Friday, May 16, 2025
Blog Page 136

A24’s Rise Through the Ranks

Eden Kilgour and Matt Unwin
-
0
A24’s Rise Through the Ranks

Celine Song’s moving debut ‘Past Lives’, the most recent release for distributor and producer A24, is being showered with critical acclaim, but this sort of praise is nothing new for the studio. We’ve all seen it — the flashing white and RGB animated logo that characterises one of the most rapidly-rising studios of this century, and which has now formed a distinct brand, and spawned a dedicated cult following. 

The studio was founded in 2012 by Daniel Katz, David Fenkel and John Hodges, with a name lifted from the Italian A24 motorway that Katz was driving along when he decided to found the company. Such a name seems fitting: the A24 motorway crosses hilly and mountainous terrain, forcing it to employ several daring and unorthodox civil engineering solutions, mirroring the novel storytelling techniques employed by A24’s own films. Whilst these have no singular common characteristic, tending to span diverse genres, settings and plots, still many recognise elements of their films that make them distinctly ‘A24’.

Since their inception, A24 films have risen almost exponentially into the public consciousness, producing and distributing landmarks of contemporary cinema like ‘Lady Bird’, ‘Ex Machina’, ‘Moonlight’ and ‘Hereditary’. 

It would be far-fetched to state that these films have anything remotely in common, but they are alike in their unique tone and voice. Perhaps the film that best encapsulates the studio’s philosophy is ‘Swiss Army Man’. This film, by the same directors as ‘Everything Everywhere All At Once’, centres on a relationship between a castaway and a farting corpse. Most distributors were hesitant to pick it up, but A24 leapt at it. It seems that they saw in ‘Swiss Army Man’ something that traditional studios did not – that its bizarre gimmick and strange humour wasn’t a turn-off, but in the age of the internet, was a unique selling point that could market the film. They believed that the film’s unique voice and storytelling would stand out, especially in a world of increasingly risk-averse mainstream studio releases. 

The reason this comes through so distinctly is the fact the company works almost exclusively with writer-directors and pride themselves on being creator-driven. Thus, their films often feel intensely personal and hand-crafted, with edges that haven’t been worn down by multiple redrafts from different writers and studio interference. Through their fundamental loyalty to filmmaker vision, A24’s films, in all their differences, are often characterised by their focus on character relationships and dynamics, bringing out the best and worst human qualities and allowing a post-watch self-reflection. 

‘Past Lives’ is a striking example of these personal films, marked by an individual ‘authorial voice’. Through its references to migrant experience shaping the protagonist’s sense of identity, ‘Past Lives’ feels deeply personal to Celine Song herself, just as the autobiographical elements of nostalgia, grief and loss do to director Charlotte Wells in the A24-distributed ‘Aftersun’. This focus on human emotion is also evident within ‘The Lighthouse’, which explores mental deterioration induced by insanity and isolation, and within ‘Hereditary’, which explores grief and anguish. Perhaps most notably, this is demonstrated through ‘Moonlight’, which achieved A24’s first Academy Award in the infamous envelope mixup of 2017. The film follows the protagonist through his internal, interpersonal and societal conflicts of grief, race, masculinity, identity and sexuality, giving a voice to underrepresented voices in cinema, as many other A24’s films similarly do. Though these films are vastly different in both their settings and narratives, they all offer audiences a fresh, personal perspective, and the fact that A24’s films consistently achieve this is a feat achieved by few other studios.

Image Courtesy of A24 Studios

We can’t say that every A24 film has been critically raved about, but they have certainly had their fair share of success. Perhaps a more cynical person would say that A24’s unexpected popularity lies not in their unique obsession with ‘authorial voice’, but with their tactical marketing strategies, utilising social media to appeal to a young demographic, like their ‘Ex Machina’ ad campaign that saw the creation of a Tinder account for the AI antagonist Ava. 

Regardless, A24 is no longer simply the flashing logo that appears on-screen but rather has established an entire brand with its own identity of film, one that allows contemporary cinema viewers to recognise their work even without such a logo. The future of cinema is exciting, and I have little doubt that this inquisitive and innovative studio will be at the forefront of that. 

The fire that still burns: the political relevance of ‘We Didn’t Start the Fire’ and its message of human continuity

Cate Morris
-
0
The fire that still burns: the political relevance of ‘We Didn’t Start the Fire’ and its message of human continuity

Three months ago, American pop-punk band Fall Out Boy released an updated version of Billy Joel’s 1980s Top Hit, ‘We Didn’t Start the Fire’. For those who were neither around in the 80s, nor are fans of Alternative Indie playlists, ‘We Didn’t Start the Fire’ is a dizzying commentary of rapid-fire lists of people, events, and cultural flagstones from the mid-20th century to the late 1980s. Fall Out Boy’s version continues this trend from the late 80s to the present day. Consider it a modern chronicle, edition two. Both versions reference not only a series of isolated historical moments, but a continuous narrative that we are all acutely aware of. Fall Out Boy’s ‘Trump impeached twice’ is Joel’s ‘Richard Nixon’s back again.’ So, what does this revised version suggest about the message of human continuity? 

Human Continuity 

In psychological theory, human continuity is the ability to continue in the same manner indefinitely. Gestalt theory speaks of the undisrupted creation of continuous patterns connected to objects. ‘Objects’ in this context refer to both political and social issues. That is not to say that society is stagnant, but rather that it is interconnected to historical events in a cyclical manner, and that change is a complex and multifaceted process. 

Political Relevance 

In both Joel’s and Fall Out Boy’s versions there is a reach of political relevance. In Joel’s version, the song delivers a quick-fire run-down of major events, including the Cold War, the Vietnam War and the Watergate Scandal. Through its quick, and sometimes witty, delivery covering over forty years, there is a sense of continuous narrative, rather than a suggestion that these events are isolated moments, as modern media would sometimes have us believe. 

Fall Out Boy’s version of the song updates the reference and commentary to include events from the 80s to the present day, including the ongoing conflicts in the Middle East and the rise of terrorism. The commentary of these modern events becomes a part of the same narrative that Joel covered, and stresses that society continues to grapple with many of the same issues, only this time in a new shape. 

Social Themes 

Perhaps the most notable theme in both versions is the persistence of social unrest. In Joel’s version, the song touches on the struggle for racial equality, including references such as ‘Little Rock (Nine, 1957)’ and ‘Ole Miss’ (a public research university in Oxford, Mississippi, where violent protests began over the admission of James Meredith, the first African American student to enrol at the school), as well as the assassinations of John F. Kennedy and Malcom X. 

Although Fall Out Boy’s cover updated the list of events to include more recent social issues, similar themes of social inequality and public unrest continue to be recorded. The cover addresses the Black Lives Matter movement and the struggle against racial discrimination, as well as the ongoing fight for the LGBTQIA+ communities. The repetition of themes over the course of the song reminds us that many of the new issues we face today are deeply rooted in our culture and history. Granted, that is no excuse, but there is a powerful message in this narrative. Recurrence of these issues over the decades creates a sense of shared frustration and disillusionment that transcends historical and cultural differences. 

The Message of Human Continuity 

It is cyclical. It is a reminder that humans have been fighting metaphorical, and sometimes literal, fires for decades. It is a shower of political bullets, a rapid-fire of social injustices, and a three minute and thirty five second melody that remembers conflict as the result of resource scarcity, ideological indifferences, and power imbalances. In spite of all the chaos, the lyrics express a message of hope that transpires across time – eight decades to be exact. While society may be slow to change, there is a shared experience in our troubles that brings us together across different eras and generations. Each verse continues this narrative and reminds us that neither Baby Boomers, nor Generation Z, nor any generations in between, are independently responsible for the world’s problems. In the words of Billy Joel, ‘It was always burning since the world’s been turning.’

Image credit: Drew de F Fawkes // CC-BY-20 via Wikimedia Commons

The Unwritten (Until Now) Oxford Dress Code

Katie Saunders and Shaan Sidhu
-
0
The Unwritten (Until Now) Oxford Dress Code

Liberated from the constraints of school uniforms and dress codes, University is a wonderful time of fashion freedom. But this bewildering independence can be a source of anxiety for many, sometimes even prompting a regression into their three-year-old self (think jorts, hair ribbons and Peter Pan collars). Never fear! We’ve put together a practical guide of the unwritten Oxford dress code that covers all the bases head-to-toe, from staying warm this winter to surviving a walk of shame with style.

The Everyday Oxford Dress Code

Shoes

Being at Oxford inevitably involves a lot of walking. Alongside a pair of comfy trainers – over which the Adidas Samba currently reigns supreme – Docs are another Oxford staple. But if you’re planning to break in a nice new pair this term, pack some thick socks or prepare for them to become your red-raw Achilles’ heel (Wonder Balsam is also truly wonder-FULL for softening the leather). Any such chunky, platform or biker boots will also help lift you another inch away from the grime of the Atik cheese floor. When it comes to fancy footwear, however, the impulse can be to prioritise fashion over functionality- but tread this line carefully, especially if you’re clip-clopping over the Radcam cobblestones in cowboy boots. Oxford roads can be a perilous territory for the weak-ankled and uncoordinated, so we recommend you wave goodbye to ballet flats and stilettos. And if in doubt, just default to the trustworthy, versatile, stylish Croc (check out @crocsford for inspiration).

Image courtesy of Katie Saunders

Scarves

Essential to surviving Oxford in the colder months, sporting a chunky fluffy scarf will prevent you from shivering in pub gardens and college libraries alike. Material matters too, so make sure to find something made with wool or cashmere. A preferred staple for both students and tutors here seems to be the striped cashmere scarf, but please avoid being so obsessed with it to the point that you will wear it to Bridge, because you will lose it, and a year later, you will see someone in Pret wearing it.

Although skinny scarves might be fashionable and very à la 2000s, you will regret abandoning thicker options as November rolls around. Overall, a good scarf adds flair to an outfit, and can be easily complemented by other winter accessories like hats and gloves.

Image Courtesy of Katie Saunders

Coats

Many Freshers anticipate the unofficial rite of passage of purchasing a college puffer in their first term. The hype is certainly warranted given how practical they are, especially in the winter months. However, there are a plethora of outerwear styles that are just as warm but more stylish. Down is more insulating than the synthetic filling in college puffers so, all clichés aside, The North Face puffer and others like it are great alternatives when bought second-hand. The same rule goes for lavish lovers of the fur coat, which keep you classy and very cosy.

Long wool coats are also very common around Oxford as they can be styled casually during the day or dressed-up for formal events. Loved by farmers and academics equally, wax jackets like the Barbour are rather popular around town, and resist rain well. Thus they make up for what leather jackets lack, even if half the student population prefers the latter over the former. So unlimited in styles and colours, it is no wonder that every other person owns at least one. Workwear jackets are also designed with durability in mind, and like leather jackets they are suitable for all seasons. Search for brands like Carhartt and Dickies and you are sure to come across one. 

Image Courtesy of Shaan Sidhu

Bags

It seems to go without saying that a good, practical bag is an Oxford essential. That’s probably why so many students bin their backpacks and succumb to the debilitating condition of Tote Bag Shoulder (or the luxury alternative, the Longchamp Lats). But if you do so, beware. It rains a lot here, and the flimsy sheath you nabbed from the Freshers’ fair is unlikely to keep your books dry. Not convinced? If you’re cycling in every day, a backpack is probably more ideal. If you’re feeling adventurous (or professional), use a satchel. If you want everyone to know how heavy your course load is, use a suitcase. And the most cursed option? The humble Tesco bag, with your unprotected laptop, pens and loose chewing gum rattling about the bottom. Environmentally conscious, cost-effective and unlikely to get stolen (although it may get binned).

Oxford Dress Code: What to Wear on a Night Out:

Oxford’s laid-back club culture is reflected in our outfits. The college puffer is an essential wear in the migration from college to Atik, since you probably care about it less than your rare vintage leather trench. You might even save £2 by skipping the cloakroom and taking a cheap jumper that you can just tie around your waist once you get inside. For footwear, some old trainers will do the trick, ideally with no mesh if you fear drink spillages. Clubs are also a great place to break in your Doc Martens.

Since venturing back into Bridge in broad daylight to dig through the lost and found just feels wrong, don’t wear anything you would be devastated to lose or damage. With the exception of the post-formal night out, nobody wears heels, nice dresses or suits. Leave any expensive or sentimental jewellery behind. The same goes for scarves and nice coats, even in the coldest months; either take a less precious alternative, or else rely on the tried-and-tested ‘liquid layers’ method (taking a couple of shots before speed walking across Oxford).

There are two kinds of Walk-of-Shame outfit:

  1. Post-formal 

The classier of walk of shame uniforms is of course last night’s black tie, with heels (or bowtie) in hand, sprinting across Oxford to a forgotten tutorial sans laptop, notepad or dignity.

  1. Post-club 

The luckier ones out there might get home in time for a frenzied outfit change, whereas the slightly less fortunate, having lost their cloakroom ticket, might have to borrow something from their new ‘friend’ and college tour provider. No shame involved though – the combination of a rugby shirt’s boyish charm with ultra-low waist jeans is peak Cornmarket Street-style.

Book Recommendations from the Editors’ Desk

Rufus Jones and Ananya Parakh and Zainab Rashid
-
0
Book Recommendations from the Editors’ Desk

Read our book section editors’ Michaelmas book recommendations: Rufus Jones on Daniel Keyes’ Flowers for Algernon, Ananya Parakh on Henry Miller’s Tropic of Cancer, and Zaynab Rashid on Khaled Hosseini’s A Thousand Splendid Suns.

Rufus Jones: Flowers for Algernon, Daniel Keyes

The protagonist of this novel is an unlikely one: a 32-year-old man named Charlie Gordon with an IQ of 68. Seeking self-improvement, he attends reading and writing classes at a state institution, Beekman. His teacher Alice, kindly and solicitous, suggests he keep a diary. The novel comprises these diary entries. 

Scientists at Beekman, after successful experiments on a mouse named Algernon, are looking for a human test subject for a surgical technique believed to increase intelligence. Recommended by Alice and clearly motivated himself, Charlie is chosen. The surgery is a success and Charlie’s IQ skyrockets. Though initially excited by his new-found adeptness, his acuity sheds light on painful events he was previously oblivious to unavoidable; for instance, those he thought his close friends were actually bullies, delightedly ridiculing him to his face. 

The novel documents the wonder, fear and confusion with which Charlie comes to view the world and himself. The style and the content of the novel reflect his development as his writing improves. Though published in 1966, the subject of disability is treated with remarkable candour. Flowers for Algernon offers a stirring view of how the disabled are perceived and treated. It is one of the most moving novels I’ve read.

Image Credits: Flowers for Algernon, Oil on Canvas by Marshall P. Baron, via. Wikimedia Commons

Ananya Parakh: Tropic of Cancer, Henry Miller

It’s tough to find a place to start with Henry Miller, because he never starts at the beginning. He dives into an obscene piece of insight you’d think you could have had yourself but you never did. He describes himself as “hungry, homeless and happy”. The autobiographical nature of Tropic of Cancer reflects that. With nothing to lose, he has complete freedom to welcome anything that comes his way, he has no grounds for compromise or sacrifice, just complete freedom and independence for thought and belief. For literature.

I read this book in bits. It was like a feast, that I had to take deep sighs to digest. Karl Shapiro, in his introduction to the 1961 edition said that it’s like poetry in a book written by a man that hates poetry. This could not have been more accurate. He rarely ever actually sticks to the subject, but that is the best part of the book. The corners and crevices of genius, almost scriptural, talk. Set in Paris in the 1930s, Tropic of Cancer is disgusting, pushing the boundaries of free speech in every way possible; misogyny, racism, violence and intoxication. You name it, and it’s a ‘trigger warning’ in the book. One of the longest standing banned books in the history of literature, for reasons that I understand, it is the best piece of literature I have ever read. It’s the perfect book to carry to a desert island with you, because while you’re hungry and homeless, you’ll also be happy.

Image Credits: Tropic of Cancer First Edition Cover, via. Flickr

Zainab Rashid: A Thousand Splendid Suns, Khaled Hosseini

Khaled Hosseini is a magical and beautifully poetic writer. Every review glorifying ‘A Thousand Splendid Suns’ is both correct and unable to do it justice. My heart was pounding throughout and I was nervous to turn the page because of what I feared would come next. 

The story begins with Mariam, a young girl living in Afghanistan. Although she adores her father and cherishes his visits from the city, his ultimate rejection of her culminates in her marriage to Rasheed. And so, she is doomed at fifteen to live out the rest of her days with a cruel older man. With political conflict raging in the background, Laila is born and their paths cross in a shocking twist.

The story explores female life under Taliban rule, abusive relationships and family dynamics in an extremely empathetic way and centres on the personality, character and strength of both women. Hosseini’s writing and plot are captivating and the novel is intense, with themes of love, grief, sacrifice and hope threaded throughout. In short, it is absolutely heart wrenching.

Oxford malaria vaccine recommended for use by WHO

Fay Lorien
-
0
Oxford malaria vaccine recommended for use by WHO

An Oxford malaria vaccine has been recommended for use by the World Health Organization (WHO). This is the second of two malaria vaccines produced in the last two years. Oxford’s vaccine has been selected for a mass rollout because of its potential for cheap mass distribution.  

The first-ever malaria vaccine, which was approved by the WHO in 2021, represented a significant step towards lessening the impact of the disease. This second vaccine is easily deployable, requiring a smaller dose than its predecessor, and is manufactured at about half the cost. 

The WHO said the new R21 vaccine would be a “vital additional tool”. Each dose costs $2-4 (£1.65 to £3.30) and four doses are needed per person- about half the price of RTS,S.

The world’s largest vaccine manufacturer, the Serum Institute of India, will make 100 million doses per year, with plans to increase to 200 million. The vaccine is set to help prevent half a million deaths per year.

Dr Tedros Adhanom Ghebreyesus, Director-General of the WHO, said in a press statement: “Demand for the [the first] vaccine far exceeds supply, so this second vaccine is a vital additional tool to protect more children faster, and to bring us closer to our vision of a malaria-free future.”

Due to constant mutation, malaria is hard to eliminate entirely. In 2021 96% of malaria deaths worldwide were in Africa. Recently the new vaccine has been approved for rollout in Ghana, Nigeria, and Burkina Faso. 

Dr. Ghebreyesus said this was for him a moment of “great pleasure”. 

“I used to dream of the day we would have a safe and effective vaccine against malaria. Now we have two”, he said.

Data that has been published online shows the R21 vaccine is 75% effective at preventing the disease in areas where malaria is a seasonal, but has not yet been through the usual process of scientific review.

Is Shakespeare’s Globe still Relevant?

Kiaya Phillips
-
0
Is Shakespeare’s Globe still Relevant?

The Globe is certainly still one of the biggest and most recognisable names when it comes to theatres despite now being over 25 years old. It is renowned for its Shakespearean roots in drama and constant stream of productions every year. The Globe theatre is undoubtedly a household name for anyone with even the remotest interest in the dramatic arts. But with its almost exclusive adherence to traditional plays, primarily Shakespearean ones, is it still able to keep up with the times? When modern theatre is on the up, and people want to see pieces that are provoking and get people talking, is The Globe able to accommodate the ever changing needs of a modern audience? 

This summer, like many others, I went to see a few productions at The Globe with my father, a yearly bonding ritual we enjoy partaking in. This summer we saw two productions; ‘The Comedy of Errors’ and ‘As You Like It’. What always intrigues me when going into a production of a Shakespearean text, is how the director and actors are going to make their version “different”. Being an avid Shakespeare fan I can safely say I feel as though I have seen it all. I’ve seen very traditional versions that strongly adhere to the original speech and directions of the texts, and I have equally seen overly modernised interpretations that take a go at bringing Shakespeare into the 21st century. I have no particular preference for either but I always find that the plays that stick with me are the ones that bring a unique interpretation to the table. 

In this summer’s production of ‘The Comedy of Errors’ we can see directorial choices being made to bring a quirky take on the original comedic text. The production I saw was overtly camp and playful in style. They utilised the underlying innuendos of the original text and played on them using exaggerated physical movements and costume. Costume designer Paul Wills’ dynamic choices emphasise the overly dramatic take the director is embarking on with this text (I myself am particularly curious to know where the black and silver starred cowboy boots he uses are from…). In a review of the production by The Guardian they state that the ‘context remains relatively untouched yet the show feels contemporary’, further revealing that people are beginning to recognise the steps that The Globe is taking to bring its plays into this more modern dramatic space, whilst still paying homage to its Shakespearean roots. Moreover, the costume and set’s bright colour palette would incite the eye of any spectator, especially members of a younger demographic. The Globe is known for its audience participation and I do think this is an element that they utilise well to keep their productions interesting and relevant. It brings theatre into the outside space, breaking down that fourth wall between actor and audience member, a connection that is emphasised further with their classic in the round staging design and particularly their unique standing section.

Additionally, in this year’s production of ‘As You Like It’ I saw The Globe enter into a new more gender and racially inclusive space. The casting was deliberately gender neutral and diverse and the context of the text was made to be more fluid and open to wider interpretations. Director Ellen McDougall employs composer Michael Henry to integrate modern pop music into the production, adding some pizazz to the age-old classic and encouraging a hearty audience sing-along to Bruno Mars. The costumes in this production also take a more modern, untraditional, approach integrating traditional silhouettes and structures with layers of distressed ruffles and more modern accessories like neck chains and dangly earrings. The play could be viewed as pushing traditional limits too far, but I think it took a new approach and I enjoyed the gender neutral casting and felt that it did not interfere with my understanding of characters and their relationships in the slightest. I look forward to seeing more of this level of inclusivity and diversity in future Globe productions. 

I also think that The Globe ensures that their productions remain accessible to the masses by offering £10-15 tickets for the standing section of the theatre. Though it isn’t exactly enjoyable to stand for some of the lengthier Shakespearean plays (I don’t think I could exactly “enjoy” standing for three hours watching a dense play like Hamlet!), it does give the option for people to come and see a production for a fraction of the price of what the seated tickets often go for. This means young thespians are given access to these world class productions without much financial sacrifice.  

On The Globe’s website they say that they ‘celebrate Shakespeare’s transformative impact on the world by conducting a radical theatrical experiment.’ They are seemingly striving to create this new identity for themselves by offering alternative productions that aren’t Shakespeare and encouraging their actresses and directors to make radical and progressive choices ‘to collide old and new’ to form something revolutionary.  

Though I think that The Globe is trying to keep themselves relevant there are definitely advances they could make to ensure this even further. I feel like they are slowly beginning to push against the boundaries of traditional texts, but it’s time to break those walls down and venture into something new and profound. I think by integrating newer modern plays into their repertoire they would generate new traction to the theatre and give back to the community by allowing up and coming practitioners a bigger setting to show their productions on. Despite this idea, I do have a lot of respect for the Globe and its productions, and I will undoubtedly continue to visit their theatre and enjoy their shows for many years to come. 

Oxford centre with mystery £10M donor and family links to autocratic ruler silent on regime’s imprisonment of LSE academic

Suzanne Antelme
-
0
Oxford centre with mystery £10M donor and family links to autocratic ruler silent on regime’s imprisonment of LSE academic

The Oxford Nizami Ganjavi Centre (ONGC) is funded by an anonymous £10 million donation and has on its board the sister-in-law of President Aliyev, Azerbaijan’s autocratic ruler. The makeup of the centre’s board and the University’s refusal to identify the donor have drawn criticism from academics concerned about the preservation of academic freedom.

This comes amidst the ongoing imprisonment of Dr Gubad Ibadoghlu, an LSE academic and government critic arrested in Azerbaijan this summer on charges condemned as false and politically motivated.

Neither the University nor the centre have reacted to Dr Gubad’s predicament. His family are calling for this silence to be broken.

The centre

According to its website, the Oxford Nizami Ganjavi Centre was established in 2019 to study the “history, languages and cultures of Azerbaijan, the Caucasus and Central Asia”. The centre offers visiting fellowships and funding for graduate students, and supports Azerbaijani language instruction at Oxford. It is funded by an anonymous £10 million endowment “given in recognition of the British Foundation for the Study of Azerbaijan and the Caucasus [BFSAC] in 2018”.

On the centre’s board sits Nargiz Pashayeva, the sister-in-law of President Ilham Aliyev, the autocratic ruler of Azerbaijan. Her sister, Mehriban Aliyeva, is Azerbaijan’s First Lady and first ever ‘Vice President’, the second highest constitutional office in the country to which her husband appointed her immediately after creating it in 2017.

Freedom House characterises Azerbaijan as an authoritarian regime, with power “heavily concentrated in the hands of Ilham Aliyev … and his extended family. Corruption is rampant, and the formal political opposition has been weakened by years of persecution.”

Dr Tena Prelec, Assistant Professor at the University of Rijeka and a former Research Fellow at Oxford’s Department of Politics and International Relations, told Cherwell: “[Pashayeva’s] connections with the Azerbaijani ruling elite could not be stronger. It has been proven that hundreds of millions of pounds linked to the Azerbaijani elite have been laundered through UK real estate (the Azerbaijani Laundromat); while attempts by Azerbaijan to influence political decisions through bribery have also been established beyond doubt (the so-called ‘caviar diplomacy’ scandal at the Council of Europe). For those reasons alone, Pashayeva’s involvement in an Oxford research centre warrants particular care and attention.”

In addition to being on the ONGC’s board, Nargiz Pashayeva played a key role in setting up the centre. She is credited with establishing collaboration with the University back in 2014 in the form of the ‘Nizami Ganjavi Programme’, a five-year research programme worth £1 million with similar research aims. She also “facilitated” the creation of the ONGC itself in her role as chair of the British Foundation for the Study of Azerbaijan and the Caucasus (BFSAC). 

Given its focus on cultural studies, the centre appears non-political. However, in a letter to the Foreign Secretary in 2020 urging the UK to take a more pro-Azerbaijan approach regarding conflict between Azerbaijan and Armenia, Lord Malcolm Bruce described the ONGC as an “important symbol of inclusiveness promoted by Azerbaijan today”. Lord Bruce is a member of the UK House of Lords and was also the British co-founder of BFSAC, the charity chaired by Pashayeva and recognized by the ONGC’s mystery £10 million donor. BFSAC closed down in October 2022.

Lord Bruce told Cherwell he “supported the establishment of the [ONGC] as a non-political, academic and cultural centre for promoting interest in the Caucasus and central Asian region”, noting that “the donation enabling the foundation of the centre was subject to and approved through Oxford University due diligence”. 

Regarding the contents of his 2020 letter, he pointed to UN criticism of Armenia’s actions at the time and emphasised that his “only interest was and remains in securing a long-term settlement and improvement in Azerbaijan-Armenia relations”, adding that he has “been critical of the regime in Azerbaijan and the lack of free and fair elections”.

Lord Bruce was formerly the Council of Europe’s Rapporteur for Political Prisoners from 2003-2005, and is noted in ESI’s ‘Caviar Diplomacy’ report as having taken a relatively critical stance towards the Azerbaijani regime. 

The funding

When asked about the identity of the anonymous donor, Oxford University told Cherwell: “The University will not disclose the name of the donor; the terms of the gift are such that the donor wanted to be anonymous, and the University is respecting that agreement. 

“All major prospective donors are carefully considered by the University’s Committee to Review Donations and Research Funding under the University’s guidelines for acceptance. The committee, which includes independent, external representatives, has robust and rigorous guidelines regarding the acceptance of donations and research funding.”

A University spokesperson previously told Times Higher Education that the donation “does not come from a government”. 

When Cherwell prompted the University to clarify what scope is given to the term ‘government’ in this statement, the University re-emphasised the expertise of its donations review committee, adding that the committee “was made aware of the donor of this gift, who was considered and approved through our usual due diligence process”.

Dr. Prelec emphasised to Cherwell that “it is not enough for the public to know that the donor was not a governmental entity. In many countries … much of the political economy rests on an exchange of favours between businesspeople and the rulers.

“In order to be able to conduct business and prosper, individuals hoping to do business in or with Azerbaijan often donate hefty sums to philanthropic activities that are used to enhance Azerbaijan’s image in the world. Alex Dukalskis has called this money-fuelled burnishing of a country’s reputation ‘authoritarian image management’.”

In an Azernews article from early 2017, Pashayeva is quoted saying she “would like to thank Mr Iskandar Khalilov for his first financial support of the Oxford Nizami Ganjavi Centre”. 

Iskandar Khalilov (name sometimes spelt as Iskander or Iskender) is an Azerbaijani businessman. He is the founder of ISR Holdings, which describes itself as “one of the largest [structures] in the private sector of Azerbaijan”. He also appears to have been on the board of directors for Russian state oil company Slavneft, and according to Azerbaijani state media has been Vice President for Russian multinational energy corporation LUKOIL Oil Company. In 2016, Khalilov was amongst those awarded by the Azerbaijani President for services to the development of the Azerbaijani diaspora. 

When asked to clarify what financial contribution from Khalilov was being referred to, the University declined to comment further. This reply came in a new email thread with ‘confidential’ added to the subject line in all caps. 

In response to Cherwell’s Freedom of Information request asking for details on any donations received by Khalilov, the University would neither confirm nor deny whether it held this information. The University argued that exemptions protecting personal data and commercial interest applied, and said it “would not be appropriate for the University to provide information which could lead to donors … being identified by a process of elimination”.

Dr John Heathershaw, Professor of International Relations at Exeter University and founding member of the Academic Freedom and Internationalisation Working Group, told Cherwell: “It was a serious error of judgement by Oxford’s gift committee to agree to an anonymous £10 million donation … In the US it would have been illegal to accept such a high donation anonymously and in the UK it is certainly unethical.

“While confidentiality in small donations is reasonable, it is never admissible in large donations, especially with respect to regions and topics where there are credible risks of reputation laundering and authoritarian influencing.” 

The silence

Neither the University nor the ONGC have responded to the arrest and ongoing detention of Dr Gubad Ibadoghlu, a UK-based Azerbaijani academic, democracy advocate and regime critic.

Dr Gubad, a Senior Visiting Fellow at LSE, was arrested in late July while visiting family in Baku. He was charged initially with selling counterfeit money and then with distributing religious extremist materials. Human Rights Watch has dismissed these charges as “false” and “politically motivated”, and demands his immediate release. Dr Gubad is reportedly being denied medical attention in prison and his family have expressed concern about the impact on his health.

Tomila Lankina, LSE Professor of International Relations, has been working closely with the campaign to secure Dr Gubad’s release. Speaking to Cherwell, she questioned the ONGC’s silence on the matter: “The question is, where is their voice? I would have thought a centre at one of the most prestigious institutions would have done something by now, because they have much better connections than everyone else…

“If they have someone close to the regime [Pashayeva], one would think they would use those channels to secure the release of a man who’s health conditions have deteriorated since imprisonment and on whose behalf there has been a huge campaign.”

Lankina said she found the anonymity of the ONGC’s donor combined with the identity of its board members “deeply troubling”.

Zhala Bayramova, Dr Gubad’s daughter, told Cherwell regarding the ONGC’s silence that “at the very least” she would like to see a statement from the centre and the University expressing their concern.

She added, “If they cannot even muster a Twitter statement, which is a minimal gesture of endorsement and support without significant binding power, it raises serious doubts about their commitment, especially when they are meant to be guardians of scholars.”

Regarding the anonymous funding, Zhala emphasised that “it is imperative for universities to prioritise transparency”, as anonymity can “obscure the nature of donations and their impact on university policies and decision-making processes”. 

Similarly, Dr Heathershaw noted that “given Oxford’s secrecy [about the donor], it is not appropriate for the sister-in-law of the President of Azerbaijan to sit on the board of ONGC…. While there is little doubt that any direct attempts to limit academic freedom would be challenged by other members of the [ONGC] board, we know that research activities are influenced in more subtle ways including who is likely to apply to fellowship positions and what they propose if there is a perception of preference to a particular regime.”

The University told Cherwell: “The [ONGC’s] Board comprises seven members, five of whom are Oxford University academics and two of whom were nominated by [BFSAC]. Each member serves a three-year term which is extendable for one further term, and the Board reports to the University’s Faculty of Asian and Middle Eastern Studies….

“All research projects and researchers at Oxford University have absolute freedom of academic enquiry without influence from donors or donations. The [ONGC] follows these principles and academic decisions about their research agenda and outputs are made entirely independently of the Board, donors or any political interests in Azerbaijan.”

Emin Bayramli, one of Dr Gubad’s sons, expressed concern that the ONGC, as a space the Azerbaijani community in Oxford is likely to rely on, is not fit for purpose: “It’s essential for individuals living abroad, many of whom have relocated … to have impartial and secure spaces… As someone living in exile, I would not feel secure seeking support from a centre [whose board] is closely related to a dictator”. 

Adding that “[i]t is crucial for institutions to demonstrate their commitment to academic freedom and the protection of scholars, and issuing a statement is a minimal but necessary step in that direction”, Emin called for the ONGC and the University to do so. 

The ONGC and Nargiz Pashayeva have been approached for comment. Cherwell has also tried to reach Iskandar Khalilov through ISR Holdings.

Olivia Rodrigo’s ‘Guts’: A Lament on Girlhood

Holly Errington
-
0
Olivia Rodrigo’s ‘Guts’: A Lament on Girlhood

In light of the immense success of her debut album Sour, Rodrigo’s latest project, Guts, emerges as a compelling narrative continuation. This sophomore release is a simultaneous confession of growth and weakness, venturing into the edgier realm of pop-rock and exploring the complex emotions surrounding moving forwards after a significant relationship. The album masterfully captures the challenges of this transitional phase of growing up, such as social incompetence, embarrasing levels of jealousy, and repressed feminine rage, making it a resonant musical journey for those experiencing the perils of girlhood. 

When the album cover for this new body of work was released, a simple image of Rodrigo against a purple background, many fans were skeptical. Her Instagram comments were flooded with people claiming that sticking to such a similar aesthetic to her previous album, which also featured the singer against a purple background, would lead to a boring piece of art. In light of its release, these comments have become startlingly ironic, as the album explores themes of perfectionism and the overwhelming pressure put on Rodrigo to continue improving and changing as she grows older. This sparks the question, do we put too much pressure on young artists to constantly reinvent themselves for our entertainment? Has art become more about consumption than self expression? 

It is unbelievably difficult to write about the experience of girlhood without being accused of being too cliché. Girlhood is often dismissed as uninteresting by those who haven’t lived it, and the quick dismissal of art about girlhood reveals an intriguing paradox: women frequently find resonance and enjoyment in songs written by men about men, while men seem to lack a similar inclination to connect with art centered around the female experience.

Guts dances between raw pain and playfulness with ease. The opening track all-american bitch establishes this dynamic from the get-go, with wistful verses weaved in-between a chorus reminiscent of Avril Lavigne’s classic alternative hits. Rodrigo sweetly sings ‘I’ve got sun in my motherfucking pocket’ to encapsulate the feeling that one must always be performing easygoingness in order to not be seen as rude or overly emotional by men. Contrast this with the bridge of the song being, in Rodrigo’s own words, ‘literally just me screaming’, and we have a complex exploration of the pent up anger that, as described by Margaret Atwood, being ‘a woman with a man inside watching a woman’ creates. 

The hit single vampire further revels in spite, with the use of mournful piano creating a sense of macabre dread that comes to a dramatic crescendo in the line ‘You can’t love anyone ‘cause that would mean you had a heart’. A similar spite curses through the holy trinity of this album: get him back!, love is embarrassing and the grudge. Three songs that showcase the best of Rodrigo’s writing talent by mixing witty lyrics, intense relatability and a revival of the 2000s pop genre.  

get him back! is a grungy pop song that reads like a scrawled journal entry, endearingly immature in a way that Rodrigo frequently crafts so well. love is embarrassing is another dance-worthy tune that uses specific occurrences from her own relationships with stars such as Joshua Bassett, Zack Bia and Adam Faze as stepping stones to communicate a common experience. the grudge takes Rodrigo back to her roots – a slow piano ballad about resentment and holding onto the past, simple yet powerful.

Rodrigo’s use of humour in this album is refreshing. Lines such as ‘And I told my friends I was asleep / But I never said where or in whose sheets’ from the hit single bad idea right? drip with the mischievous self-derision of a teenage girl convincing herself that she is behaving badly ‘for the plot’ rather than because of her attachment issues. Furthermore, hearing her audibly grin when she announces ‘maybe I could fix him’ certainly made me grin along with her.

One thing that would’ve really made this album shine is a collaboration. Conan Gray, Rodrigo’s close friend, is an obvious contender. Sharing a song such as making the bed with Gray could’ve been an incredible opportunity to make an understated song trapped in the middle of the album stand out, rather than simply being another sad, yet admittedly still catchy, ballad.

The final track, teenage dream, is nothing like its counterpart by Katy Perry. The simultaneously hopeful yet sorrowful lyric ‘Got your whole life ahead of you, you’re only nineteen’ is placed in our ears like a prayer, but is shortly followed by an apology for not enjoying what is supposed to be an age of simplicity and joy. This is certainly an anxiety-inducing ending, sure to make many nineteen year olds shed a tear. 

Overall, Guts is a fun album that successfully attempts to rekindle 2000s nostalgia whilst also being an exploration of intense pain. It will be interesting to see how Rodrigo’s career develops over time, after all this is only her second album, and her tasteful use of self aware sarcasm adds a modern flare to this genre reboot that puts her at the forefront of a new yet familiar wave of music. 

A Very Short Guide to Art Gallery Dates

Kelsey Moriarty
-
0
A Very Short Guide to Art Gallery Dates

There are a million better ways to spend an afternoon than moping around a largely windowless building with a complete stranger and an inability to remember where the exit is. Despite this, art gallery dates remain oddly popular, with couples week on week traipsing to galleries. Art is in many ways a sort of stepping stone to deep and meaningful connection. Gallery dates are not without their difficulties but we here at Cherwell have some advice on how to handle art gallery dates, from how to look at the art, how to talk about it – and when to leave.

Looking at the art is the bulk of the work. Take a minute to take in the painting. When you look at it, what do you notice? How do you feel? Simply allowing a piece of art wash over you can open up so many observations, which will in turn provide you with something to talk about. It may be something completely trivial – maybe you think someone’s face is painted in a weird way, or that you want a particular piece on your bedroom wall – but any connection with the art is a good one. Art is supposed to produce a reaction – just let it do its work. 

Ultimately, the aim of an art gallery date is to foster a relaxed and enjoyable atmosphere where both you and your date can appreciate and learn from the art together. Asking open-ended questions is the best way to start conversation. Each piece can be a conversation starter, offering a window into the other person’s feelings and perspective on things. Begin by sharing your initial impressions and feelings about a particular piece, and maybe venture into asking questions about specific details of the painting. Avoid technical jargon and instead focus on emotion and personal connection to the work. 

Of course, there comes a point in every art gallery date where you notice that one or both of you is walking a little slower. Yawning, perhaps. Or, more obviously, looking around for an exit. That’s when you make arrangements to leave. Find a natural break point, such as the end of a room or section, and get out. Most galleries and museums have a café, and this is a great place to decompress, share your thoughts, and congratulate yourselves – you just about managed to survive the gallery date.

Are you taking the mick? The secret world of student satire 

Silvia Andreoletti
-
0
Are you taking the mick? The secret world of student satire 

Oxford’s main student publications are so ubiquitously publicised, they’re impossible to miss. The juiciest of newspapers, however, are shrouded in secrecy. Their existence is ominously revealed to first-years during Freshers’ Week, with no mention of them online and an exclusive readership. 

College publications usually focus on only the life of that college (or, less charitably, its gossip). They often satirise its members which, to the unknowing eye, could seem cruel. But, these papers are overwhelmingly beloved – even by those bearing the brunt of the mockery – and are viewed as an integral part of college culture. Just what is it that keeps readers coming back for more?

Alt = "The Phoenix, The 40th edition 'special', Letters from the editors"
The Phoenix will mysteriously appear mid-term in pidges and the college bar.

To begin, New College’s The Phoenix is the most scandalous of the lot. Its copies (exclusively print) will mysteriously appear mid-term in pidges and the college bar. The Phoenix names and shames its subjects, for anything as mild as sharking to as serious as mis-spelling Atik in the freshers’ group chat. The romantic entanglements borne of the most recent bop are no longer confined to the Plush smoking area but are forever remembered in the ION (eye-on) section. Omnipresent spies observe rowing mishaps and housemate drama, JCR elections and crewdate sconces left to be recorded for posterity by the authors’ scathing pens. 

Other colleges tone down the mockery or omit the gossip sections altogether, but the large majority have at least one section, mostly respecting anonymity, devoted to humorous comment on college affairs. Worcester’s Woosta Source, Lincoln’s The Imp and other more serious-looking publications still devote some space to humorous commentary of college pets’ antics or JCR meeting fiascos. The Oxymoron takes it one step further, devoting its entire publication to satire and humour centred on Oxford life.

The mockery flirts with insult but never crosses the line to meanness, however, and is clearly affectionate in even its most cutting forms. Even tales about mild JCR embezzlement, blatant Freshers’ rep sharking, and one girl’s (actually successful) quest to get with every member of a bloodline don’t make The Phoenix any real enemies. Phoenix editors ask college members before each edition if anyone would like to be omitted from it or consulted before print, but according to former editor Lewis Fisher, only about 30 people opt for this each time, less than a tenth of the college’s undergraduates. The Phoenix is almost universally  beloved by the college, and gets generous funding from the JCR each term. Perhaps this is only because the Oxford college system, with insular communities in enclosed spaces and a work-hard, play-hard attitude, is the perfect breeding ground for gossip, and people are eager to sink their teeth into the new batch of information on the various embarrassing shenanigans of their fellow students. 

Alt = "Zac dressed for the occasion in jeans and a jacket I can only assume he stole from Amelia Earhart. Afraid of dating a man who dressed like a female pilot, or worse...me, I was relieved to hear that Zac agreed to the date purely to be mean. He continued to share a list of preprepared insults, revealing he had as little faith in the outcome of this date as I. He also can't have been that chuffed with me as he revealed he was willing to waver his zero drug policy and "express mail magic mushrooms, so {he could} astral project into a universe where this conversation is interesting"...."
An anecdote from The Broadsheet. Words by Issie Dover.

But gossip proves time and time again to be a means of bonding. This is especially the case in larger colleges whose “college spirit” might wane; gossip magazines become a way to foster college unity and bring people closer together. Contents of gossip magazines become topics of conversations at college bars and bops, the communal embarrassment of being called out on the college paper (or relief at being left out) makes it easier to strike up conversation and connect with other college members.

This sense of camaraderie appears in many of Oxford’s silliest traditions: “shoeys”, sconcing and Oxfess likewise use embarrassment, mockery, and gossip to bring students, from sports teams to lecture halls, closer together. Sharing one common joke, or collectively poking fun at a well-known institution or person can actually be a good thing.

Trinity’s termly online magazine, The Broadsheet, takes self-satire to another level: there is mercy for no-one, with union hacks, finalists, and unwitting freshers all coming under the searingly funny spotlight of the authors. Articles mocking a certain prolific union member’s academic achievements or a staircase’s strange night-time activities join outrageously funny recountings of blind dates between a feminist anarchist and a clueless Etonian. 

Alt = "The Phoenix's words of advice for Valentine's Day in Welfare Corner"
The Phoenix’s caring words in Welfare Corner.

One particularly, let’s say, observant contribution to The Broadsheet records the  rundown of fresher staircases. Authors “commend the wine fanatic for her humanitarian work in furthering international relations and the impressive scholarly research one classicist put into ranking every first year girl in college on looks.”

Anthropologist Robin Dunbar goes so far as to say that gossip is the human equivalent to grooming each other in that it allows individuals to maintain and strengthen their relationships: gossip enabled humanity to expand its tribes and make them more stable. Satirical college publications may serve the same function: perhaps that is why it is primarily larger colleges, where keeping up with gossip becomes impossible by first week, that have juiciest newspapers. 

Alt = "The ION section of The Phoenix"
Keep your eyes peeled for The Phoenix’s ION section.

The apparent obsession with self-satire and mockery, however, may seem odd or even cruel to outsiders. Some say this is fitting with Oxford students’ tendency towards humour and away from taking anything seriously to save their lives. Irony and sarcasm are at the heart of Oxford humour: Oxfess’ University-wide inside jokes (Nutkins the stuffed squirrel remains a character of Oxfess, and Oxford lore to this day) are a funny part of culture and a sort of Shibboleth, immediately bringing strangers who are “in the know” closer by virtue of the shared reference. Similarly, the silly arguments between housemates or borne of the gladiatorial room ballots, chronicled in meticulous detail by The Phoenix, surely helps all involved forget any grudges and have a laugh about the absurdity of it all.

No matter the type of college publication, whether it’s an innocent chronicle of the term’s events or a scathing rundown of the College’s most scandalous happenings, it is still a crucial and beloved part of college life. The unsung heroes are the writers and editors themselves (many of whom have been incredibly helpful in the writing of this article), who by poking fun at everything and everyone, often including themselves, bring communities closer together and make Oxford life just a tad more entertaining.

1...135136137...2,495Page 136 of 2,495

Support Student Journalism

Cherwell is Oxford’s oldest independent newspaper, established in 1920. We are entirely student-run. By supporting us, you will contribute to keeping our paper in print and online. Every donation makes a difference.

Donate

Explore

Follow us

More

Oxford Student Publications Limited © 2025 - All Rights Reserved | Privacy Policy

Website by James Ashley