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Zero Emissions Zone lowers air pollution, report shows

Image Credit: Emily Henson

With the introduction of the zero emission zone (ZEZ), Oxford city centre has seen reduced pollution and traffic levels. A new council report has found that, between 2021 and 2022, air pollution reduced by up to 18% in some areas. 

The ZEZs are currently located around Cornmarket Street and are in operation from 7am to 7pm every day, charging up to £10 per vehicle. The report shows a 28% decrease in traffic during operating hours, as well as a decrease in overall traffic.

The ZEZ scheme was introduced in 2022 to improve air quality within the city. Drivers of petrol and diesel vehicles, including hybrids, are charged to enter the zone. Oxford is currently the only city in the UK operating a ZEZ. with similar schemes in other locations, notably London, where they have been extensively criticised.  

While Oxford as a whole saw an air pollution reduction of 8%, areas within the scheme saw dramatically bigger reductions: 12%, 14% and 18% on New Inn Hall Street, Cornmarket Street and St Michael’s Street respectively. 

County Council Cabinet Member for Infrastructure and Development Strategy, Judy Roberts, has said: “The zero emission zone pilot has had a positive impact in a small area of the city centre. We can apply our learning from the pilot when we now start to look at expanding that area in future and bringing the benefits of cleaner air and less traffic to more residents and businesses.” 

Plans to expand the ZEZ have been proposed, with it potentially stretching from the train station to University Parks and Magdalen College by 2026. Both the Oxford Green party and the Conservatives have criticised the plan, with the Greens branding it “greenwashing” and the Conservatives voicing concern about the impact on the cost of living crisis. Recently, councillors have expressed concerns about the lack of electric buses and the possible impact on local businesses. 

The Oxford Local Plan 2040 aims for the city to have net zero carbon emissions. Other steps taken include the introduction of electric vehicle charging points, a full electric bus fleet and lowering the use of vehicles by encouraging walking, cycling and working from home. 

Oxford City Council have told Cherwell: “The Council’s Local Plan 2040 guides all planning decisions in Oxford for the next 16 years. It identifies that improving local air quality, mitigating the impact of development on air quality and reducing exposure to poor air quality across Oxford is key to safeguarding public health and the environment. The plan also identifies that a range of measures will be required to improve air quality across Oxford, including the move away from vehicles with a combustion engine, reducing the emissions of existing and new buildings, and reducing the emissions from public transport.”

In the 2022 to 2023 financial year, the scheme made £702,940, which is being used to pay for its operation and to fund other County and City Council transport schemes, including those within the Oxford Local Plan 2040. Just over half of this income came from penalty notice charges, and the rest from daily charges.

Oxford University Liberal Democrats set to return

Image Credit: Cyril Malik

The Oxford University Liberal Democrats (OULD) is set to restart this Trinity term. Their current president, Zagham Farhan, a first-year University College student, spoke with Cherwell to announce the return of the society ahead of this year’s general election.

Farhan stated that he had decided to bring back OULD after noticing “a lack of a ‘Lib Dem’ presence” in Oxford since beginning his time there, and he began work to revive the society last term. This recent period of inactivity was explained to be “due to a lack of committee members to take up roles”. The society now intends to extend its office terms to a year under its new constitution in order to minimise committee turnover. The newly refounded committee is “keen to strike a healthy balance between socials and politics to generate interest from a vast range of people.”

The term card will include a launch event with Oxford MP Layla Moran speaking and a session of ‘Liquor and Liberalism’, a “flagship debate and drinking event” which will continue fortnightly on Wednesdays. More guest speakers and joint-society social events are expected to be announced on the full termcard, which will be released soon.

The Society’s Vice-President, Heather Judge, is set to stand at the upcoming Oxford City Council elections in the Holywell Ward as a student candidate for the Liberal Democrats. Farhan hopes that the activities of OULD will have “a substantial impact on campaigns in an area where the Lib Dems have a fantastic chance of winning seats.”

The society has organised a virtual talk for former Deputy Prime Minister Nick Clegg for this term.

Despite the society’s political aims, Farhan assured that: “Our aim is to, as usual, occupy the centre ground and to be a home for everyone. Regardless of your politics, we want to see you at our events.”

2024: The year of elections

In his classic 19th-century work Democracy in America, the politician-cum-philosopher Alexis de Tocqueville looked to the democratic system in America with deep envy. In this system, he perceived a largely egalitarian society in which the virtues of industry and social cooperation contributed to America’s functional democracy; a state which contemporary France could only aspire to with its deeply divided society and disempowered citizens. If Tocqueville thought that democracy worked – and he was certainly sceptical – it had to be based in liberty and equality, and connect self-interest with the interest of the whole.

As more than four billion people in countries across the world are preparing to vote in elections this year, Tocqueville’s tenuous democratic ideal is in real jeopardy, not least in the country which he deeply admired, the United States. The presence of a Republican party dominated by politicians who brazenly flout the key tenets of democracy, such as election integrity, suggests that there is much at risk. To be sure, the ideological draw of democracy remains strong, especially as it is threatened; in America that imperative was the driving force behind Joe Biden’s victory. Yet in 2024 the stage is set to see whether the kind of liberal democracy that has characterised the post-Cold War order, and in some cases even democracy itself, can survive.

The deeply divisive rhetoric of Donald Trump, selected by Republicans for the third time as presidential candidate, is an anathema to the sort of civic unity that Tocqueville prescribed. On a more tangible level, his threats to dismantle NATO and the FBI, and persecute political enemies must be taken seriously. The best picture we have of how a second Trump term would materialise is in the Project 2025 of the conservative Heritage Foundation; New York Times writer Carlos Lozada has argued it ‘portrays the president as the personal embodiment of popular will and treats the law as an impediment to conservative governance’.

Calling the Republicans the ‘Grand Old Party’ now seems an anachronistic misnomer for an organisation whose senators and congressmen are increasingly uniform in their support for explicitly anti-democratic claims that Joe Biden’s 2020 victory was stolen. This was made clear in the 2022 Midterm elections, where according to a study by FiveThirtyEight, 60% of Americans had an election denier on the ballot, including 119 Republican nominees who fully denied the 2020 election results. But the sort of political malaise which is empowering once-fringe extremists certainly does not suffer from American exceptionalism. As goes the old saying, when America sneezes, the world catches a cold: if the unprecedented third place finish of the far-right Chega party in Portugal’s March election, led by sports commentator turned demagogue André Ventura, is any indication of the results of June’s European Parliament elections, it is a decidedly ominous one.

The recent surge in popularity of far-right movements in Europe and the United States reflects the increasing disillusion of electorates on both sides of the Atlantic  with the political status quo; and in 2024 it appears that the traditional political establishment will be forced to compromise with them to govern. This includes figures such as Herbert Kickl, leader of the Austrian far-right Freedom Party of Austria (FPÖ), who at the party’s 2024 New Year’s rally was hailed as Austria’s “future Volkskanzler”, a phrase first applied to Adolf Hitler in 1933. Kickl’s condemnation of what he calls the Systemkanzler (the system’s chancellor) and Systemmedien (the system’s media) in Austria is highly reminiscent of ’deep state’ Trumpian rhetoric, and while it may not present such a direct threat to Austrian democracy, it certainly serves to undermine people’s faith in the institutions that are so central to democracy, such as an independent judiciary and media.

The emergence of far-right politicians across Europe will also have the effect of undermining the strength and unity of the EU. Born out of the European Coal and Steel Community, and the desperate need for post-war reconciliation and reconstruction, the EU’s grand founding ideals are being tested by the language of, among others, the leader of the German party Alternative für Deutschland (AfD) Alice Weidel, who has called for Germany’s own ‘Dexit’. Even if the chances of that are slim, it still represents a startling shift in discourse from just ten years ago, when AfD were much more marginal.

Anti-establishment populist movements which are shunning compromise and moderation across the world, put the social and political underpinnings of democracy under great strain. Crucially, in Europe, far-right fortunes have been buoyed by serious economic stagnation, including in Austria where GDP contracted by 0.5% in 2023 and inflation remained above the Eurozone average. This is providing the impetus for disillusioned voters to buy into the rhetoric of radical politicians such as Kickl or the Netherlands’s Geert Wilders.

At the same time, polls seem to suggest that an increasing number of European voters might be fed up with other aspects of the liberal politics that have been so dominant in post-war Europe. Widespread farmers’ protests at the start of 2024 were fuelled by what Lancaster University professor Renaud Foucart has identified as major opposition to the European Green Deal and environmental measures farmers see as disproportionately targeting them in the move to net zero. It is this profound alienation from the state that leads such rural voters into the arms of the far right; it is no coincidence that Weidel’s AfD is involving itself in German farmers’ protests.

The incursion of the political far-right threatens to have tangible political ramifications. The potential effects on policy are clear. Consider the EU’s Nature restoration law crucial to the European Green New Deal, a landmark set of legislation approved in 2020, which aims to support the EU’s transition to net zero by 2050. Whilst the NRL was passed in the European Parliament in July 2023, Simon van Teutem, DPhil candidate in Politics at Nuffield College and columnist at De Correspondent, noted that with “current projected faction seats, it would have faced defeat.”

Rightwing rhetoric also carries the threat of geopolitical upheaval. As Ukraine’s war effort hangs in the balance, Trump’s threat to end military aid and even leave NATO will undoubtedly embolden Putin. And nor will the significance of the collapse of the joint European-American military commitment be lost on Xi in China: as NATO Secretary-General Jens Stoltenberg recently argued, signs of Western disunity “will invite challenges from those who wish us harm”. He did not mince his words in making clear “It is Ukraine today. Taiwan could be tomorrow”, speaking directly to a GOP increasingly sceptical of America’s role in the transatlantic alliance.

Indeed, it seems that 2024 will prove the ultimate rejoinder to the argument of Francis Fukuyama’s already roundly attacked 1989 essay ‘The End of History?’ – that of the inexorable spread of liberal democracy. While 9/11, the 2008 financial crisis and the 2016 Brexit and Trump votes did much to erode that essay’s post-Cold War triumphalism, in 2024 there seems a genuine risk of the very tenets of liberal democracy beginning to crumble, even in those countries once seen as its bulwarks.

India is a case in point. In what has been known as the world’s largest democracy, the near-inevitable victory of Modi’s BJP suggests that the erosion of press and judicial freedoms looks set to continue, or even intensify, whilst the party creates a space for dangerous and violent Hindu nationalism, which comes at the expense of India’s vast Muslim minority.

And while so much hangs in the political balance with the 2024 elections, the rise of AI promises some sort of disruption – and opportunities for states like Russia to cause chaos and spread misinformation. The 2019 Mueller Report made clear the extent of Russian interference in the 2016 election, spreading disinformation and hacking voter registration systems; with deep fakes that are virtually indistinguishable from reality, there is a very real threat of more disinformation in 2024. The potential ramifications of this were made apparent in last year’s Slovakian election, in which a fake recording of opposition candidate Michal Šimečka plotting to buy votes went viral on social media. Once touted as a force for political good, social media threatens to further alienate voters from the establishment, promoting misinformation and extremism at the expense of the truth./ In his L’Ancien Régime et la Révolution, Tocqueville stated what would become an infamous sociological thesis for the causes of 1789: that Frenchmen, increasingly divided and inward-looking, had lost any reason to compromise or cooperate, and that when the Revolution came French society was ripe for collapse. To suggest that such a situation is comparable to 2024 is of course wrong. But current polling for the 2024 elections suggests that people across the western world are increasingly willing to turn away from ‘status-quo’ candidates such as France’s Emmanuel Macron, towards once-fringe figures like Marine le Pen. That this shift has coincided with the rise of social media, which offers individualised political feeds and an unprecedented means of disseminating disinformation, is perhaps unsurprising.

Of course, we should not be overly downbeat. If there is optimism to be found in assessing democracy’s fate, according to head of the Global State of Democracy Initiative by Sweden’s International Institute for Democracy and Electoral Assistance Kevin Casas-Zamora, it is perhaps in the vibrant displays of civic action across the world. In the widespread Israeli protests at highly controversial judicial reforms, or the Syrian protests against the country’s jihadist rulers to mark 13 years since the Arab Spring, there is hopeful evidence that the concept of democracy is still treasured by people across the world, despite attempts to undermine it.

Moreover, even when they have found electoral success, far-right parties have sometimes proved no more than paper tigers: in the case of Georgia Meloni, fears that she would shun Ukraine and act on anti-immigrant vitriol have not materialised, while in the Netherlands Wilders has not found sufficient parliamentary support to become prime minister. And there remains a plausible chance that, come November, American voters will be mobilised by a desire to reject Trump’s intensified MAGA agenda, and the party that overturned Roe v. Wade and the protected right of abortion, according to Democrat strategist Simon Rosenberg.

Yet 2024 nonetheless represents a year in which the global rise of illiberalism could make sweeping gains. If, as Fukuyama hubristically asserted in 1989, liberal democracy is the best political state of being (or that with the fewest weaknesses), the prospect of its universal adoption seems more out of reach than ever as the 2024 election season gets underway. Across the western world, genuine issues of economic inequalities and stagnation are being weaponised by far-right politicians in conjunction with a message of social rebellion, whether against the establishment and its institutions, or foreigners, or both.

While this election year is notable for its global quality, it is in November, with the American presidential election, that political scientists will wait with bated breath. If Trump is re-elected, and if his statements are anything to go by, it seems that he will rule not in the style of Abraham Lincoln’s Grand Old Party, nor of even of his first term, in which he was hindered by overly conscientious Washington staffers, including his own treacherous vice president Mike Pence, who refused to overturn Biden’s 2020 victory. Instead, his intentions for a second term seem to hark back to the anti-constitutional actions of the despot whom Tocqueville most despised, Napoleon III. Whether 2024 proves to be the watershed that 1851 was, when Louis-Napoleon seized dictatorial powers in a coup d’état in France, remains to be seen.

Artwork by Oliver Ray

The rise of genre fluidity: Is this the death of genre as we know it?

M stone/CC BY-SA 3.0 via Wikimedia Commons

My favourite genre of music: a question I’ve found becoming increasingly difficult to answer over the years, and it’s only now that I’m discovering why. Whilst we may not be listening to more, or less music than before, today’s era of genre-blurring, experimental DJ remixes and mood-based Spotify playlists underscores a significant shift in the nature of what we listen to. 

It appears that we may be moving towards ‘genreless’ music, a sound that transcends categorisation. This distinct change in the concept of ‘genre’ is evident when considering many artists. From Silk Sonic to Wet Leg to Declan McKenna’s experimental What Happened to the Beach, the labels we could once easily ascribe to 1970s rock or 90s hip hop are no longer so easy to attribute, and fewer artists can be defined by one particular genre. 

Instead, we are seeing increasing experimentation with sound and style. Take one example, Lil Nas X: one of the reasons he became so huge overnight is since his 2019 chart-topping single, ‘Old Town Road’, uniquely blurs genre lines. It is hip-hop, pop, rap, country and country trap, all simultaneously, and in fact, the song was removed from the Billboard country charts as it had been ‘mis-genred’. The decision, seen by many as racially motivated, also demonstrates why the artist’s mix of genres, specifically his choice to incorporate country, was so significant and intriguing: it highlights the declining authority of outdated genre expectations and boundaries. In this case, Lil Nas X’s queer cowboy iconography contradicts traditional assumptions surrounding both country music’s sound and image.

This defiant blurring of music categories concerns not only established artists but has seen a spike thanks to technological musical experimentation. TikTok is the perfect platform for this: my For You Page is filled with sped-up songs, mashups, unexpected collaborations and DJ remixes blending a multitude of diverse genres. Although some more experimental fusions can fall flat, talented DJs such as Never Dull and his self-described “absurd remixes” fusing almost any popular song with house and a touch of his Latin American heritage, have gained him almost 200k Instagram followers, thousands of Soundcloud streams, and a single in the Billboard US Dance Charts. Having remixed songs ranging from Ice Spice to Diana Ross to Tyler The Creator and ROSALÍA, it is evident the ‘vibe’ is at the forefront, rather than an adherence to any easily definable genre label. 

The concept of ‘vibe’ over genre is also a phenomenon that has completely taken over the way we create and consume playlists. If you, like 602 million others, use Spotify, you will certainly have come across these mood-based compilations: personal daily mixes, ‘main character energy’, ‘wanderlust’, ‘happy hits’, ‘summer bbq’, and many more are recommended to me as I open the app. I recently discovered ‘POLLEN’, a Spotify-made playlist described as “Genre-less. Quality first always”. The hit concept aspires to be “at the leading edge of the popular and the underground” and responds to the increasingly varied listening habits of listeners, aimed also at helping lesser-known artists grow and get discovered more easily. As Kevin Weatherly, Spotify’s head of North American programming, explained in an interview with The New Yorker, Spotify is not an arbiter of taste, but instead “we’re here to try to connect our audience with different types of music, regardless of genre.” 

Not to mention, the expectations and definitions connected to genre are always identified after they have been born, and thus their significant features, by definition, refer to the past. In a world primarily preoccupied with the future, it seems we are all moving on from the confined and out-of-date, especially since, according to a study from the Black Lives in Music initiative, four in ten musicians claim to have been pigeon-holed into a genre untrue to them. 

Genre should not be forgotten, nor is it becoming entirely irrelevant. Categorisation of music is a natural instinct, and it is evidently necessary in informing taste, as well as helping artists to effectively promote music to a target audience. However, we do not, nor do we feel the need to, rely on it in the same way we once did, and artists and music lovers alike are coming to define and categorise music in new and creative ways.

Your right to know: Oxford colleges’ responses to FOI requests

Graphic by Selina Chen

Under the Freedom of Information (FOI) Act 2000, members of the public have the right to request certain information from public authorities, which are legally required to comply unless an exception applies. This investigation into ten Cherwell investigations over two years examines 310 FOI requests and finds that the average non-responses rate for Oxford’s undergraduate colleges is 25%, with four colleges failing to comply with half or more.

What is FOIA?

“The traditional culture of secrecy will only be broken down by giving people in the United Kingdom the legal right to know,” wrote then-Prime Minister Tony Blair as preface to the 1997 white paper “Your Right to Know” setting out proposals for a Freedom of Information Act. 

Beginning in 2005, FOIA enables anyone to ask public authorities – including all publicly owned companies, educational institutes, and government branches – for information such as documents, meeting minutes, or email correspondences, to which they are entitled a response within 20 working days. Exemptions apply in certain cases, including when data would breach national security or individual privacy or cost excessive resources to compile.

The policy document continued: “Openness is fundamental to the political health of a modern state. This white paper marks a watershed in the relationship between the government and people of the United Kingdom. At last there is a government ready to trust the people with a legal right to information.”

Cover of the 1997 proposal for FOIA. Photo credit: Cabinet Office.

Five years after FOIA came into effect, Blair called his past self a “naive, foolish, irresponsible nincompoop” for supporting the act. He alleged that journalists used FOIA as a weapon, and indeed the act helped expose many of Blair’s scandals. In response to Blair and other politicians who have echoed his critique, media outlets published lists of stories revealed through FOI requests, such as the 2009 scandal over MP’s expenses that led to multiple prison terms and resignations as well as the development of a new parliamentary expense system.

Oxford University’s past compliance with FOIA has brought such information to light as the persistent gender gap in finals and the university’s treatment of animals for science research. A 2018 Cherwell story using FOI requests – to which half the colleges failed to respond – found that heads of college had claimed college expenses for personal spending at exclusive gentlemen’s clubs.

Other student publications such as The Oxford Blue have also used FOIA to find information, including for an investigation into colleges’ violating doctor-patient confidentiality in forced suspension cases.

Oxford University, alongside the Russell Group and Universities UK, attempted to gain exemption from FOI requests in 2016, however, a report by the Independent Commission on Freedom of Information ruled against it. Later this month, the University will go to court to defend its blocking a FOI request about the identity of an anonymous donor who gave £10m to establish the Oxford Nizami Ganjavi Centre

Today, Oxford University has guidelines on FOI requests and consistently responds to Cherwell

Colleges, like the University, are public authorities and thus accountable under FOIA. Yet the collegiate system allows individual colleges to slip through the cracks. Although non-compliance cases could land in the Information Commissioner’s Office and ultimately in court, many colleges fail to consistently respond – and face no consequence for their inaction. 

Oxford Colleges’ Track Records

Cherwell conducted an extensive search through past investigation records and gathered data on ten FOI requests going back to Trinity Term of 2022. Topics of inquiry included rules regarding rustication, college banking practices, vacation storage, lack of heating, mental health, donations, rent increase, VNI (Van Noorden inflation Index) figures, college heads’ salaries, and accommodation costs.

For each request, a college is coded as “compliant” if they responded to the request, declined the request per exemption, were not sent a request, or asked Cherwell for a clarification to which Cherwell did not respond. The latter two are rare – only applicable to four instances in 310 data points. This investigation did not seek to quantify the helpfulness of received responses, which also vary.

For the exemption, Cherwell had asked for a list of all donations above a certain amount received by the college. This triggers FOIA’s section 12, where “cost of compliance exceeds appropriate limit.” Many colleges rightfully refused to compile this data.

A college is only coded as “non-compliant” if they ignored Cherwell’s FOI request.

Only four colleges responded to every request: Balliol, Keble, Lady Margaret’s Hall, and Pembroke. On average, colleges don’t respond to 2.48 out of the 10 requests. Four colleges failed to comply with half or more requests: Magdalen (9/10), Trinity (7/10), Regent’s Park (5/10), and Wadham (5/10).

Martin Rosenbaum, formerly BBC News leading specialist in using FOI requests, told Cherwell: “This data implies that some colleges have an unacceptable track record of failing to respond adequately to FOI requests. It’s important that all colleges comply with their legal duty to reply properly to FOI surveys so that a fully representative picture is obtained. If some do not respond, that can distort the overall impression and undermine the value of the information obtained from colleges that do deal efficiently with FOI.

“FOI gives everyone the right to obtain information in the public interest under certain circumstances. It’s a good thing for student journalists to make full use of their legal rights in order to make students better informed, and colleges should not obstruct this,” Rosenbaum said.

College’s non-response rate to FOI requests. Graphic by Selina Chen.

Your Right to Know

Cherwell has given colleges with the lowest response rates the opportunity to challenge any data point and made corrections accordingly. 

Trinity’s senior tutor told Cherwell: “I’m sorry to learn that Trinity’s FOI response rate has been lower than that of most other colleges over recent months, and I’m grateful to you for drawing this to my attention. My colleagues and I will review our internal systems to see where they can be improved.”

Asking for an internal review is usually the first step to addressing dissatisfaction with a FOI response, followed by referring the matter to the Information Commissioner’s Office. If the response is still unsatisfactory, members of the public could take the authority to court.

After looking into the matter, the PA to Regent’s Park Principal told Cherwell that three of the five unresponded FOI requests were “forwarded to relevant colleagues but did not receive the necessary information to respond.” The other two were missed in the inbox.

The Wadham FOI officer told Cherwell: “A lot of information is already in the public domain. You don’t need an FOI for that. We feel that [Cherwell searching online] would be a better use of our staff members’ time, as well as that of the Cherwell News team.” The officer asks Cherwell to look in places such as the college’s website and published reports.

However, information available online is often limited and frequently out-of-date. A student who explored colleges’ rustication policies told Cherwell that she resorted to FOI requests after finding the publicly available information to be “legalistic and focused on procedure rather than tangible student experience.” 

The student told Cherwell: “Trust is a key factor in the relationship between colleges and students, and this is enhanced by transparency and open communication.”
Magdalen did not respond to Cherwell’s request for comment.

Memory and Narrative in Miguel Gomes’ Tabu

Image Credit: Festival de Cine Africano Tarifa Tánger/CC BY-SA 2.0 Deed via Flickr

“You may run as far as you can, for as long as you like, but you will not escape your heart.”

On 25th April 1974, the Estado Novo regime was brought down by a military coup. This signalled not only Portugal’s release from authoritarianism but the end of a 13-year war with its African colonies. Now approaching the 50th anniversary of the Carnation Revolution, I return to Miguel Gomes’ 2012 feature Tabu. Few films have so brilliantly captured the gap between reality and memory – personal and collective – raising important questions about the modern repercussions of a colonial history we continue to have trouble discussing. At the heart of the film lies a profound exploration of our attempts at grappling with the otherness of the past, that will haunt its viewers long after it has ended. 

Tabu is divided into three parts: the Prologue, Part One – Paradise Lost, and Part Two – Paradise. The film opens with the dream-like tale of an explorer who, haunted by the ghost of a dead wife he cannot forget, lets himself be eaten by a crocodile. It then turns out that this is a film within a film being watched by Pilar, with whom we begin Part One. In present day Lisbon, we follow the lives of Pilar and her neighbours: the housemaid Santa and the elderly Aurora who, abandoned by her daughter, is increasingly in the grips of dementia. This is ‘Paradise Lost’, a melancholic, washed out Lisbon, peopled with isolated, discontented figures. When Aurora’s health takes a sudden decline, Pilar is asked to locate Gian Luca Ventura, who in the film’s third section narrates Aurora’s youth spent on a farm on Mount Tabu and their tale of forbidden love. 

Part Two ‘Paradise’ is composed entirely of Gian Luca’s memories of Africa and Aurora. This third section is devoid of dialogue. It is narrated in its entirety through a voice-over. Although this is certainly an homage to silent film – Murnau’s Tabu in particular –  it is worth considering the significance of the silence of the voices of the past and the superimposition of a present one. Despite the fact that these are Gian Luca’s memories, he starts by describing Aurora’s life before she existed for him. The images we see have to be projections. This continues throughout the film. Although we only get access to Gian Luca’s interiority, this section isn’t really narrated from his point of view. We see Aurora alone many times, scenes that for him are impossible as memories – even as inaccurate ones – and can only be Gian Luca’s own narrative formulations of the past. He seems to assume the role of third-person narrator of his own life. The past as it happened is inaccessible and to reach at it through memory is to build narrative. It is to look at oneself as a character. 

However, Tabu makes it clear that our past is not the stories we make of it. In an interview with MUBI, Gomes stated that he had never deeply considered the symbol of the crocodile until he began to be repeatedly asked about it during the film’s press junket. He stated: “Only then did I realize that maybe the crocodile had something to do with time. He’s like a witness; we must have a witness. People that fall in love and separate. Empires that raise and fall, colonial empires.” How people choose to remember the past does not alter how it happened, or the imprints it leaves behind. Despite all its comments on the unreliability of memory and the foreignness of the past, Tabu remains devoted to the idea that the marks we leave on others – for better or for worse – are concealable but ultimately unerasable. Aurora’s last burnt letter reminds us of this, as the film draws to a close: “If the memory of men is limited, the world’s is eternal and that no one can escape.” Aurora’s letter ends and we are met with the film’s final shot: the crocodile: an ancient witness, a superhuman judge. 

Rags to riches: unravelling the stitched up class divide in fashion

Image Credit: Chris McCauley CC BY-SA 2.0 via Geograph.

Fashion trends come and go as quickly as the seasons change, but is the UK class system still entrenched by these shifts in style? New movements in vintage fashion have caused a surge in charity shopping: hand-me-downs are all the range, yet certain ideas about class are handed down with them. Buzzwords are used across social media to describe rising aesthetics, which makes it a more accessible environment to judge these different styles. It seems as though there is still an element of class culture to fashion, despite more fluid styles that don’t necessarily require a designer label. Rising trends cause rising prices. Suddenly, the world of budget shopping has become a cesspool of consumerism. 

It should not come as a surprise to anyone interested in fashion that second-hand clothing has experienced a surge of popularity over the past few years. With the recent acceleration of fashion trend cycles, vintage styles are constantly making their way back into the mainstream. As such, charity shops have gone from being the place to shop for clothing necessities on a budget, to being visited by people from different classes on the hunt for new additions to their wardrobe. However, despite ownership of second-hand goods being less stigmatised, and often celebrated in the modern fashion landscape, there is still a class divide in how people shop for vintage fashion. 

Charity shopping in the UK became widespread during the Second World War. One of the most popular charity shops, Oxfam, opened in 1947 in Oxford. These shops would take in donations and sell goods at heavily discounted rates compared to original retail price. The proceeds would then go to a variety of different charitable causes. Naturally, the low prices attracted people in need of affordable clothing. With the growth of online fashion spaces, charity shopping has become less about budget clothing, and more about finding unique, trendy pieces. Part of the popularity of second-hand shopping can also be attributed to the growing desire to be environmentally conscious and sustainable amongst younger generations. 

Not all second-hand shopping is created equal. With the demand for vintage clothing growing, both dedicated curated vintage stores and online resellers have provided a way for those willing to pay a premium to buy second-hand items through an easier and more tailored shopping experience. In this subtle way, those with more money are able to shop for more desirable clothing pieces and curate their wardrobe to fit an aesthetic more easily. This is one of the ways in which the relationship between class and fashion still persists, although it is not as glaringly obvious as it used to be; previously class was signified by the brand you could afford to wear. Further divides between classes in fashion can also be found in the different online aesthetics.

In particular, the ‘20 year cycle’ conveys the continuous resurgence of trends from past decades. In recent years, fashion has experienced a rise in the ‘Y2K aesthetic’, which has allowed for different social classes to align as young people scoured second hand retailers for low rise jeans, graphic tees and glitter. However, as demand for these items increased, so did the prices. Once again, what was a widespread excitement towards the revival of an aesthetic became a hierarchy that lower classes could not access. The buzzwords used to describe these trends have demonstrated that this divide still persists, even when it is more of a look than a label that is sought after. 

Social media platforms like Instagram and Tiktok have heavily influenced the rapid rise and fall of fashion movements through the use of these buzzwords. It can be argued that while demand for these items has maintained the class divide, society’s own perception of them has upheld ideas about social class that cannot be ignored. Phrases like ‘cigarette mum’, typically referencing working class stereotypes, have been used against the Y2K fashion and beauty trends online. These have perpetuated the class divide as while some people are praised for modelling these aesthetics, others are unable to escape presumptions about their background based on what they wear.

The increased demand for vintage fashion, combined with persisting attitudes towards class culture, have maintained the existence of the class divide within fashion. The reinforcement of stereotypes along with the high prices that follow these trends indicate that while the rapid cycle of fashion perseveres, so does inequality within the fashion sphere.

Tutorials and the art of the blag

Jorge Royan / CC BY-SA 3.0 DEED via Wikimedia Commons

Oxford is a unique place to study at an undergraduate level. Its centuries-long history of elitism, pomposity and academic excellence separate it from the other Russell Group universities. However, as the only member of my ‘home’ friendship group to have gone on to study at Oxford, I find myself trying to convince them that it is not all that different.

When my friends have come to visit, they have enjoyed the novelty of punting and the charm of Turf Tavern. Seemingly, they have always left with a sense that, while Oxford may have its quirks, the place and its people are not fully alien. They’re not completely wrong – as brilliant as it is to go to Oxford, it’s ultimately just another place to get a degree. When it’s all over, we will still struggle to find a job and have heaps of student debt to pay like everyone else.

However, the notion that Oxford is in any sense normal is a brazen parody that can often deceive the visitor. The Oxford that I present to my friends from back home is a much more ordinary version. This is because the people here, myself included, are masters in the art of the blag.

When I, or any of my friends from Oxford, have hosted ‘externally educated’ companions, we will tend to pick a time that contains the least amount of work possible. Oxford won’t allow you to take a friend into any of its grandiose, historic libraries, so the prospect of working with a friend when they come up to visit is a near impossibility. Luckily, this practical issue works in our favour, presenting the illusion that at Oxford we don’t just work. While this may be true – we might, from time to time, have the chance to go to the pub in the evening – this is only at the end of another seemingly endless 9 a.m. shift in the library.

Alongside pretending to do much less work than I truly do, I will also host my friends to a night at ‘The Bullingdon’ with the sweet melodic rhythms of drum and bass ringing, rather than the incessant compilation of ‘Love Story’, ‘Timber’ and ‘Angels’ at the moribund club, Atik. I try to convince them that we don’t do the latter far more often.

Ultimately, I suspect that I am not the only one who commits this act of tampering with Oxford’s coolness scale. I think, like me, some Oxford students are rather successful at this forgery because they have learnt how to be somewhat economical with the truth. The tutorial system is one of the key culprits.

Before my first tutorial at Oxford, I was shouted at for coming in too early, accidentally disturbing the tutorial before mine. This gave me the sense these were incredibly personal, intense, even sacred spaces that must never be interrupted. But, over the last five terms I have spent at Oxford, I have had other tutorials with a much different feel. One of my tutors once popped out at the beginning to buy some Twix and Cherry Bakewells, something that effectively threw away my initial fears as a fresher. Even worse, the last tutor I had would vape as the session took place. Maybe this suggests that our meetings were so intense that he needed a hit to relax, though I lean more on the side that it may have just been a nicotine addiction.

During my time at Oxford, I have had a range of tutorial experiences. But what they all have in common is that they forced me to think on my feet. The system teaches you to try to come up with something profound and interesting on the spot. This means I often find myself arguing a point with the conviction that suggests I have been reading on the topic for at least several weeks when, in reality, I came up with it five seconds prior. Tutorials teach you to give the impression that you know more than you actually do.

Tutorials do have other merits of course. You are taught not to consult your notebook of information and produce a heavily evidenced opinion with several points to prove your argument. Yet that’s not the point. It’s to be able to cope with the scrutiny of a world-leading expert, on a topic they have studied for many decades, and come up with something interesting. Through this process, you are taught to make connections you have never made before. The tutor will sneakily puppeteer you to an answer, making you join the dots. I have found through this process that these freestyled ideas are my best ones, which stick in my head when it comes to an exam.

By this point, you may suspect I’m a paid employee of the Oxford tutorial system. Perhaps I can reassure you by arguing that fashioning new ideas for a future exam is not the most useful element of the tutorial system. The most extraordinary, and potentially most surprising, consequence of the unique pressure of tutorials is that it teaches you to become a masterful ‘blagger’. To be able to deceive the tutor into thinking you’re much better read than you truly are, which is a necessary skill in such an environment. Tutorials have taught me the art of false impressions. This has allowed me to convince my friends at other universities, where they may have spent half of their first year hungover, that Oxford is a much more normal university than they might think. I have been able to assure them that we shop at Tesco, not Waitrose (this is actually true); we hardly ever go to formal dinners (less true); and that we always go to ‘The Bullingdon’ to enjoy our weekly dosage of EDM (completely false).

Oxford presents many opportunities, including teaching us how to create an illusion of knowledge. By extension, this offers us the ability to create an illusion of ‘coolness’, an underrated skill. We have the tutorial system to thank for this.

The Achilles Trap: Saddam Hussein, the United States, and the Middle East 1979-2003 by Steve Coll review

Image credit: Public Domain via Wikimedia Commons

Tyrants should only be brought down by their own people; they become martyrs when brought down by foreigners. This axiom used to be applied to Napoleon, and there is no better example of it in our own century than the case of Saddam Hussein. Saddam was a maniac and a tyrant, but tyranny is always preferable to anarchy, and anarchy was what followed his deposition by the US-led invasion in 2003. The death of hundreds of thousands and decades of political chaos were the only products of the Iraq War.

Steve Coll’s new book is the best which has been written so far on the decades of leadership, geopolitics, strategy, and espionage which led to the invasion. Significantly, it draws on newly declassified resources, including almost 1,000 hours of tape recordings of Saddam’s conversations with comrades and generals. The result is a detailed, at times uncomfortably intimate, portrait of him. He was a murderous dictator, a military aggressor obsessed with conspiracies and paranoid for decades about American intentions. He also enjoyed the novels of Hemingway and Naguib Mahfouz, and at the time of the US invasion was applying himself to the study of Arabic grammar. Coll’s uniquely multifaceted picture of him will go down in history as the most memorable one. For that portrait alone, this book would be well worth reading.

While of course Saddam is the “main character”, Coll has an equally cool and sharp eye for other world leaders –particularly US presidents. Bill Clinton is found complaining that he has no telephone access to that “sonofabitch” Saddam; George W. Bush “might just have been bored” when he rolled his eyes upon learning that some Iraqi weapons had been destroyed.

Saddam’s career-long paranoia about American intentions was probably justified – not only by our retrospective knowledge twenty years later, but by the skulduggery that was underway well before 2003. During the Iran-Iraq War, for instance, the Reagan Administration gave Saddam detailed maps to help him fend off the Iranians while simultaneously approving arms sales to Tehran. 

A far greater historical irony is that, when Britain and the US removed Saddam, they were removing a regime for which they themselves had created the conditions: Britain seventy years earlier by occupying and then withdrawing from an unstable Mandatory Iraq, and the Americans in 1963 by sponsoring the coup which first brought Saddam’s Ba’athist party to power.

The central misunderstanding which Coll recounts – the one which, finally, ensured the 2003 invasion and the resultantbutchering of hundreds of thousands of Iraqis – regardsweapons of mass destruction (WMD). Iraq had no active weapons, but “after 1991, Saddam assumed that the C.I.A. knew that he had no WMD, and so he interpreted American and British accusations about his supposed nukes and germ bombs as merely propaganda lines”. By the time each side realised its miscalculation, it was too late.

Much of the overall scope and detail of this book defy summary, and to understand every facet of US-Iraqi relations, it must be read in full. Every chapter, with thriller-like headings such as “Project 17” or “The Edge of the Abyss”, makes for gripping reading. By means of its cold, crisp prose and its grasp of high-level espionage, The Achilles Trap is as readable and complex as a John le Carré novel while managing at the same time to be a serious piece of historical research.

Oriel College removes 18th century painting ‘over fears it would offend students’

Image Credit: Steve Daniels / CC BY-SA 2.0 via Wikimedia Commons

In March, Oriel College removed an 18th century painting featuring a Duke with a black servant in the background. Critics have said that the painting was removed over fears that it would offend students, while Oriel has maintained that the move was due to the college’s ongoing renovations. 

The Duke, Henry Somerset, graduated from Oriel college in 1763 and was a benefactor to the college. The painting features him and a black servant boy positioned behind him and holding the Duke’s crown. 

A spokesperson from Oriel college told Cherwell: “Due to extensive renovation of our senior library where the Duke of Beaufort’s painting is normally hung, we have loaned the painting to Badminton House for safekeeping.” The college is currently undergoing extensive renovation to the bar, dining hall, and kitchen. The Senior Library, where the painting had been housed, was converted to a temporary servery and dining hall prior to the painting’s removal. 

Badminton House, the ancestral home of the Duke’s family since the 17th century, has no modern connection to Oriel. It is unclear why the painting was not rehoused in college during the renovation period. The college did not reply to questions of whether other paintings were removed during renovations or whether the artwork would be returned in the future.

Alexander von Klemperer, a former PhD student at Oriel college, had called for the removal of the painting and one other, also featuring a black boy in the background, prior to its removal. He said: “While both images are products of their time, they are also racist depictions of people of colour as subservient and to some extent dehumanised. The way in which portraits and people are represented in a space can deeply alter how comfortable or welcoming that space is to people.” 

Oriel college has previously been criticised over its handling of past benefactors, most notably in the case of alumnus Cecil Rhodes. After calls to remove its long-standing statue of Rhodes, Oriel college opted to keep the statue and to erect a plaque contextualising Rhodes’ legacy.

Other Oxford colleges have also taken steps to remove contentious artwork. In 2017, Balliol college removed a portrait of ‘colonialist’ statesman George Cursor from its dining hall. And in 2021, members of Magdalen college MCR voted to remove a portrait of the Queen from their common room after it was deemed a symbol of “recent colonial history.”