.43 million to nothing by
2019.

Deputy Leader of the Oxford City Council, Executive Board Member for Finance and Labour councillor, Ed Turner, informed Cherwell, “We
estimate that over the period of the coalition government we’ll have lost around 47 per cent of our government grant, and it is clear from
the Chancellor’s Autumn Statement that there is even worse to come. This is clearly dreadful news for all who are concerned about public services.”

Turner explained, “There is an aim to reduce the national deficit (an aim which the coalition has been failing to meet at anything like the pace it anticipated by 2018/19), and the vital services provided by councils do not appear to
be much of a priority.”

The Head of Finance at Oxford City Council, Nigel Kennedy, added, “The bulk of this target will be achieved through cuts in local government spending.” The Local Government Association (LGA) has estimated that the spending
cuts in local government funding may be as high as 40 per cent. For this next year, the Government Revenue Support Grant is expected to account for 19.2
per cent of the Oxford City Council’s net budget requirement, compared to 26.4 per cent in the previous year.

Different sources of funding will therefore constitute a greater proportion of the council budget in the coming years. As Turner told Cherwell, “Council tax becomes a bigger proportion of our overall budget.”

He added, “However, we are not allowed to raise this by more than two per cent (without a referendum, the legal requirement which is constructed in such a way that it isn’t really practical).

“So we need to work even harder to generate other sources of income, including trading with public and private sector bodies, and work more efficiently, doing things like reducing the amount of office space we occupy, and looking at the way in which we work. We are not considering outsourcing large areas of council activity, as some councils are doing.

“In recent years, we have had to take many tough decisions – such as charging for services like garden waste collection which used to be
free – and there is no doubt that there will be some more.

“I would expect cuts to the Council to have a very bad impact. Next year we will see the implementation of cuts to homeless hostels in central Oxford, and I am gravely concerned about those receiving social care.”

The vinyl revival: just a fad or here to stay?

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For the record, vinyl sales never fully disappeared, despite the efforts of the shiny, streamlined compact disc to smash them. But, with music industry giants such as Spotify and iTunes rendering the CD obsolete, we are now seeing the analogue countertrend. The record is becoming an antidote to our soulless streaming culture – not just for the die-hard audiophiles and nostalgic collectors, but for a younger generation too.
 
Last year – for the first time since 1995 – over 1.3m LPs were sold in the UK, with Pink Floyd, Arctic Monkeys, and Jack White driving this surge. A similar trend can be seen across the Atlantic, where 9.2 million vinyls were sold – the highest since Nielsen began tracking the data. Vinyl sales were in fact the silver lining of a cloudy and miserable picture of overall album sales, which fell again last year. 
 
Carl Smithson, manager of Cowley’s analog-championing independent record shop, Truck Store, has also borne witness to this trend in the store, where there’s been a marked upsurge in vinyl sales over the last two years. “For me, the most interesting aspect is the sheer diversity of people getting into, or back into, vinyl,” Carl says. “There’s the traditional audiophiles and collectors of course, but there’s also been a big surge in younge buyers making a conscious effort to buy something tangible they can really treasure, often buying an album they’ve owned on CD or streamed, but which they want in a format with more longevity and romance.”
 
“The other great thing with vinyl,” Carl enthuses, “particularly in this world of playlists and iPod shuffles, is that people are truly re-connecting with the concept of an album as a complete work. People are making a point to listen to these albums in their entirety and are choosing the format which adds most value to that experience.”
 
For all the inadvertent effects that online music services have had on vinyl sales, there have also been some smart moves made by the music industry, accounting for the timing of this resurgence. Including a download code with vinyl records has allowed object fetishists and collectors to listen to music without depreciating the value of the vinyl, while events such as Record Store Day have brought about huge media attention. These trends are also being
reflected in the changing nature of record stores. “The High Fidelity style snobbery is simply not viable anymore and it’s being replaced with a much more welcoming shopping environment,” Carl tells me. Despite this seemingly
increased access to the vinyl format, the entire industry is still only a drop in the ocean of overall music sales (two per cent). One of the perpetual problems faced by the industry is insufficient infrastructure in manufacturing the large wax discs. The resurgent wave of vinyl popularity is putting even more pressure on the already tiny number of record pressing plants and driving prices up further, making a vision of vinyl as more than a niche product a distant reality. Until now, that is.
 
Not only has America’s largest record pressing plant, United Record Pressing, promised to open a second plant, eventually tripling its capacity, but the DVC (Desktop Vinyl Cutter) – a project started by Australian engineer Paul Butler Tayar and tech team Machina.Pro – is now under development after a crowdfunding campaign. Tayar hopes to democratize the vinyl industry with his “turn-key” stereo cutting system, which lets you plug in your audio
and cut straight to vinyl – the final frontier to absolute music self-sufficiency.
 
Carl, too, is optimistic about another fruitful year for record sales. And these latest developments in vinyl manufacturing could just be the cherry on top.
 

The Second Coming of D’Angelo

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Although a month has passed since the release of D’Angelo’s new album, Black Messiah, the buzz around his unforeseen comeback isn’t dying down yet. The hype over his ‘second coming’ is warranted by his fifteen year-long vanishing act, which was shrouded in speculation and intrigue. His last album, the R&B slash neo-soul masterpiece Voodoo, has been bled dry for nearly a decade and a half whilst the long in the making follow-up became another studio myth for despondent fans.
 
But those patiently waiting for 14 calendar runs have been rewarded big time with this offering, which feels almost more like one, monumental piece of music than a sequence of songs; a river meandering from one after-hours jam session to the next, masking the effort and labour behind it. In ‘Sugah Daddy’, the standout track, D’Angelo reminds us in his silky smooth voice that you “can’t snatch the meat out of the lioness’ mouth/Sometimes you gotta just ease it out.”
 
Having been once hailed as the next Martin Gaye and dubbed ‘the R&B Jesus’ by Robert Christgau in 2000, the singer, songwriter, multi-instrumentalist and producer found himself crippled by the overwhelming pressure of stardom, causing him to retreat from the spotlight completely, much to the dismay of fans pining for his chiselled torso as flaunted in the video for ‘Untitled’.
 
During his hiatus, D’Angelo had two stints in rehab, grappling with drink and drug addiction, some run-ins with the law and a near fatal car accident in 2005. In the meantime, America had its first black president, and a Jay-Z and Kanye West discography.
 
There are moments of nostalgia, a large dose felt poignantly in the lines, “I just wanna go back, baby/Back to the way it was,” as well as in the album’s analogue warmth, which sets it apart from the ultra-synthesized R&B vocals we’ve become so used to hearing. But with its political message, underlined most explicitly in ‘The Charade’s’ “All we wanted was a chance to talk, ‘stead we only got outlined in chalk,” and the timing of its release, following the Ferguson protests and the ‘I Can’t Breathe’ movements, it is right on cue.
 
D’Angelo doesn’t shy away from the reality of his intervening years, singing, “So if you’re wondering about the shape I’m in/I hope it ain’t my abdomen that you’re referring to,” in ‘Back to the Future (Part I)’. But his effortless virtuosity and soaring, inimitable vocals, are enough to quell any slight trepidations, and sate a fifteen year long appetite. 
 

Review: Ghost Culture – Ghost Culture

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★★★★☆
Four Stars
 
Mysterious London producer, Ghost Culture, has debuted with a spectral eponymous album. Contorted and disfigured basslines drone into grinding disarray, as whispered vocals drift over the sonic chaos. He describes himself as emerging from the London fog, but after a late night listen it’s fair to say it’s more the other way round. 
 
Track after track draws us into the mists of Ghost Culture’s gloomy and seductive netherworld. The man on the shadowy cover is 24 year old producer James Greenwood. Initially his credentials were scant, confined to the dark recesses of bedroom synthesizers and optimistic SoundCloud uploads. But after making a name for himself at the Phantasy Label, he was offered his big break by boss Errol Alkan. The result is captivating. 
 
The opening track ‘Mouth’ weaves undulating strands of laidback beats into a curt finish before segueing perfectly into the stand out track ‘Giudecca’. It’s an addictive and catchy tune that mixes dark gloopy beats with an accessible dance floor feel. The album gets mellower mid-way with ‘Glaciers’. It feels like a ponderous recycling of the promising start and as such, is the only low point. It finishes, however, with the delightfully loopy ‘The Fog’, a suitably murky and mysterious end to a murky and mysterious album. Overall, a strong effort that promises much for the future.
 

Picks of the Week HT15 Week 1

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Too Much, Too Young, Friday-Saturday, 7.30pm, Burton Tailor Studio

A one-man show by actor-cum-comedian Jack Bennett, arguing that life-changing decisions should not be left up to teenagers. Promising a mix of humour and seriousness, Bennett aims to amuse by asking big questions.

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Deep Cover, Friday, 10pm-3am, The Cellar

The legendary hip hop night at Cellar returns, this time co-curated by P Money, and taking on, as one might expect, a distinctly grimy flavour. This also serves as the Oxford stop of the ‘Originators Tour’ for P Money, Big Narstie, Darq E Freaker and others. £8 entry with a flyer.

Skeletor ft. Ignite The Sky, Saturday, 6.30pm, O2 Academy

If you need a heavy metal fix for the beginning of term, this is the night for you. Featuring headliners Ignite the Sky,and four other supporting acts, prepare to get your mosh on.

Set Fire To The Stars Q&A, Tuesday, 6pm, Phoenix Picture House

A screening of the film that follows Dylan Thomas’ hellraising tour of American universities in the 1950s, starring Elijah Wood and newcomer Celyn Jiones. The screening will be followed by a Q&A with producer AJ Riach.

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Alvin Roy Reeds Unlimited, Tuesday, 8.30-11pm, The Bullingdon

If heavy metal isn’t your thing, then this relaxed night of jazz at the Bullingdon might be much more up your street. It’s free entry all night, so turn up and enjoy syncopated beats from the winner of the British Jazz Band Contest (in 1960).

William Blake Special Printing Demonstration, Friday-Friday, 10am-12pm & 2pm-4pm, Ashmolean Museum

As part of the Ashmolean’s extended exhibition on William Blake, guest curator Professor Michael Phillips will use a Nineteenth Century printing press to demonstrate how Blake himself would have performed the printing process.

Mark Watson: Flaws, Thursday, 7.30pm, Oxford Playhouse

Multi-award winning comedian Mark Watson returns to the Playhouse for his latest tour, Flaws. His darkest and most personal show yet, it also shows a return to the verbal and physical dynamism of his younger days.

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Quids In, Friday, 10pm-3am, Lava Ignite

An alternative to Wahoo on Friday, this night at Park End promises “top tunes, incredible drinks deals and an unforgettable party atmosphere”. Free entry before 11. If that doesn’t sound like your cup of tea, you probably just have discerning taste in how you spend your leisure time.

 

Milestones: The Beer Widget

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Genius and innovation go hand in hand. Any brain brilliant enough to be considered genius will inevitably produce something to improve the world around them, and these inventions are what drive human achievement. Just take a moment to think where we’d be as a civilisation without the wheel, the plough, the printing press, the refrigerator or the ballpoint pen. 

Consequently, the modern man is no longer plagued by the tribulations of the past. The telephone means we no longer have to wait an agonisingly long time for a handwritten letter from a loved one. The jet engine means we can travel thousands of miles in the time which our ancestors would have taken to travel tens. Yet, we are constantly affronted by fresh problems in our lives. 

Take the greatest issue facing our species in the current era: the quest to relax. In a world that is rapidly running out of food, water, inhabitable space, fossil fuels and bees, the importance of kicking back, opening a can of beer and just chilling has never been greater. It is at this juncture that we meet the greatest unsung inventors of the twentieth century: Alan Forage and William Byrne. 

They had the common person’s concerns at heart. Canned beer was the pivotal step in allowing the public to relax in the comfort of their own homes. But it was also widely known that lesser carbonated beers had never successfully survived the canning process. Guinness, the company for whom our dynamic duo worked, set up Project ACORN (Advanced Cans Of Rich Nectar) to valiantly resolve this issue. 

Their solution was the widget, the most beautiful ball of hollow plastic the world has ever known. This elegantly simple creation was filled with nitrogen during the canning process, and placed in the beer so that it would re-release the gas once the can’s tab was pulled. This created the ideal level of gas bubbles and liquid. What that means in layman’s terms is a cracking foam head on every can of Guinness, Tetley’s and John Smith’s you could ever imbibe. 

The widget not only makes sure the foam is as substantial as one pulled in a pub, but the additional nitrogen also ensures the foam is creamier and better tasting. Consequently, it was a win-win for Guinness on every front; it meant their stout tasted good whether on the go or at a bar, and it meant they had a new product to mass market. By 1989, in a quest for innovation that began in 1968, Forage and Byrne’s genius had pushed human achievement to its greatest pinnacle yet. 

So the next time the year 1989 springs to mind, remember it wasn’t significant just for the collapse of the Berlin Wall. And the next time you kick away an empty Guinness can into the gutter and hear a mysterious rattling noise as it rolls, remember what that noise means. That noise is the siren song of the widget, the answer to humankind’s most profound problem (surrounding the issue of effectively canning lesser-carbonated hops-based drinks). For now, we can revel in all our beers having sufficient foaming heads. And really, who couldn’t do with a bit more head?

"Washing the dust of daily life off our souls"

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“The purpose of art is washing the dust of daily life off our souls,” according to Picasso. Assuming one of the most influential artists of all time knew something about the trade that kept his kids in shoes, we should accept that good art involves the individual, facilitates clarity of understanding, and, in general, gives people a bloody good, thought-provoking time. Art should cleanse, art should inspire, and art should invigorate.

How is this best achieved? To that, there is no single answer. Picasso and his avant-garde contemporaries may have argued that provoking the viewer into re-evaluating their preconceptions was key. One imagines that politically motivated artists like Banksy or Ai Weiwei would attempt to engage with the viewer on an ethical, rational level. But in the global, commercially-driven spheres of popular music and film, I would suggest that emotional involvement is paramount.

The latest Taylor Swift song or Hollywood blockbuster seeks to find success with as large an audience as possible, and to do that, it utilises recognisable (if not always relatable) emotions in an evidently manipulative way. In short, it attempts to involve the viewer or listener by making them feel.

And this, for the most part, is a tremendously effective approach. Its artistic merit placed to one side, I think you would be hardpressed to find anyone who wasn’t just the tiniest bit affected by Frozen, or by Katy Perry’s Fireworks. Yeah, Katy, I will make them go oh-oh-oh as I shoot across the sky-sky-sky.

But what happens when complex, real-life stories are approached through these, for want of a better word, populist mediums? Are awkward, un-fairytale-like themes butchered into cute, kitsch banalities? Are difficult issues ignored in favour of happier conclusions? Is high-level academic theory reduced to the most layman of layman’s terms? Is fact entirely reduced to disrespectful fiction?

The stories of Alan Turing and Stephen Hawking are particularly relevant examples because two films depicting their lives, The Imitation Game and The Theory Of Everything respectively, have been released in the past few months, both to widespread critical acclaim.

No-one could argue that the stories of their lives are straightforward. Alan Turing suffered childhood tragedy when his best friend died of tuberculosis, he endured the traumas of both world wars and played a major role in ending the second by cracking the Enigma code, only subsequently to be prosecuted for homosexuality and to commit suicide in June 1954.

Stephen Hawking was diagnosed with motor neurone disease whilst studying for his doctorate in Cambridge. His continued devotion to pushing the
boundaries of cosmology is undoubtedly inspiring, but his personal life, particularly his strained relationship with his first wife Jane, is far from formulaic.

How are their stories and achievements treated in their respective biopics? The Imitation Game, which starred Bendict Cumberbatch as Turing, was damningly labelled “multiplex-friendly” by Christian Caryl and “soft-focus cinematic capital” by Catherine Shoard. It is difficult to disagree.

Although undoubtedly an emotionally engaging and artistically sound film, it deserves the heavy criticism it received, both for its exceedingly tentative attitude towards Turing’s homosexuality, which is rarely more than hinted at throughout, and for the frustratingly brief description of the science that led Turing and his team to break the Nazis’ “unbreakable” code.

As a result, The Imitation Game is little more than the cinematic equivalent of a chart-topping Katy Perry song: predictably moving but ultimately unrecognisable to the point of disrespect. Its is a shallow success, one built on hackneyed themes, limited pretensions to scientific complexity, and above all, cheap sentimentality.

The Theory Of Everything addresses the difficult issues at its heart with considerably more courage, with Eddie Redmayne’s powerfully physical portrayal of Hawking providing a major contribution. We are left under no illusions as to the viscerally debilitating nature of his condition, nor are we fobbed off with a cosy, wide-eyed love story; the strain the Hawkings’ marriage is placed under is foregrounded, and the thought-provoking implications are never side-stepped. Even his scientific theories, which are so far evolved from my own intellectual capacity as to be virtually nonsense, are, if not detailed fully, at least sketched in. And as a result, it is infinitely more powerful.

Art should wash the dust of daily life off our souls, as Picasso said, and in the world of film, it is emotional engagement that truly registers as a good soul-cleansing sesh. Both The Imitation Game and The Theory Of Everything involve the audience, but only the latter does so in a commendable fashion.

Neither Turing nor Hawking are paradigmatic Prince Charmings, and they should in no way be treated as such. They are both exceptionally intelligent individuals who have achieved remarkable scientific leaps and who have had to face the stigmatisations society has placed in front of them. Their stories, and those like them, should be treated with the respect and complexity they deserve.