Sunday 15th June 2025
Blog Page 2133

Inequality and Sexism are taken for granted

One can only imagine what it must feel like to be a certain censorious Exonian this week. Having spent the last few weeks engaged in a clandestine campaign to tear asunder Exeter MCR’s copy of the Sun, he or she would have awoken last Friday to some new information. Women are, according to a shiny new report from OUSU, largely absent from senior roles within almost every aspect of University life.

Despite our supposed meritocratic ideals, men vastly outweigh women as JCR Presidents, heads of academic departments, and leaders of virtually all of Oxford’s political societies, including OULC, OULD and OUCA. The latter seems to be a particular offender – a piffling 3.5% of Conservative Association presidents have been women. Hardly surprising when the current president Anthony Boutall’s only response to the figures was to point out that he respected lots of women: “I do not just mean the perhaps obvious cases of our ex-President and Patron Margaret Thatcher, and of course the Queen, I refer also to my Mum and late Granny”. Fantastic.

Explanations of the glass ceilings in our ivory towers are as diverse as they are speculative. Some suggest that women are alienated by the male nature of our politics; that hustings, port and policy and a lack of existing role models combine to deter applicants. As the university keenly points out, success rates between male and female applications for academic positions are virtually equal. Perhaps we are undergoing what might be labelled the Hilary Clinton effect: Having elected a black OUSU President, we’re in such a self congratulatory mood that we’re happy to ignore our ongoing lack of female leadership.

Regardless of the explanation, one can be fairly certain of the nature of the response: lackadaisical. In a University of decisive positions, our collective attitude towards gender can at best be described as vague. There is, of course, the obligatory egalitarian gloss over anything said directly about the issue – but in a practical context, there is little consensus as to what we are supposed to think or do. Virtually every other week, OUSU’s poor women’s officer has to drag herself out to be “shocked and appalled” by yet another KY-jellied-topless snake charmer or similar – usually met by a near universal shrug of shoulders.
The University’s attitude seems nearly as ill defined as our own. Regarding pornography, college IT departments are apparently relatively indifferent to our surfing habits. Cherwell doesn’t suggest that the University should engage in censorship: intrusions into what we are allowed to see, hear and read are dangerous and an insult to our autonomy as students. However it is arguable that the widespread vacuum of silence on gender issues is damaging. If we or the University are going to tolerate activities which must ultimately be recognised as demeaning to women on the grounds of free speech, it should be made clear that we have prioritised freedom of expression over a boundary of respectful conduct regarding women. As it is, prospective female leaders are confronted with a series of arguably sexist incidences that seem to discredit their gender in any serious context. These events persist on a sort of “who cares?” basis – there is no clear reason given as to why we tolerate them. At best, this indicates apathy to sexism; at worst, it seems like an endorsement. Certainly, in some quarters, it probably is.

Clearly, women are being objectified for an audience; an audience that is then arguably less likely to vote for them, and even if that is not the case, they are generally perceived as being less likely to. Cherwell would hope that this group doesn’t represent us as a student body – but it isn’t clear that this is the case, because as a student body we are overwhelmingly indifferent. Some students will go to a club to see topless dancers; some will go because they were going anyway. Both groups are at the club – it isn’t very easy to pick them apart. Until we clarify our standpoint, until we are more forthcoming with our views, female candidates for senior roles within our community will feel that they may not be taken seriously. This isn’t the only obstacle to equality at the top of the ladder – once a good female candidate comes along, we also have to vote for them. However, some clarity and honesty on the issue would be a good start.

Review: The Little Mermaid

0

The first thing I must say about Eva Tausig’s The Little Mermaid is that it owes much more to the Hans Christian Andersen fairytale than the sugar-coated Disney musical. This is an exploration of desire, temptation and jealousy. Our heroine doesn’t swan her way towards a classic happy ending, but hobbles painfully towards making the ultimate decision: her own death or the death of the one she loves.

The intimate Burton Taylor studio is divided into two, and the audience is directed to their seats (by which I mean less than comfortable upturned black buckets), the location of which is dependant on whether their ticket-stub shows a picture of a foot or of a fin. There are two worlds at work here, delineated by a giant net. It is used effectively as a barrier between the world of the prince and the world of the mermaid and her family, and is a constant visual reminder of the failure to connect and their impossible and unattainable love.

Flashing lights shoot through the darkness with variable effect. The Blue-Peter-esque tin foil moon which the male characters wave emphatically from time to time is unconvincing and a little tacky. However, the genuinely unnerving moments when our mermaid visits the sea-witch (played with delightful cruelty by Leo-Marcus Wan) are certainly aided by the eerie blue lights and the rippling shadows of waving material. The music – a collaboration of electronic sounds, classical snippets, folk song and, at one point, a live cello performance – is a tad intrusive at the beginning but improves as the play develops, often adding poignancy to scenes, especially those between the mermaid and the prince.

This play demands audience participation. From time to time unwitting observers are made to carry oars, wear sailors’ hats or stand up pretending to be statues. I did feel that this played no real role in the progress of the story, and for a play that otherwise took itself so seriously as to abolish any humour from the action and script, these absurd interjections didn’t quite fit.

Sometimes The Little Mermaid felt as if it were dragging on, which largely stems from a script which is gratuitous with description, repetitive, and filled with redundant ‘he said/she saids’. If you want a truly well-written piece of drama, this is not for you. However the physical movement and aesthetic gracefulness of the piece makes up for the weakness. Lottie Norris gives a superb performance as the mermaid, as she hypnotises with her twirling and pirouetting. She is as sombre and heart-wrenching in the scenes of sadness as she is tempestuous and desperate in those of drama. Though the play is far from perfect, The Little Mermaid is an engaging and moving piece of drama which left few dry eyes by the end of the show.

Three stars out of five

Review: Twelfth Night

0

Third week is shaping up to be Shakespeare week, or more specifically, Shakespeare comedy week. An experimental take on Much Ado incorporating shopping trolleys and hat stands has already attracted rave reviews from this paper, and we have high hopes for All’s Well that Ends Well, the first of Trinity term’s garden plays, to be acted out on a Magdalen lawn in the summery evening air. So what of Mary Franklin’s production of Twelfth Night which, by the sounds of its director’s spiel, will occupy ground somewhere between the graceful traditionalism of Rafaella Marcus’s All’s Well and the chaos of Much Ado?

In Twelfth Night, we are told, there are two lives that not only are devoted to love but suitably ‘stultified’ by it. Here we have, Illyria: ‘a land paralyzed, set in slow motion, transfixed by dust’. Going by very select scenes I was shown at the preview, this intriguing premise is not followed up. I saw no evidence of dust nor of paralysis – unless you count the paralysed look on the actors’ faces when yet another line was forgotten or entry was mistimed. Facebook excites me with the promise of a radical production combining sexual languor and underlying homoeroticism, excessive drunkenness and madness. But as for the ‘radical production’ bit: if Franklin thinks that putting Orsino, Sir Toby et. al in expensive suits and chopping the script up bit is radical then she is sadly mistaken.

Tom Woodward is suitably melodramatic in the role of Orsino – at times enjoyable, he is the show’s most decent performer. Agnes Meath-Baker, on the other hand, whom this reviewer enjoyed so much in Black Comedy, is disappointing as our transvestite heroine. She clearly possesses talent, though not for impersonating men. She also seems visibly affected by the presence of Woodward, constantly trying to overdo his well-honed preening peacock act with ever more gratuitous displays of emotion.

Among the other characters whom I saw, Jacob Follini-Press is competent and entertaining, yet captured nothing of Sir Andrew’s oblivious stupidity, preferring rather to endow his character with a certain hedonistic foppishness more appropriate, in fact, for the character of Sir Toby.

Do not get me wrong. There is nothing that is awfully bad about this production; but there isn’t much good either, and my main concern upon leaving the preview was the lack of organisation. For unexplained reasons I was not treated to Malvolio or Maria or Olivia, and only caught a glimpse of the actress playing Feste. A preview that consisted of scenes chopped up inexplicably, stumbled lines and one character reading directly from his script certainly did not allay my fears that this is a disorganised troupe of undoubtedly able actors who will have to put in a lot of hard work in order to make this play worth paying seven pounds for.

two stars out of five 

Twelfth Night is on at the OFS studio, Tuesday-Saturday of 3rd Week, 19.30

 

 

Etcetera: Brasenose Arts Festival – Poetry

0

Etcetera talk to Richard O’Brien and some of the poets who are featuring in Brasenose’s arts festival during third week, providing samples of their poetry and discussing the inspiration behind them. 

"Shocking" disparities in college costs

0

Life at Oxford’s most expensive college costs over £1,100 more per year than at the university’s cheapest, documents released by Queen’s College have revealed.

St Edmund’s Hall topped the list, costing students £4790.56 a year for food and accommodation. A student at Mansfield pays just £3,684.75 for the same services, saving £3,317 over a three year degree.

Martin Slater, the finance bursar of St. Edmund Hall commented, “It’s not surprising. St. Edmund Hall’s rents have always been at the top of the spectrum, essentially because w’re a poor college.”

Many of the wealthier colleges are able to subsidise the rents that students pay. Slater added that there had been “attempts to redistribute wealth between colleges” but that they had “come up against resistance from the wealthier colleges to do anything in that respect.”

James Bennett, the Bursar at St Catherine’s defended higher colleges’ prices saying, “There is a correlation between the quality and price.”

He added, “Are you aware that these prices are just covering the food cost, and they do not cover the costs of electricity, staffing, etc? They are already subsidised.”

Shocking disparities also emerged when looking at accommodation charges alone. Brasenose students pay £3,357 a year, more than £600 above the Oxford average of £2,748.

Brasenose’s JCR President, Arvind Singhal, plans to negotiate lower rent prices with authorities. Jack Ross, a second year at the college, agreed that rent is high. He commented, “We do pay quite a lot of rent. Our JCR president is trying to keep it as low as possible. Most people feel it is quite high but then we get quite a good quality of rooms too.”

Improper spending by colleges may to be blame for the discrepancy, OUSU’s rent and accommodation officer Jamie Susskind suggested. Colleges sometimes use student living charges to subsidise their builiding works, or even attempt to profit from accommodation and food prices.

Susskind added that some colleges are “casual on inflation rates. They would use a different index for rent and a different one to for the payment for their staff.” He also mentioned that at one college, the lack of students applying for financial support encouraged the college to raise rent charges further. Some JCRs which don’t carry out rent negotiations with college authorities may also result in higher prices.

OUSU President Lewis Iwu warned that some colleges risk putting pressure on students to take paid work by charging too much. “Every student is entitled to a minimum standard of living to maximise the student experience and some colleges are in danger of forcing students to take up extra paid work which impacts their academic performance,” he said, “Whilst I appreciate that different colleges have different costs, colleges need to think about the ramifications for current students and access.”

Even students at the cheapest colleges found college life expensive. Rae Bowles, Mansfield student commented, “I think it is still cheaper to buy your own food and cook. You can end up for as much as a fiver for lunch. It all adds up as you are charged for everything you put on your plate extra. We have different meals and you can mix and match.”

A spokesperson from Oxford University stated that 38 colleges are all independent bodies, hence the University does not monitor the rents and food charges. The Conference of Colleges deals with matters of interest to the colleges, societies and permanent private halls.

 

 

Union disappoints with more cancellations

0

Oxford Union members have been disappointed this week by the news that the location of the ‘Garden of Eden’ Ball has been changed from Ardington House to Oxford Union and the cancellation of the long-awaited speaker Anna Kournikova.

Oxford Union’s Trinity term ball is traditionally hosted in an out of Frenwin court location. However, this year’s event will be held in the Union premises.

The reason for the cancellation of the Ardington House hire is the sudden price increase.

Laura Winwood, Oxford Union’s secretary, has verbally agreed the price of the location. However, the manager of the House has been out of contact for several weeks. He then proceeded to demand an additional £12 per head for corkage, £5000 in total, to the costs which had already been agreed.

The Union’s press spokesperson commented that “this made it no longer cost-effective to host the ball there”.

In light of the change of venue, the price of Ball tickets has been lowered by £10, so members will now pay £39.

Corey Dixon, Union President, remains positive about the event, congratulating the Secretary on her hard work, and commenting that the changes should not reflect badly on “her or the union as a whole”. He added that the ball would be “the best value on the market”, and should particularly appeal to those unable to afford the more expensive college balls.

One Union member commented, “This is an utter disgrace. I was looking forward to spending a lovely evening in an Oxfordshire country home.”

However, in general the reaction to the news has been sympathetic, with a St John’s first year adding that while the Union seemed to be doing a good job, “It is clear they should have signed a contract before advertising the Ball.”

The manager of Ardington House was unavailable for comment.

It was also revealed this week that Anna Kournikova will no longer be speaking due to budgetary restrictions.

Although it was understood that all costs had been settled, it was not known that Kournikova’s expenses would include two assistants, who would also require international flights, accommodation in a five star hotel and car transportation.

Dixon commented, “The latest estimate of the costs of her visit to the Union,
including flights and accommodation, was in excess of £2,500, and we felt
that it would be fiscally irresponsible to spend this amount on a single
event.”

The total trinity term budget for individual speakers is £3,800. Excluding Kournikova, there are 22 individual speakers listed in the term card. According to Sonia Krylova, Union’s press officer the average expenditure per speaker is £600. With £1400 spent on Martin Sheen’s flights from the US alone, Union’s budget is already more than stretched.

Most students have agreed that in the end the Union made the right decision.

One Univ student commented, “Kournikova’s requests were pretty unreasonable, I think the Union were justified in cancelling the event.”

However, there are worries whether Union’s financial woes will not lead to further cancellation of events.

The Union has also been criticised this week for its links with a controversial company specialising in “fiscal engineering”. The Oakfield Group, who have sponsored pre-debate drinks, is registered in the Isle of Man and offers a “boutique service” to clients to “reduce tax liability”.

The Union defended its decision to accept the sponsorship, commenting, “The Union does not accept membership from any of the companies blacklisted by OUSU, such as BAE systems.”

 

Report shows Oxford is still a man’s world

0

The enormous scale of the gender divide at Oxford University has been exposed by an OUSU Report released this week.

The in-depth study into academic and student life at the University disclosed that fewer than 10% of professors, only a sixth of JCR Presidents and less than a third of presidents of student political societies are women.

The investigation was carried out by OUSU VP for Women, Rachel Cummings, who confirmed that she was extremely concerned by the findings.

They demonstrate that women are alarmingly underrepresented at an academic level: only five out of 24 members of the University council and just 17 out of 116 heads of academic departments are women. The University has never had a female Chancellor or Vice-Chancellor.

The dichotomy was not only limited to academia however, with merely five female JCR Presidents currently serving across Oxford in comparison to 31 male counterparts. MCR’s by contrast seem to be more balanced, although their female presidents are still outnumbered by 14 to 25.

Speaking in reaction to the survey, Rachel Cummings said that the OUSU Executive were working with officials from the University in order to try and bridge the gap.

“I think the lack of female academics at the University is a serious problem, partly because of all the talent we must be currently wasting.”

The report was commission to help combat a plague of female underrepresentation throughout University, as shown in the long existing Finals Gap, which consistently sees more men than women achieving First Class degrees.

A spokesman for Oxford University said that the disparity had been consistently investigated by the University’s Education Committee over the last decade, but that they were not necessarily any closer to finding a solution.

“Research has been carried out for over 10 years and has failed to reveal any significant factor that influences examination results,” he said.

“For example, neither the type of examination nor a difference in stress levels have shown to have any significant effect on a difference in performance between genders.”

Meanwhile on the subject of the tiny number of female professors, the spokesman pointed out that this was in part due to a lower number of applications for academic positions from women, despite success rates for both genders being similar.

“It is true generally in academia that fewer women move through each stage of the academic career path. It’s a bit like a leaky pipeline.”

He added that a number of programmes had been put in place in order to try and confront this, including the the Career Development Fellowship (CDF) and Academic Leadership Development Programme.

The report also pointed out that of Oxford’s 39 constituent colleges, 30 have higher male populations than female. Keble and Somerville were some of the few colleges boasting a female majority, whilst approximately two-thirds of students studying at Balliol are men – the highest proportion.

Female student leaders from across Oxford gave their reaction to the findings, highlighting a variety of factors as to why so few women seem to benefit from the Oxford system as well as men.

Katy Theobald, President of Oxford Women in Politics said she believed the lack of women to look up to around the University was a key factor.

“The problem is that the current situation doesn’t provide enough female role models,” she said.

“If you’re never given a tute by a woman or never sit in a lecture by a woman then you don’t have examples to aspire to.”

Meanwhile Katherine Terrell, JCR President at St Hilda’s, thought that the problem is a self-perpetuating one.

She said, “Some have suggested that hustings are off-putting for female candidates because often they include challenges such as drinking a dirty pint, assuming women are less willing to do this, but even at colleges where these kind of hustings do not take place, female candidates are just as unlikely, and it seems like a simple answer to a complex problem. I feel that the lack of JCR presidents is a self-perpetuating problem, and a worrying one.”

The gender gap appeared to be less visible in student societies however. The Law Society had a female to male ratio of 10:11 and the report notes the high female population of Amnesty International committees. The difference is still acute though in Oxford’s political societies.

Since 2000, women have made up 28% of Labour club (OULC) co-chairs, 18% of Oxford University Liberal Democrats (OULD) presidents and only 3.5% of Conservative Association (OUCA) presidents.

OUCA have been particularly singled out in the past for their low active female membership. They have no Women’s Officer and Port and Policy is often used as a prime example of a male dominated event.

One female attendee, who wished to remain anonymous, remarked, “”It seems that the men are there to do the debating and the women to pour the port.”

She added, “It’s sad that an Association of the party that produced the first female prime minister could have failed so miserably to move beyond gender stereotypes.”

Asked to comment OUCA President, Anthony Boutall, said that role of women was very important to the organization and stressed that the society had moved on from previous stereotypes.

“Women have been exceptionally valuable to the progress in OUCA has made,” he said.

“I recommend OUCA events to any women in Oxford who may have been put off previously by unfavourable stories. I know that you would not experience anything other than respect.”

Top Five Films To: Make You Not Want To Have Kids

Kids are great right? Cherubic mini-people. Their greatest concern – making the tortuous decision to that eternal question: Hannah Montana or High School Musical? Bless their little hearts, etc. Or not. Thank god we have cinematic evidence to expose the vile demonic truth – kids are fucking scary. Personally, kids scare the shit out of me even without the added bonus of being the spawn of Satan, so Damian in Richard Donner’s The Omen (1976) seriously begs the question: why have a kid if it could end up hanging all your domestic staff? That film is one of the most effective methods of contraception I’ve come across. Try it.

The finest in the that-kid’s-so-scary-I-don’t-even-want-to-see-another-kid-let-alone-have-one brand, however, is surely found in Gore Verbinski’s The Ring (2002). You go through the miserable, longwinded process of adoption and all you get at the end of it is Samara: the most truly horrifying horror-child ever created. You’d have thought a child standing still and not saying anything for a few hours would be a positive thing, but oh no. One controversial, but valuable tip this film will teach you: if you see a child stuck down a well DO NOT HELP IT OUT.

Similarly terrifying is The Sound of Music (1965). The thought of losing several perfectly good curtains just so your kids can have play clothes to cycle around Austria in is enough to force my womb into a perpetual strike, and it should be enough for yours too.

Chan-wook Park’s Oldboy (2003) provides convincing evidence that having kids = emotional pain/self disgust. Do you want even the slightest risk of someone to locking you in a room for 15 years, then hypnotising you into committing incest with your own daughter? Thought not.

Finally, Chris Columbus’ Home Alone (1990): if Macauley Culkin had never been born, sure, his family home would have been subject to some heavy theft while they were on holiday, but you tell me how his parents are going to get shavingfoam/blood/tar/chicken feathers/crushed pieces of toy cars out of the carpet?

Enough said.

Coraline

0

Coraline is meant for children, but this darkly beautiful twisted fairytale is sure to appeal to audiences of all ages. Henry Selick (director of The Nightmare Before Christmas and James and the Giant Peach) once again triumphs in the world of stop motion animation. Coraline bemoans her boring existence, feeling ignored by her parents in their new home. Upon discovering a tiny secret door she discovers there is more to the house, and steps into a happier reflection of her own world, complete with her apparently charming “other mother”. Attention is lavished on her, and rather than irritations her neighbours become entertainment. All is not as it seems in the other world though, and Coraline has more than herself to save.

The film is Selick’s first venture into the world of 3D, now apparently a prerequisite for children’s films. While the majority simply use this gimmick to disguise woeful plotlines, Coraline really works in 3D. Rather than being poked in the eye, the audience is drawn into the scene: every frame is beautifully illuminated, with a depth that inevitably leaves the audience enchanted. From a magic garden with a thousand flowers slowly unfurling and lighting up, reminiscent of Disney’s Fantasia, to a circus full of jumping mice, the scenery is stunning. As in The Nightmare Before Christmas, Selick carefully employs the use of colour, leaving the real world as plain as possible to make the Other world all the more sumptuous.

The plot manages to wear its traditional “be careful what you wish for” morality well, even if it is a little over-reminiscent of Alice in Wonderland at times – complete with Cheshire Cat. There’s enough action and intrigue to keep everyone involved though. The twists might not be ground-breaking, but done this well they still grab your attention.

Clever characterisation, particularly that of supporting characters Mr Bobinsky, the retired Russian acrobat upstairs, and Misses Spink and Forcible, rotund retired actresses downstairs, will keep even adults entertained. . Spink and Forcible (French and Saunders) are exceptionally well cast, exuding energy and vitality. Much like Shrek the script manages subtle nods to grown-up humour, while not alienating its core audience – no small achievement. Coraline excels as a protagonist too, a fully developed character rather than a moping Disney brat, with a distinct attitude and some impressive brains.

Adults might wonder if the film is too scary for children – it had me gasping at times – but the little ones leave enthralled, not afraid. The film manages to blend the terrifying and the surreal to sublime effect: a children’s classic in the making. A perfect fairytale, Coraline dazzles in every sense.

Simply Spock On

0
With the new Star Trek movie being a Casino Royale-style re-launch of the
series, as die-hard ‘trekkies’, the Oxford Star Trek Society had our
reservations about the upcoming film. With the franchise having stalled in
recent years, many attempts have been made to inject new life into it (with
novels, computer games, and of course the last series), all with limited
degrees of success. The latter, Star Trek:Enterprise, was widely criticised for its
frequent and unnecessary breaking of the established canon, resulting in
its premature termination after four seasons. Star Trek is such a long
running show, that it is only natural for its keenest fans to expect to be
rewarded with a seamless continuity in return for their investment and
viewership. Thus, when JJ Abrams announced his intention to create a ‘new’
Star Trek canon (with changes justified by the alternate timeline generated
by the movie’s sinister villain, Nero), I expected to be disappointed.
Delightfully, however, I was wrong.
 
The movie was very easy to get into: the back story is built up in a smooth
manner for the new viewer, with a  pleasant number of unobtrusive nods to
the previous incarnations of Trek to suit long-time fans: it was nice to see
Uhura’s earpiece, for example, being almost unchanged amidst the gorgeous
new bridge set. Engineering was a mild disappointment, the familiar warp
core being replaced by a vast factory-like set of pipes and machinery, yet
the rest of the sets remained reasonably true to form, the ‘i-enterprise’
(as someone termed it) offering a more believable bridge between the gritty
technology of Star Trek: Enterprise and the later shows than the unique style of the
original series. The new USS Enterprise is a thing of beauty, and the
graphics in the movie really do her credit: long gone are the wooden, planar
ship movements of old, the effects screaming graceful action all the way
through. The music too, reminiscent of the classical pieces of the previous
movies, is excellently composed and sets the mood well.
 
One main critique would be the underdevelopment of some of the characters.
Scotty, McCoy and Chekov feel redundant, present only to complete the
original bridge crew set, and the villain of the piece is so little fleshed
out that his inevitable defeat feels almost irrelevant, and rather rushed,
at the end of movie. Perhaps, however, this is because of the core essence
of Trek, which has always been essentially about personal issues, rather
than the futuristic setting: Abrams has captured this well in the growing
trust between Kirk and Spock, while the frequent action scenes keep the plot
from getting too slow.
 
In the end, my only issue with this new show and its continuity was not that
it exists, but that such a wonderful film couldn’t fit exactly with the
canon I know and love: it seems only a shame the movie could not have been
written in such a way to make that possible. I look forward to there being

many sequels. This is a must-see, for old fans and for new.