Wednesday, May 7, 2025
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Review: Persepolis

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Marjane Satrapi’s Persepolis graphic novels have attracted something of a cult following, so this adaptation is guaranteed a ready-made audience. Dealing with the author’s childhood and adolescence in Iran following the 1979 Islamic Revolution, Persepolis raises issues that are obviously relevant in today’s political climate.

But despite its stretches of clunky politicised dialogue, during which some characters speak exclusively in slogans and soundbites, the film does not have much to say about broad political questions. It spends more time describing the mundane but nonetheless shocking indignities of living under an oppressive fundamentalist regime. Initially comic scenes about organising illegal parties and brewing illicit alcohol become more serious as they highlight the ever-present threat of government surveillance and arbitrary arrest.

However, the film’s main focus is on the character of Marjane herself. She is an appealing protagonist: clever, funny, opinionated and self-aware. There are lots of other characters in Persepolis, but they are pushed into the background as Marjane’s growing pains (hitting puberty, falling in love, struggling with depression) take centre stage.

This emphasis on the personal over the political means that Persepolis sometimes feels like any other coming-of-age film, especially since serious issues such as rape and suicide are too often lumped together with trite messages about being true to yourself and doing the right thing.

This is a shame, because all this is presented using striking animation that closely mimics the stark black-and-white drawings of the original books. At times the film’s style drifts dangerously close to cliché, such as the sequences that employ the lowering silhouettes of tanks and artillery to suggest the horrors of the Iran-Iraq war. Yet Satrapi and her co-director Vincent Paronnaud also use this style to create some arresting and memorable images; the political demonstrations that open the film, for example, fill the screen with a vast monochrome sea of human figures.

On a more intimate and personal level, a scene which depicts the sinuous, predatory forms of two chador-clad ‘social guardians’ looming over the young Marjane (who is clutching a bootleg Iron Maiden cassette and wearing a jacket with ‘punk is not ded’ emblazoned across it) manages to be both funny and disquieting at the same time. There are several other moments in the film that are equally impressive visually, and they are worth waiting for. These moments, and the enjoyment to be had from the central character, more than make up for an occasionally weak and unambitious script.

Back to basics: Super 8

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It’s strange to think, but a decade before you were born, home movies were three minutes, twenty seconds long. Video recorders were a long way from the technology you probably have inside your phone right now: you couldn’t edit or re-record them, and they had to be professionally processed and developed.

The rise of internet video has sparked a resurgence of interest in this dated Super 8 technology and resulted in a remarkable new short film competition. Amateur film-makers from all over the world, beginners and the experienced alike, have dug out old cameras and created short films for a competition called ‘Straight 8’.

The rules are simple. You shoot a film on a single three minute cartridge with no budget, send it in along with an original soundtrack, and Straight 8 develops and judges it. If its good enough, the film is premiered in a packed cinema at the Cannes film festival, and then uploaded onto the competition’s website for all to see. Last year there were over 240 entries.

This sounds deceptively easy, but the restrictions it places on participants produces some fascinating results. Without any of the editing capabilities available to other films, entries become exercises in pure creativity. Winning entries span a huge range of the weird and wonderful, from dance routines to mini documentaries, and from fantastically original use of shooting techniques to a single shot of a man in a pub sinking ten pints in three minutes.

What’s so refreshing is to see the sheer  variety film can contain, when Hollywood and commercial television have almost made us forget its even possible to deviate from established genres and plots. Its almost an unwritten law of films, for example, that the first major adversity comes after twenty one minutes, whether the film is a rom-com, action movie, comedy, or anything else. Films are supposed to show us something new and unfamiliar, but our generation often reacts with just a yawn to the latest techni-colour explosion.

Watching a three minute Super 8, however, even the familiar becomes fascinating. In one entry the camera zooms in on a woman from over a lake. It is a technique we have seen a thousand times before, except Super 8 cameras do not have a zoom function. To create this single half second of film required the cameraman to take a boat over the river, taking a single frame shot every few metres.

Another entry, depicting a man walking normally through London whilst the surrounding traffic and pedestrians move backwards as if the film was being rewound, has sparked an enthusiastic debate about how the film is even possible.
The other great thing about these films is that you know they’re real. When you see a car being driven off a cliff five times over, you know that five different cars have actually had to be driven off that cliff in order to produce what you see in front of you. The bloke who downs ten pints actually has drunk them all in the time it takes you to watch it: its a single scene, and therefore it is impossible for him to have made separate shots and edited them together later. We can only imagine what he felt like half-an-hour  later. The point is that the Super 8 format stops us from watching these films just as an entertaining way to pass three minutes that we then immediately forgot. We know what we have seen has happened, creating a far more interesting experience for the viewer.

Instead of idly browsing YouTube or watching another South Park episode, check out www.straight8.net and watch a couple of last year’s winners. Whatever you think, you’ll see something startlingly uncommon to most films today – originality. You may even be inspired to search out that old camera of your parents yourself.

Review: Fool’s Gold

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Ben ‘Finn’ Finnegan (Matthew McConaughey) is a modern-day treasure hunter obsessed with finding the legendary ‘Queen’s Dowry’ – a priceless treasure lost at sea in 1714. Finn has sunk everything he has into his quest, including his marriage to Tess (Kate Hudson).

Just as Tess has begun to rebuild her life, working aboard a mega-yacht owned by billionaire Nigel Honeycutt (Donald Sutherland), Finn discovers a vital clue to the treasure’s whereabouts. Much to her consternation, Finn manoeuvres himself aboard Nigel’s yacht and, using his roguish charm, convinces the tycoon and his celebutante daughter, Gemma (Alexis Dziena), to join him in his pursuit.

But – and you can see where this is going – they’re not the only ones after the prize. Ruthless bad-guy Bigg Bunny (Kevin Hart) is intent on beating Finn to the trove.

Within its genre, this film is a gem. Rarely is film so easy on the eye. Predictable though the plot may be, Fool’s Gold is genuinely funny. Hudson and McConaughey’s bickering is brilliant. Throw in a bimbo, two comedy henchmen, and a leering Eastern European, and you have a plethora of amusing (if unoriginal) gag lines. This formula is bejewelled by the unexpectedly dark character of Bigg Bunny, whose malevolent nature leads to action sequences that left me on the edge of my seat.

Of course there were bad points too – as we must now expect of an action film, the music is strongly reminiscent of Gladiator/Pirates of the Caribbean. Worse, the legend of the ‘Queen’s Dowry’ was poorly explained, with each ‘twist’ greeted with more of a confused shrug than a gasp of surprise. These elements felt like missed opportunities, which was a great shame.

The ‘romantic action comedy’ genre is not to everyone’s taste, but if it floats your boat then you’d be a fool to miss this gold!

4 stars out of 5

Neighbourhood Watch: Chris Chan

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While many students’ idea of extra curricular activities rarely stray past drinking copious amounts of alcohol or frantically hacking (possibly at the same time), some students take a less-travelled road.Chris Chan is Merton’s current organ scholar and leader of the Chapel Choir, although he does not limit himself to just the choir. In fact, he says ‘I also co-conduct the big band and orchestra in Merton, and am conductor of the Oxford String Ensemble.’ Clearly not someone who is content to rest on their laurels, then.
 
The chapel choir will also be keeping itself busy. Despite mentioning that Trinity is often quieter, due to finalists hitting the exam period, Chan describes a full line-up of events, from memorial services to concerts raising money for a tour in Vienna in June.On to the role of organ scholar. Chan describes it so: ‘You do have to take on responsibility – you are employed in representing the chapel.’ Being an organ scholar involves much more than playing the organ; as Chan puts it, ‘you become part of the college’s staff.’
 
In Michaelmas 2008, Merton will launch the Choral Foundation, offering scholarships to 15 students under the leadership of Peter Phillips. Chan says that one of the main reasons for the foundation were ‘our acoustics in Merton, which are known not just in Oxford but world wide as well’. Two years after the idea was first brought up, over £1,000,000 has been raised for the foundation.
 
Phillips, who directs the world famous Tallis Scholars, will be Director of Music at the chapel and will no doubt bring great expertise to the foundation.

Picture perfect

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While art is defined as ‘the creation of works of beauty or other special significance’, fashion is reduced to ‘the latest and most admired style in clothes and cosmetics’, yet surely the two are not such distant relations? When the designers of Paris, New York, Milan and London send their models down the catwalks twice a year, what else are they aiming for beside ‘the creation of works of beauty or other special significance’? How does one distinguish between creating an original work of art and designing an haute couture gown

When John Galliano said that clothes have the power to turn the wearer into a work of art, he continued a long tradition of blurring the boundaries between the two concepts that ostensibly exist as separate entities. Yet the two mediums are, in fact, deeply interrelated, and never before has this relationship been demonstrated so plainly as on the catwalks this season.

Designers seemed to have exerted their own creative license over artists throughout history taking inspiration from everyone from Monet to Pollock and everyone in between. Dolce & Gabbana commissioned young Parisian art students to paint silk canvases which were transformed into billowing ball gowns that looked like walking water lilies; a trend echoed on Zac Posen’s silk dip-dyed minidresses that evoked Turner’s stormy skies. In contrast, Marni and Chloe showed dresses patterned with blocks of colour, in homage to Rothko and the abstract expressionists.

Whilst this relationship has changed over time, the influence of art on fashion is unmistakeable; both artists and designers strive to create images and items of beauty, each group using the human body to different extents in their pursuit of this aim.

At the turn of the twentieth century art and fashion were far more visually cohesive concepts than they are today. In the early twentieth century, the artistic establishment saw a movement away from rigorous demands of realism to the emotion and freedom of expressionism, a school which saw radical changes in the perception and interpretation of the world. At this time, radical changes were developing in women’s clothing, from the first bra to the new styles adopted as roles changed in the First World War, resulting in a confusion and distortion the long established image of the artist’s muse, the female form.

The proceeding decades developed this transformation further with the ethereal loveliness and floating fabrics in fashion coupled with the organic and swirling forms of art nouveau. The flapper dresses, the skyscrapers and the artistic works of the 1920s and 30s were all inspired by the Art Deco movement, each medium using the same shapes and colours creating unprecedented artistic cohesion between art and fashion. The aftermath of the Second World War compounded the symbiotic relationship between the two artistic forms as Pop Art sought to pervade every artistic outlet on either side of the Atlantic.

The work and attitudes of Warhol and Lichtenstein created a climate of freedom and opportunity that was echoed on the catwalk as designers grew bolder with their clothes, making colours brighter and hemlines higher than ever before.The 1980s brought with it a marked contrast between those artistic groups that wished to operate within the Establishment, and those who defined themselves through their opposition to it, and these two opposing groups used clothes as a form of political expression, both of conformity and of aggression. Shoulder pads are as much a part of eighties fashion as pierced leather but both denote radically different political and artistic beliefs, both holding the other in equal contempt.

In today’s world this duality to the world of design has been taken even further, as artistic mavericks pursue ever more extreme forms of beauty, both on canvas and body; while those members of the Establishment create items of unmistakeable beauty, but also of unidentifiable imagination.

The democratisation of creativity in all its forms has led to greater inclusion and exposure of both fashion and art. Damien Hirst, Banksy and Sam Taylor Wood all fall under the category of ‘artist’ despite their radically different, and sometimes controversial, use of unconventional media. This democratisation has also meant that the appreciation and availability of art and fashion is no longer confined to the higher echelons of society.

Art and style are now whatever you wish them to be, not something dictated by those superior to you, and this egalitarian enjoyment of the two media has injected new life into both forms. Any expression of creativity is inextricably linked to notions of identity, and whilst art is an expression of an artist’s identity, fashion can be used as an expression of your own identity, moulded and fitted to convey a personal notion of yourself.

The medium of expression differs, but the objective remains the same; to create a vision of beauty, be it for purpose or for perusal.

Pop!

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Photographer: Daniel Rolle {nomultithumb}

Stylists: Kate Shouesmith and Sam Bradley

Models: Xaria Cohen and Karis Eaglestone

Be inspired by Warhol and wax crayons; bold colours and strong shapes create superhero silhouettes to soar into summer.

Green dress by Topshop £35
Shoes by Faith £35

Dress by George at Asda £12

Shoes by New Look £19

Dress by Marks & Spencer, £39.50

Top by New Look £8
Belt by Primark £4.50
Skirt by Zara £39
Shoes by ASOS £30

Oxford win Boat Race




 
The 2008 Boat Race ended with the slowest winning time for more than sixty years, but this was far more indicative of the weather than the standard of racing, which was as fierce as the sky above and waves below. Helicopters circled overhead and thousands hugged the banks of the Thames to watch Oxford reaffirm their recent dominance over Cambridge, and continue a satisfying trend which has now seen them win three out of the last four races, narrowing their all-time deficit tantalisingly to just five.
 
For Cox Nick Brodie the victory was especially magical. Much of the subsequent boat race coverage has justifiably focused on the 21 year-old, for whom revenge proved as sweet as ever. Having endured a frankly horrific few years of varsity rowing, he finally and perhaps inevitably fought back against all the odds to claim a doubly meaningful personal victory. He claimed that “losing the Isis-Goldie race in my first two years and then the main race last year was devastating, but looking back now, the way my four years have unfolded here at Oxford with the highs and lows has just made the victory that little bit more special.”

However despite Brodie’s own fairytale story, the Oxford performance was ultimately defined not by any one individual but by the solidarity and focus of a team which had to drag its way not only through the rugged waters of West London but also the increasing politics which has surrounded the contest in recent years. Last year saw the boat race’s heaviest ever participant, Thorsten Engelmann, sensationally quit his course at Cambridge just days after their victory, leading to accusation, claim and counter-claim between the two camps. The particularly high level of animosity since that race not only meant that the stakes were higher than ever, but also that when the race began and the first oars were swept through the water, the action itself was a welcome return to rowing with oars as opposed to voices.
Pre-race favourites Oxford appeared to have gained the initial advantage by the time they sped past Craven Cottage – home of the varsity football defeat just a few hours before – but Cambridge remained within touching distance. The two crews passed Hammersmith Bridge neck and neck, with blades almost overlapping amidst repeated warnings from the umpire. At this point Cambridge seemed to be taking control, with Oxford’s rowing for a time appearing lethargic, despite remaining rhythmic.
 
As the boats passed Chiswick Eyot however, the team seemed to collectively realise there was actually the possibility of defeat, and at this point Oxford’s tempo and aggression noticeably increased. The Dark Blues pushed ahead round the outside of the Surrey Bend, and moving from half a length to clear water within 30 strokes, they already seemed almost certain to satisfy pre-race predictions of a comfortable win, powering into a lethal rhythm that the Light Blues simply couldn’t keep up with. An elated Brodie described how during this part of the race, “we noticed them cracking and we jumped on them”, and Mike Wherley was equally subtle when he assessed the way in which Oxford “stood on their necks”. It was aggression such as this, combined with power and technique, that Cambridge understandably struggled to match during the race, and the distance between the boats continued to increase as Oxford ruthlessly maintained the pressure: the final 22 second margin of victory was judged to be 6 lengths, a statistic which certainly didn’t flatter Oxford, although perhaps failed to do justice to Cambridge who valiantly fought against the Dark Blue’s superior power and erg scores.
 
So Oxford, as expected, were just a little too strong for their adversaries, and despite the weather playing heavily into the Dark Blue’s hands, their performance would have surely warranted a victory whatever the conditions. But it should be remembered that the first half of the race was very tight – Brodie claimed “it took us half the course to find our rythm” – and so, whilst in retrospect a repeat of 1877’s dead heat was always unlikely, the race was certainly more hard-fought than a glance at the winning margins might suggest.
 
More rowing in Cherwell Sport >>> 

Blackwell gives Bod £5m

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Photo by kamshots .  Some rights reserved. 
Licenced under Creative Commons Attribution 2.0 Generic .

 

£5 million is being given by Julian Blackwell of the eponymous bookshop chain to allow the Bodleian library to build a new hall to open access to its collection and put much of it on permanent public view for the first time.

 

An exhibition hall will be created in the New Bodleian Library thanks to the generous donation. The hall, to be named Blackwell Hall in recognition of the donor, will display the Bodleian Library’s collection of British literary treasures that had until now been accessible to only a few scholars.

 

The priceless collection includes the earliest complete book written in the English language, one of only eight surviving Gutenberg Bibles and Shakespeare’s First Folio. It also holds the original manuscripts of many book classics including Mary Shelly’s Frankenstein and a map given to the king and queen of Spain, which was probably used in discussions with Christopher Columbus before his 1492 voyage to discover the New World.

 

The earliest complete book written in English, Gregory the Great’s Pastoral Care, translated by King Alfred in about 890 AD is another of the treasures. There are also many original handwritten texts of popular classics such as Frankenstein, as well as more than 10,000 medieval manuscripts. Other treasures include an embroidered handwritten book by Queen Elizabeth I.

 

Mr. Blackwell said of his reasons for the donating, "The Bodleian is unique. It not only has the largest and most important university collections in the world, but it is leading the development of cutting-edge information services which are so vital to academic research."

 

Keeper of special collections at the Bodleian, Richard Ovenden said, "Julian Blackwell’s magnificent donation to the Bodleian reflects the long established connections between these two institutions.

 

"Not only are they neighbors on Oxford’s Broad Street, but for 130 years they have jointly engaged in projects which have both celebrated and preserved our global written heritage," he added.

 

The Bodleian Library is the biggest university library in Britain and second in size in the country only to the British Library.

 

Founded in 1602, the Bodleian has a copy of almost every book printed and an extra 5,000 books are added to its catalogue each week. It holds more than 9 million volumes as well as artifacts such as a chair made for Francis Drake from the beams of the Golden Hind in which he circumnavigated the globe between 1577 and 1580.

 

Only on very rare occasions are items put on public display, such as last December when the library put four 13th century copies of the Magna Carta on view for just six hours.

 

An event will be held on Saturday in honour of the library’s founder Sir Thomas Bodley, when the donation will be formally announced.

 

 

OUCA ‘rowdy behaviour’ criticised

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This week, more controversy surrounding the conduct of OUCA has emerged.

At a recent LUCA (London Universities Conservative Association) ball, ‘rowdy behaviour’ from the OUCA table allegedly offended several other diners and prompted complaints from a speaker.

The annual LUCA ball was a black tie affair held on 21st February and high profile speakers included Boris Johnson and Nadine Dorries, Member of Parliament for mid Bedfordshire.

OUCA received several complaints about the bad behaviour of some of its members. As a result a disciplinary committee was called, resulting in Dan Ward losing his position as publications officer.

Ward allegedly took the microphone and made a ‘drunken’ impromptu speech, thanking diners for their attendance when he had been expressly forbidden to do so by the president of OUCA.

There have also been reports that some members of OUCA heckled throughout the speeches, pounding on the table and generally behaving in a ‘rowdy’ manner.

Nadine Dorries, who spoke after the dinner, expressed her disappointment at OUCA’s conduct. Writing on her internet blog she said, “The students were all really good fun – apart from a few on one table.”

“As I left I asked which Uni they were from, I was surprised, but maybe I shouldn’t have been, when I was told the table was from Oxford.”

“The fact that they were from Oxford I suppose increased the disappointment. You kind of expect those who were born to, or have earned privilege, to behave a little better.”

Brad Johnson, returning officer for OUCA spoke of the decision to discipline Ward. He said, “Ward took the microphone without permission, he acted in a patronising way and upset many people”.

Johnson said that he believed Ward was drunk, adding: “The fact that he was an actual office holder made the offence all the worse. The ex-president of OUCA, Alex Stafford, actually had to apologise to the organisers of the event.”

In contrast, Ward remained unrepentant for his actions. Speaking to Cherwell he said, “I did pound the table and laugh, but the speech was so dull that most people did.”

“It was not a good event. Lots of people weren’t dressed properly and they gave us the wrong wine glasses.”

Ward also claimed that he was reported due to a personal matter, and was the victim of ‘rules gimpery’.

Professor wins IR award

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Oxford University economist Professor Paul Collier has won the 2008 Lionel Gelber Prize for his book: ‘The Bottom Billion: Why the poorest countries are failing and what can be done about it’.

 

The Lionel Gelber Prize, called by The Economist as ‘the world’s most important award for non-fiction’ is awarded to the author of the world’s best book on international affairs.

 

Paul Collier is Professor of Economics and Director of the Centre for the Study of African Economies. He is a Professorial Fellow of St Antony’s College. His past appointment include having served as Director of Research at the World Bank and as an advisor to the British Government’s commission on Africa.

 

In The Bottom Billion, published by Oxford University Press, discusses how 980 million people around the globe are living in ‘trapped countries clearly heading towards a black hole.’ Poverty populations are found much in Africa, but the book also identifies other large pockets of severe poverty in such places as Bolivia, Cambodia, East Timor, Haiti, Laos, North Korea, Myanmar, Yemen, and elsewhere.

 

Professor Collier uses reconstruction of Europe after the Second World War as an analogy for the challenge of lifting populations out of poverty. In his book, he calls for not only immediate aid, but also cooperation from multilateral institutions as the General Agreement on Tariffs and Trade, North Atlantic Treaty Organization, and the Organization for Economic Co-operation and Development, which will effectively promote trade and security.

 

Professor Collier will be awarded at the ceremony to be held in Toronto on 1 April. He will also accept the $15,000 prize at the Munk Centre, where he will also deliver the Lionel Gelber Lecture. The Centre for the Study of African Economies (CSAE) has been undertaking research on Africa for more than a decade, and has become one of the largest concentrations of academic economists and social scientists working on Africa outside the continent itself.