Sunday 12th October 2025
Blog Page 65

Keble College ball proposal rejected twice

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Keble College’s Governing Body has informed students that it will not host a ball in 2025 after a student-run committee submitted two separate and complete ball proposals. An “informal” go-ahead was given to the drawing-up of a second proposal, which was a collaborative ball with St Catherine’s College, and was vetoed before being presented to the Governing Body, which usually confirms such proposals. 

Last year, Keble interviewed and selected a committee to create a proposal for a ball in Trinity 2025. Over 15 students helped draft a proposal that included arrangements for food, security, and entertainment providers over the long vacation. However, when the proposal was sent to the college’s Governing Body in Michaelmas for final approval, it was rejected. 

In an email announcing the rejected ball proposal, the JCR President cited the recent appointment of a new bursar as the main complication: “While the Ball Committee handles most of the work to put on a Ball, there’s a certain amount of unavoidable extra strain that it puts on College staff, particularly the bursar who is ultimately liable for ensuring events like this run smoothly.”

In an effort to overcome the difficulties a ball would place on the college in this situation, the Keble Ball President proposed a collaboration with St Catherine’s College in late Michaelmas, who are currently without a location for their summer ball due to construction work. This idea was taken to both colleges and they were given an “informal yes” to create a joint ball proposal. 

Over the winter vacation, another committee of over 30 members was formed and a ball proposal was written up for a joint Keble–Catz Ball. The proposal included plans for Keble to host the ball with St Catherine’s to take legal and financial liability, and the colleges employed lawyers to draft contracts to ensure the viability of the plan. 

Before the final ball proposal was taken to the Keble Governing Body meeting last week, committee members received an email from the Ball Presidents explaining that the proposal never made it to the Governing Body, “citing issues with college administration as the key deciding factor in their decision.” The email went on to say that “these are the unfortunate realities of dealing with instability in the college administrative system.”

Hertford and Exeter plan sports grounds refurbishment

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Following repeated reports of anti-social behaviour, Hertford and Exeter colleges have submitted a planning proposal to Oxford City Council to revamp their sports grounds. 

In the planning application to Oxford City Council the colleges propose to build, “new sports facilities including a light weight canopy and enclosure housing padel tennis courts, outdoor padel courts, cricket nets and the creation of a new basketball and netball hard surface court.”

The colleges plan to repurpose “Exeter squash courts for use as a golf simulator and the change of use of Hertford squash courts to café, changing facilities, sports hub reception area and community facilities.”

In their planning statement, the colleges described how, “the site has struggled over time with instances of anti-social behaviour and vandalism. This issue has been the main driver of these proposals.” The statement also detailed that, from November 2021 to November 2024, the most common crime reported on this site and in its immediate surroundings were violent or sexual offences, with 31 incidents. The second most reported was anti-social behaviour, with 26 incidents.  

Local resident Elaine Welsh told Cherwell: “It’s not very nice to walk past badly damaged and treated pavilions. I think the local teenagers who I have seen hanging out there need something more constructive to do.

“I think they’ve got nowhere else to go where they can hang out with their friends and if we had more youth workers to work with them to create something that they wanted we might see a reduction in the anti-social behaviour. They need to be part of local facilities so that they feel that they have an investment in it rather than feeling so alienated from it that they actually destroy it.”

In Hertford and Exeter College’s planning statement, the colleges wrote that “the new sports pitches and sensitive lighting at the site will address historic issues of anti-social behaviour and vandalism which is known to the applicants and neighbours as a long-standing issue which has resulted in the underuse of this site.” They added that the project aimed to create “a vibrant, year-round sporting ‘hub’ for use by both residents and students.”

Oxford City Council creates 140 new bike spaces across city centre

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Oxford City Council is installing 140 new bicycle spaces across the city centre in partnership with Oxford Direct Services in an effort to support increased cycling in Oxford. The project will see the installation of 70 new Sheffield hoop-shaped cycle racks and is due to be completed by the end of this month. 

The project is funded by the Community Infrastructure Levy (CIL) which is established to finance cycling infrastructure. According to figures by the Department of Transport, 35% of people living in Oxford cycled at least once a week in 2023. This figure was the second highest of any local authority across England.

Oxford’s strong cycling culture means that there is a paucity of secure parking spaces in the city, with cyclists resorting to chaining their bikes to railings, drainpipes and lampposts, which has exacted frustration from some local businesses and members of the community.

Bike thefts in Oxford are a considerable problem, from September 2019 to September 2020, Oxford had the second highest rates of bike theft in the United Kingdom, with just under eight thefts occurring for every 1,000 citizens. The council hopes that the installation of new, secure bike spaces will help abate this problem.

New cycle racks are due to be installed on: Broad Street (5 new cycle racks), Ship Street (6), Queen’s Lane (21) and Leopold Street (7).

In a press release, Councillor Louise Upton, Cabinet Member for Planning at Oxford City Council said: “I am delighted that we are creating 140 new cycle parking spaces. Oxford is a hub for cycling, but with so many people using their bikes every day to come in to the city centre there are often bikes attached to all sorts of inappropriate things like railings and drainpipes. To encourage more people to cycle, with all the health benefits that brings, it is important that we increase the provision of bicycle parking across the city.”

Oxford researcher awarded £2m to build arthritis risk calculator

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A prestigious award of £2 million over five-years has been awarded to Professor Laura Coates, Senior Clinical Research Fellow at the University of Oxford, as part of a National Institute for Health and Care Research (NIHR) research professorship. As the first ever rheumatologist to be awarded this research professorship, Coates plans to
develop a risk calculator for arthritis.

Only 73 people since 2011 have succeeded in obtaining this award, many of whom have since become senior research leaders. The award entails three support posts, research costs, and access to a leadership and development programme.

Professor Coates’ research focuses on psoriasis and psoriatic arthritis, a chronic inflammatory variant of arthritis from which approximately 640,000 people in the UK suffer. Around one-third of those with the skin condition psoriasis go on to develop psoriatic arthritis. Professor Coates plans to develop a risk calculator that would estimate the risk that people with psoriasis have of developing arthritis. 

Professor Coates said: “I will also design a new national study to test personalisation of treatment for those who do develop arthritis. I will work with people living with psoriatic arthritis and medical teams to design this study using digital supports like apps and we will be able to test different treatments and personalise these for different people.”

The NIHR website details the eligibility criteria, requiring applicants to “have an outstanding research record of clinical and applied health care research”, and to “have demonstrated effective translation of research for improved health and care.”

Other research topics that the recipients of this award plan to explore include independence for older people across community and hospital settings, improving care for children with life-limiting conditions, and a prediction tool to streamline diagnostic pathways for suspected endometrial cancer.


Professor Lucy Chappell, Chief Executive Officer of the NIHR, underlined the honour of this research award, saying: “The NIHR Research Professorship is one of our most prestigious career awards. The award funds outstanding researchers to help address the major health and care issues of today and in the future, strengthening health, public health and care research leadership at the highest academic levels.”

Oxford Union believes multiculturalism does have a future in the UK

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The Oxford Union last night voted that multiculturalism does have a future in the UK, the final count seeing 80 votes in proposition and 148 members voting against. After the debate concluded, a motion seeking to overturn the removal of ex-Director of Press Nathanael Kennedy-Leroi from committee failed to pass.

The debate began with Oliver Jones-Lyons (Christ Church), an elected member of Standing Committee at the Union. He argued that multiculturalism had “no present and no past” in the UK, describing it as a “nice fluffy idea that sounds good but looks rather different when you explore what it actually means.” He pointed to examples such as faith schools that operate outside of UK law which have been a “hotbed of abuse and radicalisation of young people”. Throughout his speech – an impressive dance around the fear of being cancelled – Jones-Lyons said the UK should look to implement civic integrationism, rather than viewing people as members of distinctive cultural groups.

Next up was the Union’s Director of Partnerships Olivia Knight-Catalinete (Christ Church). Most of the first half of her speech was taken up with mocking her college counterpart, Jones-Lyons, for his “crimes against the culinary world”: A reference to his home cooking posted on social media (this author declines to comment). As for her argument itself, she criticised the manner in which multiculturalism had so far been implemented, describing it as “a reflection of a failure to integrate”. Her conclusion, which was based around the risk of British culture losing its significance, led to one member questioning whether she truly believed in the opposition cause she was arguing for.

Continuing for the proposition was Eric Kaufmann, a Canadian Professor of Politics known for his work on identity politics. He opened by reflecting on his appearance at the Union 20 years ago, when he argued on a remarkably similar motion as to whether multiculturalism was failing in Britain. His core argument was that multiculturalism was more obsessed with “celebrating differences rather than commonalities” – a phrase he repeated at least four times during his speech. Kaufmann said that such an approach was acceptable in cases where the intensity of cultural divides meant assimilation was unlikely, such as in Northern Ireland, but not in the UK, seemingly failing to realise that Northern Ireland actually is indeed part of the UK. 

Lord Singh of Wimbledon, a crossbench peer and Director of the Network for Sikh Organisations was up next for side opposition. One of the clearest and calmest speakers of the night, he described the “tendency to add an -ism to anything we’re a little worried  and scared about” as a worrying trend. Drawing on the old cliché that we are “all members of the same one … human family with equal dignity and rights,” Lord Singh explained how it was important not to confuse multiculturalism with cultural division, in which an “us vs them” dynamic thrives.

Floor speeches followed, but not before somewhat of a mass exodus from the chamber leading to President Israr Khan to request that those leaving “please hurry up”. Closing out the case for the proposition was Peter Whittle, a former deputy leader of UKIP, who sought to dispel stereotypes of his party by playing up to as many as possible. He proclaimed that multiculturalism had led British society “to the point of collapse,” denying six points of information during his 10 minute speech. During this time, he praised Elon Musk for drawing attention to a grooming gangs scandal in the UK, said the past week in America had given him “some hope,” and described islamophobia as a “made up nonsensical term anyway”.

Former Conservative Party MP Sir Robert Buckland was the final speaker, with one of the most compelling speeches of the night. Striking back against Whittle’s points, Sir Robert said the UK “did not need a South African émigrée living in America telling us about the affairs of this country,” and claimed that the multiculturalism complained about was not multiculturalism in its true sense. He pointed to his former constituency of Swindon as an example of integration being successful, suggesting that we should “encourage others to contribute in ways that complement, not distract from, what should be a shared set of values”.

Following the main debate, a special adjournment motion sought to overturn a decision by the Standing Committee which had removed Nathanael Kennedy-Leroi from his position as Director of Press in Week 0 of this term. Kennedy-Leroi claimed that this had occurred because he had decided to no longer run on a slate with the librarian, Moosa Harraj, someone he described as a close friend of the president’s, and instead switched to a rival slate instead. He expressed being “hurt and disappointed, but most of all confused,” given he had completed work during the vacation which he said included confirming seven guest speakers.

Opposing him, Sarah Rana, the Union’s treasurer, said the removal was because the president had wanted the Director of Press to be neutral, and that Kennedy-Leroi had been offered alternative roles on committee once the president found out about his decision to run for election. She criticised “more political antics being dragged to this chamber,” and pointed to the fact that the governing body had voted 9-1 in favour of removal. After a vote by voice acclamation produced an unclear result, a vote by membership card saw the motion fail, with 57 votes in opposition against 29 in favour.

Editors’ note: Commentary herein represents the opinion of the reporter, not of Cherwell.

How far has Oxford come since the millennium?

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Unless you’re among the pedants who insist that the millennium began in 2001, this year marks a quarter-century since humanity celebrated the second millennium of the Gregorian calendar. For the world, these 25 years have been defined by key developments such as the September 11 attacks, the sudden spread of mobile phones, and the COVID-19 pandemic. For Oxford, however?

At first glance, little has changed: it remains a world-class university as it has for centuries. But on closer inspection, there exist many noteworthy changes less visible to students; after all, the typical reader is under 25 years old and leaves Oxford within half a decade. Just how has the 21st century treated one of the world’s most ancient universities?

Perhaps it is the misguiding allure of attending a college over twice as old as the United States, but I find it staggering how much of Oxford is still physically evolving. This quarter-century has given us two new colleges: Green Templeton College was established in a merger, rising from the ashes of Green College and Templeton College in 2008, and Reuben College started accepting students just a few years ago in 2021. Conversely, permanent private halls (PPHs) have thinned in number, with Greyfriars, St Benet’s Hall, and St Stephen’s House each losing their PPH status in 2008, 2022, and 2023 respectively.

Department buildings tell a similar story. The past 25 years have given us superb educational facilities, such as the Andrew Wiles Building, the Blavatnik School of Government, and the current site of Saïd Business School. But a crucial distinction sets the former building apart from the latter two. Sir Andrew Wiles, a professor of Mathematics at Oxford, famously proved Fermat’s Last Theorem – a problem that remained unsolved for centuries.

Appropriately, the Andrew Wiles Building (home to the Oxford Mathematical Institute) bears his name in recognition of his extraordinary academic achievement. On the other hand, Leonard Blavatnik and Wafic Saïd are billionaire philanthropists, known for questionable ties to governments worldwide. Blavatnik has faced scrutiny for his associations with Russian oligarchs, and is the recipient of personal sanctions imposed by Ukrainian president Volodymyr Zelenskyy; Saïd is known for the lucrative Al-Yamamah arms deal between the United Kingdom and Saudi Arabia, worth £40 billion.

Indeed, morally dubious donors have proven to be a trend in recent years. The list does not end with Blavatnik or Saïd: the Stephen A. Schwarzman Centre for the Humanities was funded by £185 million in donations from the eponymous patron, best known as the CEO of Blackstone. Accordingly, the student body has exhibited a keener awareness of the University’s funding and investments, throughout the quarter-century. From protestors occupying the new Saïd Business School building upon its opening in 2001, to students pressuring the University to divest last year, financial scrutiny has clearly become more prominent than ever.

The student body composition provides intriguing statistical trends: in 2006, around one eighth of undergraduates were international students, a figure rising to one fifth by 2023. Moreover, the proportion of non-EU students approximately doubled from 8% to 16%. Whatever the next quarter-century holds for Oxford alumni, its reach will certainly be felt worldwide.

Apart from the sustained level of prestige (people are impressed when you tell them where you study, yes?), the perception of Oxford has jumped rather sporadically these past 25 years. Consider the medium of film: the year 2001 commenced the Harry Potter film franchise, which has given us many a gaggle of tourists, and at least two merchandising shops. Within the same period, Oxford was painted in a somewhat less pleasant tone by Saltburn.

This aptly captures the dichotomous public perception of Oxford – on one hand, it is a place of academic excellence and the quaint city of dreaming spires, yet on the other, it is an incessant sleazefest for the elite. Given that the modal Briton has not attended a university, who could blame them for thinking such a reasonable thing? Across the quarter-century, Oxford produced 15 Nobel Laureates from its alumni and staff, and one Fields medallist. Billions of doses of the Oxford-AstraZeneca vaccine were distributed around the world. And yet, a commonly parroted perception of Oxford has little to do with academia.

The elephant in the room is a matter of political leadership – this nation has had eight prime ministers since 2000, and seven of them are Oxford graduates (in case you’re wondering, Gordon Brown earned his MA and PhD at Edinburgh). Few things can spell out a university’s prominence as blatantly as a history of national officeholders. Perhaps more interestingly, Oxford was where several prime ministers earned their political stripes: notably, Boris Johnson – via ruthless campaigning – was president of the Oxford Union, and Liz Truss was president of the Oxford University Liberal Democrats within her first year.

This remains a constant in British politics. Since 1945, every prime minister that graduated from an English university was once an Oxford student. Last decade, ‘elitism’ became a particularly touchy subject for our politicians, with haunting tales of the Bullingdon Club reminding the nation just how out of touch our leaders can be. It did not matter to the public whether or not ‘Piggate’ happened, it was simply believable. However, this streak of Oxford alumni will likely break soon; Keir Starmer and Ed Davey are the only party leaders with an Oxford education, after all.

So, the quarter-century largely ends as it began in Oxford. An Oxonian is prime minister, the University’s chancellor is a baron, academic accomplishments remain superb, and our financing is still amoral at best. If any change naturally occurs at Oxford, it will inevitably be slow; the University’s history of success ensures that the status quo is peculiarly treasured. But a resistance to change comes with the concomitant risk of falling behind. Oxford is an establishment that highly benefits its students; it is our moral obligation, as future alumni, to uphold a legacy we can be proud of.

Have an opinion on the points raised in this article? Send us a 150-word letter at [email protected] and see your response in our next print or online.

Has the modern movie musical lost its magic?

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As I begin writing, my parents have just walked through the door having finally experienced the cultural phenomenon that is Wicked (2024). My mother is singing something resembling ‘Defying Gravity’. My father, on the other hand, is complaining that the final scene interrupted an otherwise pleasant nap. Whatever your opinion on Wicked, it undeniably defined the tail-end of 2024.

As a fan of the live musical, the film made me wonder: is something always lost when we take the magic of live musical theatre and try to recreate it on-screen?  Subverting the conventions of stage musicals in screen adaptations is a comparatively recent phenomenon. Thinking back to old-Hollywood movie musicals, they tend to be more simplistic, recreating the principles of stage musicals rather than moving away from them. Jon M. Chu’s Wicked was visually exciting, but was it doing too much? 

Stage musicals are all about illusion; moving furniture in the shadows between scenes and coming up with creative solutions to problems that only occur when directors can’t simply yell ‘Cut!’. Examining  the recent history of musicals adapted from stage to screen, productions  haven’t always been as solid as Wicked. Dear Evan Hansen (2021), for example, has been a favourite musical of mine for some time. Although the film was enjoyable, the now-nearing-thirty Ben Platt was probably more convincing as a troubled teen when he first appeared as Evan on Broadway. 

An audiences’ distance from the stage blurs things that are harder to miss on the big screen. Another infamous example of a movie musical that, in attempting to avoid audience scrutiny, did the exact opposite, was Cats (2019). Poor Dame Judi. Maybe it’s for the best that stage musicals are forced to use animal costumes , rather than trying to make things look ‘real’. CGI can only do so much, but movie musicals seem to increasingly rely on it.

Don’t get me wrong, musicals on stage can also look ridiculous – my family will never recover from Billy Elliot swinging around singing in a slightly affected northern accent – but, arguably, this is part of their charm. Certain reviewers of Wicked were relentlessly critical of the switches between Erivo’s singing and speaking voice. Others found the fixation on perfect CGI overwhelmed the bare bones of the story, which musical fans know and love. The ‘Defying Gravity’ scene took my breath away, but was a far cry from the intimacy and raw emotion that the musical commanded when I first saw it on stage. The difference is that we demand perfection from what we consume on-screen, while in live theatre we forgive a little messiness, and find the experience all the better for it.

However, this is a problem that old-Hollywood musicals seem (mostly) exempt from. As a general rule, they don’t compete  with the stage in the same way. It’s not a case of the screen fixing the problems or difficulties of a live stage, but a mixing of both mediums which creates something better than the sum of its parts. I know that I am not the only person who rewatches The Sound of Music (1965) every Christmas. This season it was playing on BBC  One and each of my family members made the same comment: it doesn’t matter if you want to watch it or not, you will not change the channel. We were all transfixed. Though the infamously living hills of The Sound of Music look decidedly fake, and the synchronisation of voice and mouth wasn’t quite up to scratch by 1965, it is a wonderful watch. 

Other films like Singin’ in the Rain (1952), with its meta film sets, and Mary Poppins (1964), inexplicably featuring animated penguins, have the same captivating quality because they refuse to be seamless. Maybe future film musicals can learn a thing or two by looking back instead of lurching forward and embracing the magical imperfection that characterises the musical. 

Back to the Future: Are 2010 Throwbacks the Soundtrack of 2025?

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The early 2010’s occupy a curious space in cultural memory, neither distant enough to be considered history, nor recent enough to feel like the present. Yet, this period is enjoying an unexpected renaissance. Chart-topping hits from artists like Miley Cyrus, Bruno Mars, Rihanna and Maroon 5 are re-entering the mainstream, propelled by waves of nostalgia and the algorithmic influence of platforms like TikTok. This resurgence highlights nostalgia’s dual role as both a refuge and a creative force, shedding light on the evolving relationship between music, memory and identity.

Nostalgia has always been central to music, offering listeners a sentimental escape from the complexities of the present and a reconnection with what feels like a simpler, more optimistic time. Today, this longing for the past has been amplified by social media platforms that thrive on nostalgia’s ability to evoke powerful emotional responses. On TikTok, tracks from the past have found new audiences, becoming the backdrop for viral trends that reshape their cultural significance.

These songs, often sped up, slowed down, or remixed, take on new layers of meaning, appealing to younger audiences whilst rekindling memories for older ones. TikTok’s ability to seamlessly merge the past with the present has also revived even older tracks such as Sophie Ellis-Bextor’s ‘Murder on the Dance Floor’ (2001) or M.I.A’s ‘Paper Planes’ (2008), proving that the platform’s influence extends far beyond any single era of music. 

This nostalgia extends beyond individual tracks into the very creation and identity of new artists and their sounds, showcasing a cyclical relationship between influence and reinvention. The girl group FLO, for example, embody the resurgence of girl bands, incorporating the genre-defining harmonies, lyricism and vocal arrangements of 2000’s icons Destiny’s Child. Such reinvention demonstrates how nostalgia influences the present, as artists channel the past not as mimicry, but as inspiration, creating something new whilst albeit familiar. The dominance of throwbacks in the mainstream are a very revelation of how the sounds of the past can also be a space for creative transformation. 

For emerging artists however, nostalgia poses a significant challenge, as they must carve out their place in a landscape where they not only compete with contemporaries, but also the cultural weight of the past. Raising the question, is the resurgence of nostalgia indicative of cultural stagnation, as innovation is overshadowed by the comfort of familiarity? Or is it evidence of a new form of creativity, where the past is actively revived and reimagined for modern listeners?

In many ways, the very resurgence of throwbacks and the impact of nostalgia can act as a bridge between musical eras. The soundtrack of 2025 will most likely be defined by this delicate mixture of memory and innovation, as old sounds are reimagined to reflect the identity of a new generation. Nostalgia, far from being a passive retreat, proves itself to be a defining force that shapes the sound of tomorrow.   

From the Chrysler to the Weston: 100 years of Art Deco

Picture the scene: the 1920s, jazz and sequins are stealing onto the dance floor. On the gallery wall, new techno-infused modernist forms are weaving their way into post-war aesthetics. In France, Paris breathes a sigh of relief in the aftermath of German occupation. In this atmosphere of Parisian liberty, Gertrude Stein penned: “it is not what Paris gives you, it is what she does not take away.” Yet behind this, anxieties were bubbling about what France had to give modern global culture. “Even the Americans themselves reacted, and sought to create for themselves – for better or worse – an original art” wrote Minister of Commerce Lucien Dior: “during this what did we do…? Nothing, except copy our own old-fashioned styles.” Out of this insecurity, not without an air of competition, the 1925 International Exposition of Modern Industrial and Decorative Arts was unveiled in Paris. This was the birth of Art Deco, a gift that would redesign the world.

The exposition’s fundamental stipulation was that everything be exclusively modern. It was expected, though, that this modernity should embrace the extravagant optimism of the period. Beyond the thirteen opulently designed entrances, the exposition was organised by pavilions, each competitively garnished to display the artistic creations of different French products, regions, and territories, as well as each of the international pavilions. These were accompanied by merry go rounds, fireworks, 300 ballerinas, and—to illuminate the Eiffel Tower—two hundred thousand light bulbs in six colours. So when Le Corbusier revealed his Pavillon de l’Esprit Nouveau (ascetic, grey, and furnished only by mass-produced furniture and his designs for Plan Voisin), organisers of the exposition, horrified, attempted to conceal the shameful offering behind fences.

Both a development of and opposition to the Art Nouveau style, Art Deco is distinct for its incorporation of cubist elements which instill an angular, geometric quality. Art Deco is found in the visual arts, architecture, and commercial product design from furniture to fashion—parker pens and streamlined locomotives. Its influence looming large in cities across the globe: construction for the Chrysler Building, an iconic feature of New York’s skyline, began in 1929. Three years later, Christ the Redeemer was completed in Brazil, and has gazed down at Rio de Janeiro ever since. When thinking of Art Deco, Oxford is far from the first city that springs to mind. However, at the heart of the University, the Weston Library offers a local example of Art Deco architecture, designed in 1934 by Sir Giles Gilbert Scott—and that’s without mentioning the books within Oxford’s libraries. Iconic covers including the Celestial Eyes dust jacket of F. Scott Fitzgerald’s The Great Gatsby or (love it or loathe it) the cover art of multiple editions of Ayn Rand’s Atlas Shrugged exemplify Art Deco from Oxford’s bookshelves.

Return to war in 1939 would bring a sharp end to the lavish tastes and garish embellishments of Art Deco, but even before this, modernism was creeping in. Despite Art Deco interior designer Paul Follet’s claims that “the superfluous is always needed”, architectural decadence could not be justified in the face of the Great Depression of the 1930s and material wartime need of the following decade. Against this backdrop, Le Corbusier’s modernist counterclaim that the house was merely “a machine to live in” aligned more concretely with the modern world, while Art Deco’s geometric extravagances left the style more fragmented from reality than ever. “Decorative art,” Le Corbusier wrote, “as opposed to the machine phenomenon, is the final twitch of the old manual mode, and is a dying thing.”
This year, 100 years after the revolutionary advent of Art Deco, Paris’ Musée des Arts Décoratifs will launch an exhibition reflecting on the 1925 International Exposition of Modern Industrial and Decorative Arts. One cannot help but wonder whether such a return to the past is the best way to mark the spirit of modernity that precipitated the Art Deco style. Will 2025 begin an era of retrospection, and not growth? In answer to this, it is important to consider the cycle of progress, and how vital the past is in the influence of the future. As Frantz Jourdain, member of the Society of Decorative Artists, said of his 1925 inspiration: “we consequently resolved to return Decorative Art, inconsiderately treated as a Cinderella or poor relation allowed to eat with the servants, to the important… place it occupied in the past.” This month, the first of 2025, marks both a centenary of the past and the beginning of a new year; perhaps modernity allows for both.

Odeon to close to make way for £37m council project

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Odeon cinema on Gloucester Green is set to close in January and be replaced by a £37m council project. Oxford City Council will demolish the building, which has operated as a cinema since 1936, to replace it with a hotel and community space

The ‘aparthotel’ will include 145 rooms, a bar, and a café, and will have windows on all sides, which Oxford City Council say will improve the atmosphere of Gloucester Green and meet modern building standards, reducing its environmental impact. A Council spokesperson told Cherwell the project will take around three years to complete. 

According to the City Council, Odeon made it clear it did not want to renew its lease after 24 years at the location and when it became obvious that no new tenants wanted to take over the cinema, the City Council launched a procurement exercise in September 2022 to determine the best future use for the site. Despite being invited to participate, a spokesperson told Cherwell, Odeon declined to submit a proposal for a new use for the building. The redevelopment plan was finally approved in October 2024.

The City Council says the “much-needed” development will bolster the tourism industry by attracting overnight visitors. The council cited a 2015 report from Experience Oxfordshire to Cherwell that found overnight visitors spend 1.5 times more than day-trippers while only 17% of Oxford’s 6.6 million annual visitors stay overnight.

Alex Hollingsworth, Cabinet Member for Business, Culture and an Inclusive Economy told Cherwell: “More overnight visitors will increase the number of people using our restaurants, bars, and theatres, helping local businesses thrive. Gloucester Green is already a thriving successful place because of the market, and the community centre will help expand on that success.”

Hollingsworth also highlighted Oxford has other cinemas such as the Curzon at Westgate Oxford, Ultimate Picture Palace in Cowley Road, Phoenix Picturehouse in Walton Street, and Vue at the Kassam Stadium – which in fact lies outside of the Oxford ring-road.

Many residents, however, point out that these alternatives are prohibitively expensive and argue the proposal reflects a broader trend of prioritising tourism over local needs. A resident said Odeon’s decision to not renew their lease stems from the council making Oxford “pretty much inaccessible.” Another resident added: “The residents of Oxford are slowly being pushed out of the city, so tourists can invade it.”

An Oxford student told Cherwell: “I liked the Odeon because it was affordable and central and I never went to other cinemas because they were too far away or expensive.”

The plan has received 97 formal objections from residents, who expressed concern in light of recent entertainment venue closures, including Kiss Bar and ATIK. Despite this, no members of the public spoke in objection at the planning meeting.

Cherwell contacted Odeon for comment but did not receive an answer.