Friday 4th July 2025
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Review: The Road

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Bleak. Unremittingly bleak. An unsurprising choice of words, perhaps, to describe the new adaptation of author Cormac McCarthy’s Pulitzer-scooping prose novel of 2006, but also the most accurate. Set in the blasted terrain of a post-apocalyptic America where organic life has all but shut down, it details the agonising struggle southward of two survivors, a man and his son, as they encounter the horrors of a world unanchored by morality. Death haunts practically every frame of the film’s running time, every twist in the road reveals further hardship, and whatever glimmers of hope there are to be had regarding humanity’s future are modest at best, like the last flare of

light from the sail of a boat on the horizon before it glides out of view forever.

“McCarthy’s biblically-inflected and brutally poetic prose is reduced to the occasional stretch of voice-over”

At this point, I imagine a sizeable percentage of you are wondering why on earth someone would wilfully endure such a film. The Road is definitely an acquired taste, much like its source material, which appalled some with its harrowing subject matter, but seared itself onto the memories of many others who were captivated by McCarthy’s biblically-inflected and brutally poetic prose. The film version unfortunately never overcomes the inevitable loss of the terrible beauty of McCarthy’s language, reduced to the occasional stretch of voice-over lifted directly from the text, but that doesn’t stop it being a considerable, if lesser, achievement in its own right.

Those who like their movies downbeat ought to find much to admire: for a director having to contend with the difficulty of adapting a book whose appeal lies mainly in the way it is written, rather than its plot, John Hillcoat does an admirable job. The artful use of flashback sequences to the Man’s dead wife, rather than being obtrusive, lend the film a lyrical edge, evoking the sense of loss and yearning central to the plot. It is in the capturing of the plot’s darkest moments that he excels: during a visit to a secluded mansion, for instance, where something very nasty is discovered in the basement – a scene far more disquieting than anything I’ve seen in a straightforward horror movie in years.

“Mortensen’s understated masterclass quietly cements his reputation as one of our finest contemporary actors”

The most dramatically potent scenes, such as the one aforementioned, prove to be those where the Man feels pushed to compromise his own humanity, and besides the suspenseful direction, much of their impact can be attributed to the deeply affecting performance of Viggo Mortensen in the lead role. Building on the successes of A History Of Violence and Eastern Promises, Mortensen here again demonstrates himself to be an actor capable of real diversity and stature. In portraying a father and bereaved husband steadfastly refusing to abandon himself and his son to despair, whilst slowly fracturing under the daily pressures of their predicament, he is heartbreakingly genuine. In fact, with this understated masterclass he has quietly cemented his reputation as one of our finest contemporary actors, and its quality is perhaps the feature to preserve the film from fading to a commendable footnote to the novel.

It is a shame then that a film as cinematically accomplished as The Road ultimately stands so much in the towering shadow of its parent, largely adhering to the minimal narrative of the text, without the distinct identity that the Coen brothers brought to their own terrific adaptation of McCarthy’s No Country For Old Men in the form of gallows humour. Those who were left cold by the book will find nothing for them here, and those who fell in love with it, while unable to greatly fault a production that is uncompromisingly faithful to its tone and themes, are unlikely to find it carries quite the same weight. Despite this, the skill of its translation from page to screen warrants a viewing by anyone after an apocalypse movie with substance and soul.

4 stars

Review: Daybreakers

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Amidst the slew of vampire themed television series and films that have sprung up thanks to the successful Twilight series, Daybreakers seemed to offer something new. A world where vampires have become the dominant species and humans are the ones being hunted looked to be a refreshing take on the vampire legend. And it was, for about ten minutes.

In a world where a plague has transformed most of the human population into vampires, those that remain are hunted and farmed for blood. But faced with a critical shortage, Edward Dalton is tasked with developing a substitute. Instead he finds himself helping a band of human survivors who have found a cure for vampirism itself. Now human once more Edward is pitted against his former boss, a pale-faced and fanged Sam Neill, as he tries to cure therest of vampire-kind.

“a bat flew across the screen on no less than three different occasions”

The source of the many problems with Daybreakers is a lack of focus. The writers/directors, the Spierig brothers, appear uncertain about what kind of film they’re trying to create. I’m not asking that they neatly pigeon-hole their production into a specific genre, but they need to make a film that is at least coherent. Instead we are faced with one that seems to jump between genres from scene to scene rather than subtly merge them together. The result can only be described as a complete mess of a film.

At times there are attempts to turn the story into a drama, specifically by making it into an allegory about discrimination in our own society. Every time it tried to do so it failed miserably. Scenes where the audience should be on the verge of tears instead induced laughter. This is largely thanks to other moments in the film where it abruptly turns into a horror movie. So, whilst conceptually the film may well be a mess, all too often it is literally so. On several occasions we see bodies exploding, blood splattering, heads cut off and limbs flying. This would be expected if you’d walked in to see Hostel or Saw, but for a film like this it was clearly excessive and jarred violently with the dramatic element. It came across as cartoonish, completely undermining whatever emotive power the scene was supposed to have.

“The result can only be described as a complete mess of a film”

On top of this, also reminiscent of the horror genre, the filmmakers for some reason felt the need to include numerous attempts to give the audience a quick scare. These included a bat suddenly flying across the screen on no less than three different occasions. As with the cartoonish violence these shots had no place in this film, appearing almost at random and interrupting scenes rather than adding anything. They came across as cheap, lazy tricks, in the end serving only to push this film further towards becoming an unintentional comedy.

An interesting premise is not enough to save Daybreakers from its ridiculous and incoherent realisation. It takes a lot more than a good idea to make a good film.

1 star

 

Oxford’s freezing spires

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Disruptions caused by the snowy weather may cause problems for students returning to Oxford over the next few days, as Oxfordshire has been one of the worst affected counties in the freeze experienced throughout the UK.

In spite of the colleges’ effort to clean out the snow, students arriving by car may encounter problems with parking. Keble and Balliol have updated their websites, warning that students will be unable to bring cars unto college grounds, and at Lady Margaret Hall car access will also be restricted. Some colleges have advised students to use public transport due to the state of the roads in the city.

 

 

The county is now on a national priority list to get more grit and salt delivered, but the Oxfordshire County Council admitted that it had greatly reduced the amount that it has distributed.

The Council blamed “increasing restrictions upon national supplies of salt to local authorities” and “the fact that more grit is needed on roads affected by snow, as opposed to frost” for the fact that the percentage of roads gritted had been cut from 43% to 29%. The Council also warns that it will not be regularly providing material for gritting pavements, focusing instead on clearing the main routes.

Many services, such as waste and recycling collections, have been suspended or disrupted this week. Across the county, more than 200 schools have been shut, and Oxford Brookes was closed on Thursday. The Bodleian Library has been closing its doors at 5 pm for the last two days, but will resume normal opening hours from Monday. Services at the John Radcliffe Hospital are also expected to run as normal.

Freezing weather was felt all of this week throughout Oxfordshire. On Tuesday night, the Met Office predicted that up to 12 inches of snow would fall across the county. The village of Benson, located 11 miles from Oxford, was the coldest place in the United Kingdom on Wednesday night, with the temperature falling to -18°C.

The cold weather looks set to continue, with temperatures expected to remain below zero and more snowfall forecast for early next week.

The Good Old Days

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The past is so appetising, so heroic. There is a concern welling up inside me that the days of the past were better then the days of now. There is a sense that something has changed, something has gone awry. Tales of the 60s and earlier adventurers overbear on me, compared with the limits, restrictions and over zealous bureaucracy of our day. I have been investigating what it is that makes the past seem so full of promise and adventure and whether it has been lost today. Recently there has been a bombardment on my psyche, forcing me to assess the situation. Grandfather Ken told bristling tales of his adventures in the army, Ziggi and Kurt travelled through war stricken worlds of hardship, authors rubbed it in my face how exciting their existence was and even films have harked back to a sense of freedom and adventure that I feel is less tangible now than the tales of the past make out. Is my life really so dull? Has the world changed? What was different back then?

The Open Arms of Strangers

At some point in the memories of ‘the good old days’ there always seems to be a stranger willing to offer themselves up as host to unforgettable adventures. Why is it that I picture myself walking the streets in the 1950s and being able to carouse and mingle as freely as sand through my hair? My grandfather, man with endless tales, who is one of the oldest pilots licensed in New Zealand and who possess the delightful habit of offering me and himself a drink to celebrate every afternoon I spend with him, is one of those specks of sand. Grandfather Ken was once Sailor Ken, a pilot for the navy, wandering through a US town with another Kiwi seaman on an afternoon off. A car pulls up beside them, no fear of drive-bys or words of abuse as the windows roll down. ‘Hey sailors’ comes the drawl of the South-Western driver, ‘we’re heading just out of town for Lou’s annual party if you boys feel up for it’. Eagerly Ken, a wild but not unusual youth, hops in the back only to be greeted by two fine girls who in turn hop on their laps for lack of space. Off they roll, beers flowing in the back seat almost as smoothly as the conversation, towards their destination. A cool 70 miles later and the locals have yet to get over the gimmick of the kiwi accent and upon arrival the two sailors are forced to stand upon boxes and repeat phrases to the amusement of the fellow partygoers.

The safety of adventure

Travel in the late 21st century is riddled with tales of danger. Thai abductions, hick murders and corrupt police are all a threat to anyone travelling in anything but first/middle-class, protected, custody. Hitch-hiking was once a perfectly sound way to get across a country. Lots of our parents hopped in cars across Europe, mirroring the adventures of Kerouac and others across the pond. My father would not pick up a hitch-hiker today, ‘too much hassle’, what if they were a madman or a scam artist trying to pry a few cents off us. Another symbolic shift is the portrayal of riding trains; images of the 60s, and earlier, paint pictures of bottles of bourbon and rough sunsets, whereas ‘Into the wild’ shows a kid in the 90s (strangely enough attempting to have a non-conformist adventure) riding trains lonely and under the threat of the law that eventually catches him and kicks him off the train and in the ribs. What has happened that has taken away our wild mobil

ity? People still manage of course but there is a lingering sense that the free travel of the past has long been dead, ironically killed by the generation before us that revelled in its existence.

The madness of the tale

The tales that have informed me of these ‘good old days’ are always steeped in madness. Not insanity per se, although often this is part of it, but rather a vibrant clash of characters, events, excitement and action. They are epically gripping stories in a classic literary sense. Kerouac with his mad cap group of ramblers and minor con-artists endlessly seem to provide entertaining anecdotes; whilst Hunter. S Thompson’s internal dialogue provides the backdrop for a similarly ragged but entertaining existence. Perhaps this is part of it; the ‘good old days’ are only passed onto me through fables. Enhanced, manipulated and perhaps even exaggerated in the retelling of the story. The past is refracted through a lens of memory which forgets the dull, trivial and irrelevant but enhances the blood, guts and visceral glory of the adventure. In all honesty I believe the past is of course enhanced, but it remains significantly different to today.

I am certain ideas of randomness, spontaneity, characters, and adventure are still on the tip of our generation’s proverbial tongue. Films we enjoy, books we hold in high regard, conversations, facebook quotes, inter-railing, gap-years and my own desires are enough to assure me there is still a pumping vein of adventure running through us. Of course we have adventures, we all do, some have more than others, some tell their adventures more vividly than others but they seem to have become domesticated since the ‘good old days’. Certain things, events and traits described by people recounting the good old days, whether true or false, are endlessly missed in my day to day experience of modernity.

Perhaps this article has been a pretentious piece tattle that you think has no purpose except to extrapolate my own ramblings about my own boring life. Perhaps you agree and miss the friendliness and opportunities of the past. Perhaps we will run away one day across the globe, me and you, picking up tales to tell future generations so that they also feel their adventures are inadequate in comparison to our glorious frivolity. Perhaps, perhaps, perhaps.

University’s commercial sector bucks national trend

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Across the country the number of spin-off companies founded on the back of University research has fallen to the lowest on record, but Oxford’s commercial arm remains stable.

ISIS innovation, the branch of Oxford University which works to protect and commercialise new research and inventions, brought £2.9 m to the University last year, up from £2.4m in 2008.

Many universities have seen the income from company creation based on research fall dramatically. Nationally, in the past few years, an average of 210 spin-off companies were created each year by universities on the back of leading academic research. This figure is predicted to have fallen to a mere 50 new companies created in 2009.

But ISIS Innovation has not faced such testing times.The number of spin-offs created by ISIS in 2009 remained stable at 3.

Of the three spin-offs, two were invested in by overseas clients. In the Daily Telegraph, Tom Hockaday, Managing Director of ISIS innovation, insisted that “there’s no shortage of money in the world. It’s just where it is. We got new investments from Hong Kong and the Middle East. It’s different and noteworthy and … a reflection of things locally.”

When asked by Cherwell if the lack of capital would pressure academics into hastily publishing findings in journals, he replied that it “is not a main motivation for researcher’s behaviours. University researchers are quite rightly focussed on their research and teaching activities; in the main commercialisation activities come a distant third in their priorities, and there is no harm in that.”

ISIS innovation was founded in 1997 and since then has negotiated, on average, one spin-off every two months. The combined value of these companies now stands at £2 billion.

 

Behind the scenes: The Ten for 2010

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Each week, we’ll be updating the website with photos from our latest shoots along with advice and links to many of the items featured. Yet with a shoot yet to be printed, we thought we’d start the new year with a countdown of the top ten ‘trends’ forecasted for 2010. Agree or disagree, they are all hitting the high street this Spring, but the question is – how long will they last?

1. Feathers
As the winter chills begin to wane, a lighter alternative to fur has been hitting the High Street in all shapes and forms. From feather jackets to Topshop’s Ostrich skirt, feathers have become the new way to accessorize this Spring – check out Fearne Cotton’s cape on the Top of the Pop’s Christmas edition.
Feather Bag, Topshop, £55

2. Barbour
Barbour has always held the position as a luxury sporting brand, supplying many a royal with its outdoor clothing. However in the last 5 years, new direction and improved marketing from Lord James Percy’s involvement has led Barbour to modernize parts of its collection and aim itself at a younger audience. Their wax jackets and quilted coats are proving to be a must-have amongst the stylish; with Glastonbury’s 40th anniversary this Summer, expect the Barbour to be adding itself to the Hunter-welly-wearing brand conscious backpack. 

Find online at www.outdoorandcountry.co.uk

3. Pastels
Embrace Spring this year with pastels and nudes that retain a feminine touch. Lace, still the fabric of the moment, is no longer restrained to black and navy – instead pinks, creams and whites offer the chance to invest in a trend that will carry from the opaque tights of January to the bare legs of June.
Pink Lace Dress, New Look, £30

4. Sail away
The oceans continuously inspire fashion and clothing, but forget the all-and-out navy trend of 2007 (anchor prints and sailor-inspired jackets anyone?) and think more yachts, the Riviera and sailing in St. Tropez. Tailored blazers and shorts mixed with the silk scarves and flimsy fabrics. Pastels mixed with sharp blues and turquoises will freshen up any wardrobe come summer.
Blazer, Topshop, £65

5. Stripes and polka dots
Fashion has always had a love affair with stripes and spots – just walk into any High Street store right now and you’ll be spot at least 5 different takes on the blue and white striped jumper. The key to this Spring’s trend is classic and subtle: from Topshop’s black and white dotted playsuit to Summer’s swimwear collections, keep the palette simple – blues, blacks, greys, whites and creams are the colours of understated glamour.
Polka Dot Body, Dorothy Perkins, £16

6.Fringing
Fringing is one of those trends that keeps coming back, but never really makes an impact. The problem with fringing is that you can either get it very very right, or look like a saloon girl from a bad Western. Always keep to one item of fringing per outf

it and if it’s not an accessory, make sure it’s all over fringing – one line of fringing does little for the item or the wearer, it’s the all-over effect that you want. For dresses and skirts, keep the silhouette simple with long layers. For jackets, make sure any arm fringe is no longer than 3 inches of your arm.
Dip dye Fringed Tunic, Topshop, £55

7. Structured court
The ballet pump has seemed to have gone from strength to strength in the fashion stakes each year, with continual redesigns of bows, ankle straps, studs and sequins – or at least, until the winter weather sets in. But this year’s introduction of the brogue at an affordable price, meant that for most, feet did not have to be constantly wrapped up in b

oots every day to avoid being wet. But as we move into Spring, the structured court and the kitten heel provide a new alternative to the flat. Ditch the £5 pumps of Primark, and give your feet some proper support this Spring – a new way of, quite literally, growing up.
Court shoes, £55, Topshop

8. Statement T-Shirts
The slogan t-shirts of Katharine Hamnett provided great inspiration for the ‘shout-out’ t-shirts of 2007/2008, with some persisting into 2009. But now is the time of the statement t-shirt – a retro expression of our childhood. Classic T.V shows such as Top of the Pops and Saved By The Bell , icons and brands such as the Sugar Puff monster and Paddington Bear and even travel destinations from Paris to London have been immortalised in material form.
Grab yours from www.truffleshuffle.co.uk T-shirt, £25

9. Socks
Once again, one of those trends that never really fully make it – will 2010 be the year of the sock? Burberry’s Prorsum collection heavily featured black socks in 2009, but this year’s Spring/Summer collection has gone a few shades lighter and is dominated by beige. Three tips to getting it right: stick to high ankle socks for a flattering look (no knee/thigh highs), always wear with heels and keep the sock-shoe colour combination complimentary – clashing bright colours Ugly Betty style is not a good idea. The final question is, to open-toes or to close toe? We personally think open is the only way to go.

10. The power dress
Where would 2009 have been without Hervé Legér? Furthermore, how would the celebrities have coped without Mouret’s Galaxy dress or Victoria Beckham’s Carmontelle dress? However late 2009 has also seen the rise in popularity of Preen’s power dress – with fans from Amy Wine

house to Rihanna, the oh-so-very tight dress has taken bodycon and structure, mixed them together and formed what only can be beheld as a ridiculously flattering dress for any shape and any style – oh yes, power to the women. Sadly with a price tag of around £700, we will be waiting for the High Street copies that will hopefully to follow in 2010.

Top 10: Marketing Managers

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If you’ve ever wondered why some plays in Oxford are sold out, while others have a pathetic scattering of mums, hangers-on and bewildered elderly academics in place of an audience, you’re not alone.

What makes it all the more perplexing is that the size of the audience doesn’t always reflect the quality of the show. Sometimes critical turkeys triumph at the box office while their superior competitors miss out.

The secret behind this mysterious phenomenon involves a group of people as powerful as they are recondite: Oxford’s marketing managers. Expert at selling anything from Shakespeare to Shaffer, they will flood you with Facebook messages, deluge the town with posters and do almost everything else to persuade you to buy a ticket.

We’ve picked out ten of the best:

1. Adam Hadley

(Graduate)\"Adam

A legend in the world of Oxford drama, Adam Hadley took marketing to previously unseen heights last year with Don Carlos. To quote one commentator at the time, Hadley ‘flyered the moon.’ People who hadn’t been inside a theatre for ten years found themselves asking what all the fuss was about. One of his more innovative ideas was to team up with the Big Bang restaurant to offer a £5 meal with every Carlos ticket. Although Adam graduated last year, he still found time this Michaelmas to market and co-produce Krishna Omkar’s operatic hit, The Marriage of Figaro.

2. Alessia de Quincey
(Christ Church)
\"Alessia

The brains behind the West Side Story campaign, which saw a student show completely sell out the Oxford Playhouse for the first time in living memory. Alessia had made the transition to marketing from a fruitful stint as producer for directors Max Hoehn and Will Maynard. Her marketing gimmicks stunned Oxford, ranging from flash mobs on Cornmarket to the introduction of an alcoholic cocktail specially invented for the production.

3. Heidi Stancliffe

(St Anne’s)\"Heidi

As marketing manager for The Odyssey, Heidi has got people talking about the play even before the actors start rehearsing. A ballerina in her spare time, she made a stratospheric rise through the marketing ranks this year after a string of successes. First she was part of an innovative marketing strategy for Decadence, then single-handedly managed a campaign that helped As You Like It to take over £4000 at the box office.

4. Rebecca Threlfall (Keble)

An experienced hand who ran the marketing campaign for The Madness of George III at the Oxford Playhouse, making a profit against the odds. Also the outgoing president of Keble’s influential Martin Esslin drama society.

5. Matthew Waksman (Somerville)

A multi-skilled individual who’s tried his hand at directing as well as marketing. At the moment he’s managing to market two huge shows simultaneously, working on The Magic Toyshop at the Playhouse and Equus at the OFS. 

6. Daniel Rolle (Wadham)

Working at the moment on The Invention of Love at the Oxford Playhouse, Daniel Rolle has done more than just cover the traditional marketing areas. He’s forged links with the playwright himself, Tom Stoppard, gaining his support and an exclusive interview – coming soon to the pages of Cherwell.

7. Laura Williams (Jesus)

Laura is primarily a producer, but handles her own marketing better than many who do it exclusively. She’s run a successful tour of The Bacchae which spanned the continents, going from Oxford to California. One of her most exiting marketing techniques is the provision of free workshops for local schools.

8. Yasmin Mitha (LMH)

Yasmin, also involved in last year’s Playhouse show Don Carlos, managed the singular feat of selling out Merton’s Garden Show, Love’s Labour’s Lost. Garden shows never sell out, as a rule, but so successful was Yasmin’s campaign that extra seats had to be added as the punters kept coming.

9. Will Bland (St. Hugh’s)

Will started marketing as soon as he arrived in Oxford, working on his college’s Cuppers entry followed by a production of Alan Ayckbourn’s Confusions that sparked stars of the Oxford stage such as Martha May, Ed Baranski and Andrew Wilkinson.

10.Chris Thursten (Graduate)

A highly respected actor during his time at Oxford, Chris has diversified recently into producing and marketing. He is most remarkable for his web-based approach: his productions are immediately distinguishable by their professional-standard websites.

Swot: Shop – A| Wear

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Describing itself as “a high street brand with a boutique heart” on its website awear.com, A| Wear is quickly becoming a highly featured and coveted “find” for fashionistas looking to find style outside the normal shops. Whilst in recent year’s online versions of stores such as topshop.com and solely online fashion sites (dare we mention the phenomenon that is ASOS?) have proven to be valuable assets for those looking for style and efficiency without the queuing, there has been an steady regeneration of the High Street with various boutiques opening up, such a mButterfly and Goldstone to name a few with Oxford branches, that now provide shoppers with a larger and often more unique range of clothing away from High Street chains. However A| Wear is now offering the best of both worlds, and magazines such as Grazia and OK! have taken note.

According to its website, A| Wear began in the early 70’s as part of Ga

len Weston’s retail empire that stretched from Canada to the UK and Ireland. Yet in May 2007, a buyout was completed that has led to 25 stores in the Republic of Ireland, 2

in Northern Ireland and 3 in England of solely the A| Wear brand. The lack of physical presence in the English market has given many trend-spotters an edge; with stores located only in Leicester, Bristol and Stoke-on-Trent, the relative anonymity amongst UK shoppers have left the knowledgeable few with something every fashionistas craves: uniqueness.

A moment though: a shop can only be as good as its collections, it’s style and it’s suitability to the market. However just by looking through A| Wear‘s last season’s Twilight Inspired collection, it certainly is ticking the boxes. Our top three, including the sold-out Layer Tulle Skirt (£20), the Waterfall Leather Jacket (£100) and Jacquard Bow Dress (£25), scream immortal fashion that will be romancing us for much longer then the next couple of new moons.

Furthermore, their new collections for Spring 2010, Barely There and Perfect Parisienne, offer key pieces such as the Pink Petal Shift Dress (£40) and the Pinstripe Tunic (£16) that will take you from the cold depths of Winter to the brighter side of Spring. Although some parts of its range are still in need of work, (we are yet to be convinced by a long-line animal print hoodies, sorry!), A| Wear is certainly on the rise; just hit their As Seen In section to see their popularity. It’s mission statement is to “continuously giving the A| Wear girl something to fall in love with”, for us at Cherwell Fashion, it certainly does so – but as it’s fan base grows over the next year (which we predict it will do), will it cope with the demand? If not, and you get bored of us, there’s still a rather good blog.

Oxford students in court over defaced Canadian flag

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Two Oxford students were due in Westminster Magistrate’s Court today charged with causing criminal damage against the Canadian High Commission in London.
 
Jake Colman, from St Peter’s College, and Daniel Whitely, from University College along with another Oxford resident on 15th of December cut loose the Canadian flag from the Canadian High Commission. It was then defaced with crude oil while unfurling a banner reading “Shut Down the Tar Sands”.
 
The protesters stated that the action was in response to the actions of the Canadian government at the Copenhagen International Climate Summit. They accused Canadian Prime Minister Stephen Harper of acting in an obstructive manner in order to protect Canada’s Tar 
Sands Industry. Tar Sands in Alberta, Canada is criticised by protesters for high levels of pollution.
 
One protester stated after the action, “This is just the beginning of a UK-based direct action campaign to stop Canadian Tar Sands.”

 

Protesters deface the Canadian flag on 15th of December.

The thinking man’s politician?

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Two years ago James Purnell may not have been a household name but he was touted by many commentators to have a steady political rise ahead of him. He has the fresh-faced likeability that many attributed to Tony Blair in his early days and some do to David Cameron today. He also seemed to have well thought-out values and intellectual firepower that he was able to turn first on the Department for Culture, Media and Sport, and then the Department for Work and Pensions. Then came the night of the 2009 European and local elections when he resigned from Cabinet just moments after the polls had closed on what was expected to be a disastrous set of results for Labour. He quickly became recognisable as an emblem of Gordon Brown’s crumbling political authority in the same week that saw the departure of Jacqui Smith, Hazel Blears, John Hutton, and Caroline Flint, with a serious concern that Brown would be left with a ‘skeleton crew’ of over-promoted loyalists. Purnell’s letter of resignation pulled no punches when it told Gordon, “I now believe your continued l

eadership makes a Conservative victory more, not less likely,” and it was evidently the opening salvo in a bid to oust the Prime Minister.

Nonetheless, the attempted ejection (by no means the first of Brown’s premiership) failed, and James Purnell has adjusted to life as a backbencher rather well. When questioned by members of the Oxford University Labour Club, the MP for Stalybridge and Hyde insists he is “pleased to be out of frontline politics for a while”, and does not seem to be saying it through gritted teeth. He famously spent his first weekend out of the Cabinet alphabetizing his bookshelves, a task no doubt neglected amid the bustle of government but also a chance to reassess and revisit, and importantly to reengage with the ideas behind politics. Since June, Purnell has cast himself in the role of the ‘ideas-man’ of progressive politics, netting a high-profile role at the Blairite think tank Demos, where he is tasked with envisioning the future of Left politics. And he has rediscovered a great thinker: Amartya Sen. The work of the Indian-born Nobel laureate can be shoe-horned nicely into the New Labour rhetoric in which James Purnell is fluent: empowerment and capabilities replace the classical liberal emphasis on negative freedom in society and markets.

“If you look at David Cameron’s speeches, Gordon Brown’s speeches, Tony Blair’s speeches, they are about how you can translate ideas into reality”

But isn’t this all the kind of abstract theorizing that he should have got out of his system studying PPE at Balliol in the 1980s? Isn’t government too messy, too ‘real’ for this to be practical? On the contrary, Purnell insists, in politics “if you don’t make the effort to work out what your ideas are then you’re going to make a lot of mistakes”, because the media and interest groups make “modern politics so pressurized” that a grasp of what you want to do has to guide what you actually do. Interestingly, he also defends the importance of ideas to current politicians; “if you look at David Cameron’s speeches, Gordon Brown’s speeches, Tony Blair’s speeches, they are about how you can translate ideas into reality” and at its best that is the role of politics, taking an idea from the abstract to the concrete. This is an upbeat assessment, given that so many of the decisions our political leaders seem to make appear cynical and media-driven, the big-ticket speeches may contain ideas but really serve only as mood music for pragmatic government. “I think it can be hard, definitely” he concedes, but that is not, for him, a reason to think it is dispensable.

“What I think electoral reform requires you to do is to move from a politics which is mostly about opposition to one that also has a larger element of consensus-building”

I am interested to know whether James Purnell thinks the significance of big ideas in politics could be increased, suggesting that a more proportional electoral system may make a contribution. His response is cagier than I had expected from a declared proponent of electoral reform; greater proportionality, he admits, “creates the space for [discussion of ideas], because it creates more voices”, but if done badly there is the risk that you would “never have a government that can implement those ideas because you disperse the powers so far that no one can get anything done”. These are common responses to PR campaigners, but how does he thinks we can square the circle? He responds in generalities, enthusing that “what I think electoral reform requires you to do is to move from a politics which is mostly about opposition to one that also has a larger element of consensus-building”, but then goes on to suggest that on environmental issues, for instance, Britain already has a greater degree of consensus than France or Italy, with their more proportional systems. In this way, Purnell is very New Labour in his ambivalence towards constitutional reform, not sure where to lay his priorities while refusing to endorse the status quo.

In contrast to this wavering, he offers a raft of detail on how Parliament could function better: primaries for prospective candidates, more ability for the House to initiate legislation, elected select committee Chairs and increased powers for committees. He does not acknowledge the abysmal record of this government in circumventing and diluting the authority of the House of Commons, with its seizure of control over parliamentary time, its huge majorities and uncompromising whipping, and its exercise of the Royal Prerogative. He comes dangerously close to sounding platitudinous when he says, “I think taking democracy as discussion is actually really important”, but his rhetoric at least points in the right direction – it just happens to be the opposite direction to the one in which British politics has been moving for the last quarter-century.

“Then I performed at Edinburgh and I had to admit to myself I wasn’t very good, so I decided to give that up”

James Purnell may yet return to the front bench, not least in a Shadow Cabinet after the next general election, when Gordon Brown will have to stand aside for a new generation of Labour politicians. Then it is likely that Purnell’s strong track record as a Secretary of State will bode well for another prominent role. When I ask which Cabinet role he would like in the future he shies away from an answer, perhaps not wishing to tempt fate. Instead, Purnell revisits his enthusiasm for the roles he has held in the past few years. As the head of the Department for Culture, Media and Sport (DCMS) he was clearly at home with the arts scene; he confesses with embarrassment that when he came up to university he actually wanted to be an actor, quickly adding, “then I performed at Edinburgh and I had to admit to myself I wasn’t very good, so I decided to give that up”. He has maintained links with the theatre, serving on the board of the Young Vic in London. DCMS was thus a chance to influence an area of society that he had a deep-seated passion for, and he was evidently well-liked and respected in the role.

“New Labour always had the part of the story that was about aspiration and climbing the skills ladder…but we mustn’t forget about the protection part as well”

His interest in the Department for Work and Pensions (DWP) to which he was promoted in January 2008, may not have been so personal but is married to a keen sense of responsibility for the handling of the government’s largest budget. “You’re spending more money each year than the whole income of Portugal,” he says, almost excitedly, “and how well or badly you spend it makes a massive difference to millions and millions of people.” The DWP has been central to the New Labour agenda on tackling unemployment and welfare dependency, and during his time there Purnell was seen as continuing the Blairite line of encouraging transition from benefits to work with judicious use of the stick as well as the carrot. However, during a recession the line between the workshy and the unlucky is increasingly blurred, and Purnell sounds a note of caution on the efforts of the last decade, “New Labour always had the part of the story that was about aspiration and climbing the skills ladder…but we mustn’t forget about the protection part as well”. Some people suffer unemployment because of the vagaries of macroeconomic forces, others because the 21st century economy no longer requires workers with 1970s skill-profiles; he is heavily influenced by Amartya Sen in his new emphasis on people’s substantive freedom to operate in the labour market, their capabilities.

And yet, for all that decentralisation and grass-roots empowerment are the new rhetorical currency of all three parties, Purnell speaks frankly about the role of the state; we cannot escape the fact that “the bread-and-butter of government is running big machines” and we need to run them as well as we can. He may have spent much of his political career looking at ways to increase choice and contestability in public services, but he seems more willing to offer the state and market simultaneously as solutions to the problems people face, rather than lumping for Old Labour statism or New Labour’s faith in markets. It is difficult to shed scepticism of this have-your-cake-and-eat-it mentality, perhaps we will have to see how the Left’s new ideas-man can reconcile such tensions in a future Labour administration.