FASHION ON A BUDGET MUSIC PIRATES URBAN ART & CONFLICT THE BNP HURT LOCKER

The War Issue

Welcome to the fifth issue of KULT -Keele’s cure for the culturally curiousand alternatively minded student.

Safely tucked away in our bubble, it’ssometimes all too easy to forget the conflicts going on out there in the widerworld - So this month we’re wagingWAR! War on your comfort zone! But don’t worry, all this war can be enjoyed on the sofa with a nice cup of tea.

So sit back, relax, and open your cultural mind boxes to sample the very best in Keele Student Jounalism.

Editors:Editors:Content: OliviaGraphics: TristamPhotography: NikkiProof Readers: Mary & Emily

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EDITORIAL

CONTENTS

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Fashion:

Sweet Chairty 16Size Zero 24Diversity in Britain 25Boston Tee Party 26

Art:

All’s Fair in Art and War? 28Snaps In Humanity 32The Writings On The Wall 36

Film:

The Hurt Locker 38Blood, Sweat and Ink 40Moore, Moore, Moore 42Film Spoiler 44Whats Hot To Watch 45

References: 46

Current Affairs:

People Power in Iran 4Question Time and Nick 6No Homo? 8

Music:

Skindred Review 10Music Pirates 12War Child Review 14Albums you should own 15

So what was the problem? Why was the 62.6%lead by Ahmadinejad considered untrustwor-thy? Well to understand this, we need to knowa bit about the background to this election...�

For most of us using Facebook is a pretty benign experience. Checking our friend’s status updates,playing a bit of Farmville, perhaps uploading somephotos of the night before. All pretty meaningless endeavours if we’re really being honest with ourselves. But in June of this year the use of socialmedia took on a less m eaningless role, becoming avital tool for Iranian citizens protesting against the results of their Presidential election.

It all started on 12th June when Iran held its presidential elections. The official (but disputed) tallyput incumbent Ahmadinejad as a clear winner, having secured 24.5 million votes (62.6 percent), while the reformist challenger Mousavi gained 13.2 millionvotes (33.8 percent). Social media was already trackingthe results as they occurred, with snippets of

information appearing on Wikipedia,Twitter, Flickr, and YouTube.

The Contenders:Ahmadinejad had been president since 2005. Considered to be a hard-liner both at home andabroad. Not favouring development or reform of political institutions, and maintaining an anti-Westernattitude by insisting on keeping uranium enrichmentas a part of Tehran's nuclear programme. Mousavi is a former Prime Minister, who after beingout of the political circle for a few years, had returnedto stand on a "reformist and principle-ist" ticket. Hehad the backing of several major reformist parties,but did not manage to attract the support of the mainprinciple-ist groups. He is believed to have wanted toplay the role of a political conciliator and to revivethe idea of social responsibility and ethics. The Polls:Opinion polls were said to be unreliable as they canvassed small groups of University students; however most opinion polls placed Mousavi as thepopular vote amongst students and young people.Why young people are important:Iranians who are 18 years old and over are allowedto vote resulting in an electorate of some 46.2 millionpeople. Young people also constitute a large part ofthe electorate with about 50% of voters being under30.

So, young people on the whole wanted a reformist, young people also make up around50% of the voters, and with over 80% of thepopulation turning out to use their vote, people

were rightfully shocked at the early announcement of the

results.

By Nikki Cooper

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CURRENT AFFAIRS

I think it’s hard for us to imagine just how severe thissituation was. We all saw the aftermath of the G20protests, and how citizen reporting via camera phonesand Youtube revealed the truth about what happenedthat day. But the BBC, ITV, and Channel 4 – all profes-sional corporate Media bodies, played a part in trans-ferring those reports into our living rooms and intocommon knowledge. The governmental control thatIran has over its media is something that would causemass outrage here in Britain. Both television and radioare state-run, which not only caused bias when broad-casting the candidates campaign speeches, (despitethe law being followed, and all candidates' campaignspeeches being broadcast and given equal time), it enviably hindered the fair representation of theprotests. The state blamed unruly students for startingthe violence, and just to try and make sure there wereno leaks of information foreign media was alsobanned from reporting on the protests. Foreign werejournalists were forced out of the country, unable toreport on the demonstrations or anything else takingplace within Iran. But despite all of Ahmadinejad’sgovernments’ attempts to conceal the truth, thepower of social media combined with the passion ofthe Iranian people brought the reality to the forefront of worldwide news. Unfortunately it took the death of a young

And so, people began to Twitter. The Tweetsspread wide and fast, documenting the outrageof a nation, and before long there where awhole host of twitters dedicated to the corrup-tion of the elections, all easily found though the‘#Iranelection’ Twitter search. Over the next twodays on 13th and 14th June, the public demon-strations started. Peacefully at first, but thenclearly turning violent as Twitter updates startedto report on injuries and killings. The right topeaceful protest is a universally recognisedHuman Right; despite this, when Iranian citizenstook to the streets to condemn both the processand the outcome of the Presidential election,they were met with violence and tragedy.Amnesty International estimate that up 2000people were arrested during the June protestsand 368 people remain in detention at risk oftorture. Let’s get this straight, this isn’t justabout a government controlling outburstswhich may or may not have turned violent – thisis about a fundamental crackdown on the rightto freedom of speech, as it wasn’t just the protesters that were shut down and shut up…The crackdown that took place on the mediawas so far reaching that the government notonly attempted to block social networking sitessuch as Facebook and Twitter, they also blockedaccess to phone services including SMS messages – all in an attempt to stop the mobili-sation of information that would encourage the people to take to the streets. You see, from our comfy seats here in

Britain

woman called Nada to really get the severity ofthe situation realised by the rest of the world.When police opened fire on the crowd Nada wasshot, and as she lay dying someone started record-ing on their camera phone. Voyeuristic? Maybe.But necessary citizen journalism? Definitely. Some-times we need something so horrific, so out of ordinary to shock us into realization. The video ofNada dying was uploaded to YouTube and beforelong it had reached major media outlets across theworld; and in turn this footage sparked worldwideprotests by people in Belgium, in Italy, in the UK,in the USA, in Germany, in Madrid and in manyother countries. People stood together with theIranian citizens, separated by distance but unitedby a sense of injustice. This protest has shown thepotential of people power. and whatever the longterm implications of the events that tookplacein June, the sole winners of the presidential election of 2009 are the Iranian people.

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When I grow up I want to be...

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CURRENT AFFAIRS

Picture this. Young Nicolas Griffin runs up to hisfather, bright eyed, and bushy tailed and says“Daddy, when I grow up I want to be the headof a political party.” His father looks at him witha glint in his eye, “That’s wonderful son.”Nicholas replies “This party will be committed tostemming and reversing the tide of non-whiteimmigration in the British population”. Quite anambition? Well he did it. Nick Griffin became theleader of the British National Party in 1995, andhas lead them through a troublesome and rockypath ever since. After the recent elections, thereseems to be more media speculation towardsthe controversial party, perhaps due to voteralienation from other main parties. However,one important question needs to be asked. Is itjust their racial ideas or are people actually listening? I looked for these answers on Griffin’slatest appearance on Question Time.

Naturally, there was great apprehension andspeculation around the leader’s appearance onthe programme. On the morning over 600 protesters stormed outside the BBC studios,protesting about the BBC’s decision, believingthat Griffin shouldn’t have been given a platform for his views. Peter Hain, a once-esteemed political activist thought that it wasperverse of the BBC to maintain that the BNPwere just like any other generally elected political party. Also, a spokesman for anothergroup of people who strongly objected to Griffin’s appearance, The Muslim Council ofBritain, suggested that, “This Question Time appearance will create divisions in our societyand is disrespectful to the memory of thosepeople, including many Muslims, who sacrificedso much to end Fascism in Europe during theSecond World War.”

Despite this the BBC stuck to their initial decision toair their politically-fuelled episode of the programme.However, those who saw his appearance as an “earlyChristmas present” for the British National Party weremistaken due to Griffin’s clear incompetence againsta group of actual politicians and intellectuals. It seemsthat the only thing that the BNP will be receiving thisfestive season will be a pair of second-hand socksfrom a long-lost Aunty. It was clear from the outsetthat almost all of the audience members’ questionswere aimed at the BNP leader and the majority ofthose questions were about the anti-Islamic and racistviews that Griffin spreads throughout his policies.

As the programme was aired the Leader of theBNP Party continued to be probed both by the audience members, and the panel surroundinghim it became apparent that Griffin was overwrought by his claims that had been publicized in newspapers, about his affiliationwith the Nazi members, and a Klu Klux Klan leader,and his belief that the holocaust had been “a steptoo far”. Griffin claimed that these were misquotes, however could not back up thesestatements with anything more than snivelling retractions and nervous laughter.

Had I been able to put my question to Mr Griffin Iwould have asked simply this “What gives you theright to dictate who lives in this country?” As I seeit Britain should be celebrated for its multiculturalheritage, and its bright multicultural future, and tosuggest that a race in a certain way supersedes, bystrength or purity over another weaker race hasabsolutely no credibility. These poisonous viewsshow only ignorance on Nick Griffins part. This wasproved quite ironically on Question Time, by thedemeaning and insufficiency of one particularwhite man (Griffin) when he was question by anobviously more graceful and more intelligentblack woman (Greer) sitting next to him on thepanel, who coolly and satirically mocked Griffinsattempts to defend himself and quietly but brutally took apart the BNP’s policies.

Griffin led himself to his own demise in Question Time and my only hope is that the BritishNation Party and its obvious racist tendencies andsecret agendas are exposed for the hideous gaping wound that it is. And most importantlythat it encourages people to think hard abouttheir political choices.

YOUR COUNTRY NEEDS YOU!

By Olivia Forrester - O'Neill

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Be honest, how many of you have used the term‘No homo’ as a part of a joke or just as a passingcomment? It is understandable, we are surrounded by it and it all boils down to the massmedia. The Urban Dictionary has defined ‘NoHomo’ as a phrase that is “used after one inadvertently says something that sounds gay”.How many of you use this phrase as a part ofeveryday conversation? And do we actually knowwhat we mean when we are saying it?‘No homo’ originates from hip hop and if youlisten very carefully you will be able to hear it in

the lyrics of artists such as Kanye West and Lil’Wayne. Lines such as “got money out the ass nohomo” are there to make sure that we all know asan audience that Lil’ Wayne is by no means a homosexual and to some extent he is also suggesting that he is a little bit homophobic. According to Bryan Safi this craze is homophobic

and in his program ‘That’s Gay’ he indulges in thewords and scenarios that help to explain why it is suchan anti-gay phrase. He claims that gangsters are usingit because they feel a need to show their manliness because let’s be honest here, you can’t be a gangsterrapper and have people think that you are gay because you said you love your friends in the businessnow can we?But don’t think it stops in the music industry. It goesbeyond that and has now found its way into classrooms and the work place. School children areusing the words without understanding its real meaning And half the time they are just seeing it as agame. Who can use it the most? Who can say the mostcomedic sentence? And even worse how outlandishcan you make it sound? It’s quickly lost its meaningthrough the years of its existence but it doesn’t makeit any less homophobic.Even Kanye West seems to have it lost in translation.

After telling MTV that he believed that hip hopwas meant to be about breaking down the barriers of existing issues in the world and evengoing on to say that he wants the homophobiain hip hop to be stopped he goes on to use thehomophobic phrase in his own music. This canbe seen in the highly successful song ‘Run ThisTown’ where he says “It's crazy how you can gofrom being Joe Blow, to everybody on your dick-no homo". Doesn’t anybody realize that itis an offensive expression?There is little doubt in my mind that just like withall crazes that appear in mainstream media it willdrop out of fashion and people will stop usingit eventually. Although it does make you thinkabout two possibilities. One, are we all just beingoverly sensitive and taking words far too personally? And two, is this the beginning ofworse to come?

By Mary-Catherine Clarke

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CURRENT AFFAIRS

STAND FOR SOMETHING

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MUSIC

Blending rock and rap is no new experiment.Its been tried, its been tested and for a whileit began to become a bit too safe. By thetime the millennium was here we’d all heardthe trusted tunes of Faith No More, Korn and311 hitting the airwaves. Then in 2003,emerging from the ashes of Dub War, leadsinger Benj Webbe and co brought a newtwist to the rap-rock DNA strands: a reggae-rap-metal attack in the form of a bandknown as Skindred. Since 2003 they’ve gonefrom strength to strength, flying in the faceof critics who dubbed them just anotherband to latch on to the money-makingmetal model. Moving away from the genericrap-rock style, the only repetition that existscomes from the dancehall influence of theharping and chatting over a non-stoprhythm.

The new album ‘Shark Bites and DogFights’ released in August of this year, (andyet to reach any kind of critical acclaim), hastaken on a slightly more mellow sound; butstill provides a powerful message. The firstsingle ‘Stand for Something’ is an undis-puted tribute to Malcom X, the Black American militant leader, who articulatedconcepts of race pride and black nationalismin the early 1960’s; and who famously said“if you don’t stand for something you willfall for anything”. But far from preaching anykind of Black Nationalism Skindred is astrong supporter of multiculturalism, havingplayed the Unite Against Fascism music gig‘Love Music Hate Racism’ many times.

The message that Skindred perpetuate is one ofunity but also, when it comes to the ills of our so-ciety - one of acknowledgment. The referencesto injustice and black culture have been apparentsince their first album titled ‘Babylon’. And itseems despite some more mellow tones, Skindredhas become more fervent in its message and making sure people can’t miss the issues they’readdressing. This time round war is a clear target.The militant theme is apparent from Benj’s mainstage outfit to the fighter jet planes on the stagebackdrop.

Once you understand Benji’s background -growing up a black kid with reggae roots in awhite punk rock scene, its not only clear to seehow these roots progressed into the music hegives us today, but its also no surprise that hehas a message of unity to spread. Unity is atthe very core of Skindred, with the band nameblending Benji’s main musical influences; ‘skin’being taken from the skinhead scene, and‘dred’ from dreadlocks of the reggae masters.And as Benji says “‘Skindred’ had more fittingsound to it than ‘Headlock’”

Article & Photographyby Nikki Cooper

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Gone are the days when you used tostroll down to the shop to pick up your favouriteCD from your favourite artist or even the newlyreleased film that everyone is ranting about.Today’s generation focuses on internet downloading and in most cases; we are gettingit for free. But is this acceptable? Should we allbe wracked with guilt and should we fear consequences of going against copyright laws?

According to recent figures, 1997 saw 78 millionrecords being sold within the United Kingdom,yet 2008 saw a shockingly low amount of 8.6 million. So that surely means that the rest of the population is either making the conscious decision not to bother with taking that long walkdown to the shops and wander into their local‘HMV’ to purchase the desired music or (and let’sface it, more probable) we want it now and theonly way we are going to get it is if we crawl outof bed, turn on our computer, click on that littlelink ‘Limewire’, and type the song title into thesearch engine and wait for a few minutes thenhappily play it through our speakers not reallythinking about the consequences of our actions.

However, and don’t say that you haven’t beenwarned, artists have begun to fight back. Theyare claiming the right to have their music paid forand illegal downloading sights abolished. Featured Artists Coalition have started meetingsaiming to tackle the issue of file-sharing on theinternet. So where does that leave the rest of us

who download without paying?

Already, Copyright laws claim that anyone who downloads copyright recordswithout any permission faces a fine of thousands of pounds. But how many peopledo you know that have been fined fordownloading music? The government havesettled with a conclusion that for now anyonecaught downloading music without permission will have their accounts suspended.Yet, Featured Artists Coalition, who have members of up to one hundred already famousartists such as Pink Floyd and Blur believe thatthis is not enough to stop this fast growing illegal industry believing that “making threatsagainst individual music fans is not an effectiveway to resolve any problems associated withfile-sharing”. Members have suggested that allpiracy websites should be blocked and thosethat consistently download have their internetconnections slowed down. Still not put off?What if you heard the words imprisonment?Worst case scenarios could mean that you havean appointment with that lovely crown courtwhich could potentially lead to ten years inprison.

America alone is setting a perfect example ofhow they aim to fight back against illegal downloading. It has even been known that thegovernment have created fake tracks so thatthey can track down any of those that are downloading without permission. To furtherscare any American free-loader, the govern-

ment are even generous enough to

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MUSIC

By Mary-Catherine Clarke

offer those that constantly downloadwhen previously warned a six year prison sentence. Scared yet?

Another method that has been to deter illegaldownloading has been through short filmsaimed at students. Short films talk about howpiracy is bad and then explain how doing sucha thing can ruin your life. A little on the drasticside? Maybe. But it just might do the trick tostop young music fans from downloadingmusic, DVD’s and games illegally. The idea isclearly to scare adolescents into thinking thatthey will get caught and there will be consequences of their actions. However, unless the government actually start acting onthese actions students aren’t going to bescared of what happens. But perhaps, if theboy that sits next to you in your maths classtells everyone that he has been slapped with a

massive fine from a record company for

downloading the current number one albumillegally people will actually start taking things seriously. Just a thought.

However, there is hope! As it stands in England, aslong as you can prove that you are not sharing yourdownloaded music for profit and just for your ownpersonal use, you merely get a little slap on the wristand a serious talking to, basically saying ‘Don’t do itagain’. And to make things even better ‘DigitalBritain’ are telling you not to do this through a politeletter sent by post. Three warnings and your internetconnection is slowed down. Hardly convincing is it?So, the media industry have turned around and basically pulled a guilt trip on us freeloaders claimingthat like everyone else these artists have a job andthey need to be paid for what they are providing.We are practically making these poor artists penniless. Don’t believe everything you hear. Peoplehave been downloading music illegally for fifteenyears and for much of that time record industrieshave turned a blind eye and ignored it. It can’t have suddenly become so severe to the point where theindustry is in trouble. The record industry is stillearning millions through royalties and performances.Give us one good reason why we should stop a goodthing. We have been downloading free music foryears and it has never really been an issue before.You expect the nation to go cold-turkey?

News spreads fast. If the music industry wants tokeep their customers then they need to treat us allwith respect. Take away our access to free music andthe record company is putting across this harsh reality that in actual fact they are not nice people andas a result they are a greedy, money grabbing profitmachine. Musicians like Shakira agree. Shakira, a

popular artist, claims that allowing people to

download music illegally makes her feelcloser to her fans. It is about sharing a talent withthe rest of the world and not purely for makingmoney. They already earn enough from performing in concerts and on the television solistening to music can really be seen as ‘reeling’in the fans so that they can appreciate the musicenough to pay for a ticket to go see the artist live.No one gets hurt.

So there you have it. Record companies andartists are putting up a fight. I know that you maythink that it is a bit of a feeble attempt but it isonly the beginning. Before you know it, recordcompanies in the United Kingdom will have thesame power as those in America and if that is thecase, both adults and adolescents are looking atprison sentences and ridiculously high fines justfor downloading an album for personal use.

Scared? I know I am.

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In October 1971, the world of music changed forever after John Lennon wrote “So this is Christmas, and what have you done?” From theday of its release on December 6 1971, protest andcharity singles were at the forefront of the chartand it doesn’t look to be changing any sooner.Fast forward to February 2009 where The Killersperformed possibly their second most famoustrack at a Brit Awards War Child after party. Duringthe last chorus, they were joined by none otherthan the celebrity music stars at the forefront oftoday’s biggest charities; Coldplay’s Chris Martin,U2 and Take That, who chanted along the infamous line from ‘All These Things That I’veDone’. And thus the clogs in the mind of Managing Director of War Child Music, JamesTopham began to tick. “The very idea of musiciansusing their fame to try and make a difference wasinspired by Lennon’s work.” Hmmm, I wonder,could he be thinking of forming the same groupof people who performed at the War Child concertto rake in the cash for the thousands of childrenforced to fight? Of course not. Bono isn’t streetenough. War Child decided to release their firstever charity single, using the famous line “I’ve gotsoul, but I’m not a soldier” from The Killers track

Child “As soon as I was asked to be involved withWar Child, I immediately said yes. It’s a goodcause because it’s all positive, there’s nothingnegative about it”, very convincing. The video for “I’ve Got Soul”, only further confirms many people’s opinions of cashing inoff the back of a good deed. During one clip, therapper Ironik can be seen rapping his line for theverse direct from his mobile phone. It hardly yellsinspiration, honesty and soul as to why the up-coming music talents of today are taking part,does it?Regardless of whether the acts involved trulycared for the cause they were supporting or not,all the proceeds from the single went to the WarChild charity. Originally, the single was expectedto be a massive success, with fans and new listeners taking the meaning of the newly interpreted song to heart and helping out thecharity. However, the song only reached #10 onthe Official UK charts and managed to stay in thechart for only 5 weeks. If War Child wished forthe same success Band Aid and John Lennonhave received, perhaps they should have stuckwith the original impromptu performance fromthe real stars.

“All These Things That I’ve Done” and to get it to thekids it needed a revamp, an urban revamp.With thehelp of the UK’s emerging music stars including, PixieLott, Tinchy Stryder, FrankMusik, VV Brown, KidBritish,Chipmunk, Ironik and N-Dubz to name just a handful,the well established indie anthem would be broughtto the street courtesy of the Young Soul Rebels. Thetrack was re-written, recorded and filmed in one day,with all the stars being allowed to socialise and have

a good time while at work. Many people nowadaysview charity singles as a chance for celebrities to develop their reputation and gain more exposure.When the Band Aid 20 charity single was put together,music artists who weren’t even invited to perform onthe track, turned up bright eyed and bushy tailed kicking the door down to be allowed to gain somefree publicity for years to come. Tinchy Stryder wasquoted saying of his reason for being part of War

THE YOUNGSOUL REBELSReview of War Child Charity Single

By Emily Karakas

MUSIC

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Album’s you should own:

TV On The Radio: Return to Cookie MountainReleased: September 2008

“Return to Cookie Mountain” is the third album from NewYork band, TV on the Radio, and if it is anything to followthe last two albums, then it is set to be spectacular. Set upas a Dadaist project for the two main band members, Sitekand Adebimpe, the wonderful synthesized sounds of TVon the Radio have even Bowie listening, and expecting.New album “Return to Cookie Mountain” out now. You will NOT be disappointed!

Lady Gaga: The Fame Monster Deluxe Edition Released: November 2009

The highly inspirational Lady Gaga shows her true originaland raw talent in her latest album ‘The Fame Monster’. Listening to this album you would find it difficult to notgive into the temptation of dancing along to the upbeatsongs and the powerful voice that is Lady Gaga.

Temper Trap: Conditions Released: August 2009

After having the sound of the summer, Temper Trap release their first album to a mixed reception. Over all,there are probably four to five good tracks on the recordand the rest are basically there to fill the ten track

minimum.

Velvet Underground and Nico: Velvet Underground and NicoReleased: May 1996

It's hard to imagine anyone today listening to the Velvet Underground for the first time and not feeling immense disappointment. The Velvet Underground are unquestionably one of the five most influential bands in history. Their album collaboration with nico was revolutionary, withits mix of grungy dreamy ballads, and experimentation. You need to own this album.

The Strokes: Is This It Released: August 2001

A classic that is hailed as the savour of indie music and worshiped for inventing the genre ‘garage-rock’. It was voted the best album of 2001 and now ‘Is This It’ hasbeen awarded the title of Album of the Decade by NMEmagazine. An absolute must for your music collection.

Christina Aguilera: Stripped Released: October 2002

One of Christina Aguilera most emotional albums. Bursting with passion, she demonstrates a raw talent and amaturity that she had never before revealed. The album isconstistantly good listen from beginning to end; givingyou a glimpse of her life through inspirational tracks suchas ‘I’m OK’.

MUSIC

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Think of an image. An image of any person. Any item of clothing. When you think of this image you feel a sense of yearning, that you want to own this image, be this person. It’s all about the image. We see, we want. This is what fashion is all about. The eternal unforgettable image. The important question is, why do we buy clothes? Or more importantly why do we buy clothes from particularplaces? Is it an issue of money or simply an issue of comfort?Mass Media and Marketing has a larger impact upon what we wear than we think.

Mediums such as Broad-

casting, Television

Radio,, Newspapers

& Magazines are all fuelled

with images which influence the way we

buy, what we buy and whowe buy from. We believe

through successful marketing, that if we buy these clothes we can

create an identity similar to those we covet. Through the creation of fashion

magazines, channels, and more recently fashion websites, there has been a specific niche created to find anything we seek on

how to create that “identity”.

Sweet CharityFASHION

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We can see through the obvious High Street success that marketing is working. We could callthis the Topshop Phenomenon. Topshop is ahigh street chain which girls in particular haveformed an attachment with. Kate Moss has affiliated herself with this brand, and as possiblyBritains most famous supermodel with her exclusive line for the shop, and her appearancewithin the brand, it is easy to see why their popularity remains. However, this article’s aim, is

to expose some of the hidden problems with chains likeTopshop who rely on clever marketing to create an ideaof identity which isn’t necessarily individual and to openup the idea of a phenomenon which has been previouslylooked upon from a snobbish perspective for peoplewho shopped there as having very little money. TheCharity Shop. However times have changed and nowcharity shops are seen as a haunt for students and howthis establishment has become acceptable or maybeeven cool?

Thirtie’s glamour

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It is often said that there is a certain age, thatpeople are most conscious of their bodies, andof their clothes, and of creating an image or astatement which clearly represents who theyare. However, I think that to all extents, thatwomen and indeed men, want at any age to invent an identity for themselves. We can seethrough looking through any modern woman’swardrobe, the outfit choices that she has made,and although some regrettable that she hastried through the constantly changing world ofFashion to create an identity for herself. So to remain an individual we have to decide uponhow we are going to do this. It is believed anddebated upon by many, and most influenticallyby Naomi Klein, in “No Logo”, that through theMass Media, which infultrates all, that things aremarketed to create an appeal, and we as people,undergo a branding process. The belief is thatthe more that we see an image, a recurring one,that the more positive the images become as aconnoatation for a way of inventing ourselves.We see our peers, our friends buy into these images and the images become intrinsic to usalso. A belief that if we buy into a certain imagethat this is the person that we will become.

These images can be found almost everywhere.Walk down any high street and billboards withleggy models draped in the latest H & M brandswill tower over you. Flick carelessly through anyfashion magazine, and you will see pages andpages of advertising campaigns for every singleHigh Street Store. Any gossip magazine opened,and you can see even the celebrites, are beingphotographed buying into the High Street“buzz”.

Fifties’pin - up!

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Fashion in general, stakes itself on being able to beindividual, however, we can see through the lastone hundred years, that styles have re-invented themselves and we can see thechanges in styles which are definitive to one erawhich have appeared in fashion and thenre-appeared in a later time in a more updated andaltered way.

The times themselves, we iconic ones indeed. Takeany time frame and you will be able to see definedstyles and the faces which represented these times.The seventies were all about Woodstock, Free Love, The long floating clothes,flowers, peace & love. The eighties, Madonna,Vogue, Bright colours, Big Eyebrows, Grace Jones,and Wham! The nineties gave us the Spice Girls,Platform shoes, Girl Power! And miniskirts. Thinkeven further back than this, and fashion speaks vol-umes for itself. Thirties through wartime, spoke ofGrace Kelly, Rationed clothing. Or the fifties, of Marilyn Monroe, BettiePage, Big Skirts, Big Hair.

Even today, we can see a definite way of describing the last decade. The skinny jeans move-ment, back to school with blazers, back combedhair, and this decades style icon? Moss? Chung?

Seventies hippy chic

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electric eighties

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So how do we be fashionable, to make a statement of our very own. What do we do? Do we go to our nearest High Street Chain, pickup the most individual looking ensemble andhope for the best? You could, or, you could try venturing into the old, run down, charity shopat the end of your high street. Once seen as theplace for old ladies buying second hand Marksand Spencer’s underwear, and donating bric-a-brac. These views used to be held by almost everyone. However times have changed,

people no longer think this way, no longer arethese shops dominated by the senior society. Remember that the people who donate to theseshops, were the Madonna’s, The Twiggy’s, andeven the Marilyn’s of their day,. Authenticity, realfashion from the times when it was fresh andoriginal. What you won’t find in these shops is anoutfit which has been orchestrated to createprofit for businessmen by using clever marketing.What you WILL find in these shops, are vintageleather gloves, and once owned real pearls.

Ninetiesretro

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The fur coats, the brogues, the silk scarves and tweedblazers. If you look hard enough you can create thelooks of these iconic decades, and you need neverworry that you will suffer a fashion faux pas, with aperson walking across the street from you, in amatching outfit.

There is another benefit to these charity shops. TheClue is in the name. Charity. Not only are theseclothes, at a fraction of the price of anything you willfind in a local High Street Store, but also, every timethat you buy these clothes, you can be safe in theknowledge that you have given something back.

It would seem as though, despite what advertiserstell us, that when it comes to buying clothes we dohave a choice. Through buying clothes, sometimes we are just buying into an idea, something that doesn’t have any real benefits or ful-filment. And we are only benefiting a capitalist ideathat only benefits those at the top, rather than our-selves. The answer to individuality, is to choose an-other option. The Charity Shop. With this, you canhave a stab at actual individuality, and not giving into advertisers and a capitalist corporation.

00’S

By Olivia Forrester - O’NeillyMary-Catherine Clarke

VINTAGE.

Open up any magazine and you are faced with skinnycelebrities in tiny bikinis making even the most comfortable person feel fat. Most teenagers strive tolook just like Cheryl Cole and some even take this to anew extreme. All you have to do is pick up a woman’smagazine in your local newsagents and you are facedwith articles and stories of ‘ordinary’ people and ‘A list’celebrities who have all lost masses of weight. Thearticles often go as far as to offer ways in which you

can lose weight and look just like them, neglecting totell you that small yet very important fact that theyare often given personal trainers and in most caseshave had their photos edited to look a certain way. Sowhat is the general view of the glamorous size zero?Recently, the press went to town with a commentmade by Kate Moss stating ‘Nothing tastes as good asskinny feels’. This sparked a debate that claimed thatwhen impressionable celebrities make remarks suchas the comment made by Moss that glamorise skinnyframes it encourages teenagers to eat less than thedaily recommended intake and even helping peoplesuffering with bulimia and anorexia to excuse theiractions thinking that it is a normal thing to do. Afterall,it seems like Kate Moss doesn’t eat much? It must beok then, why else would she say such a thing?Ex Wonder-Bra model, Katie Green launched a campaign in 2008 titled ‘Say No To Size Zero’. After

being told that her curvy size 12 frame was toolarge to be a model she set about showing howproud she was of her body and telling the worldthat you can still be beautiful without beingstick thin. A true role model. Celebrities such as Jessica Simpson have finallyembraced the curvaceous look and are nowsporting a much more beautiful, shapely body. This is an attempt to push this craze of theultimate skinny bodies in the celebrity worldout, and help people to discover that healthycurves are in. Despite having said this, Beyonce� who is knownto be proud of her curves does seem to be constantly contradicting herself. She claims tobe a fan of curvaceous bodies, yet you constantly see her on crash diets so that she canfit demands of her acting career. A clear exampleof this can be seen by looking at ‘Dreamgirls’where she lost 20lbs to fit the criteria. With allthese contradictions within the media it is hardlysurprising that so many young girls are dietingwhen they should be playing in their local parkenjoying childhood. So many celebrities showhow size zero isn’t important yet we are all stillshown pictures of their amazing figures. Will thissize zero epidemic ever end?

Is it really worth it?

SIZE 0

By Mary-Catherine Clarke

24

FASHION

In Britain it seems like we canʼt go a single weekwithout reading headlines reporting controversyover the wearing of headscarves for religious rea-sons.

For many British people the headscarf represents a conflict in values and, in more over-arching terms, an incompatibility between Islam and Western society. The head-scarf is seen as a symbol of the oppression of women by many (regardless ofwhether a woman has freely chosen Islamicdress), and a sign of religious obscurantism.In more right-wing groups and individuals freelychosen Muslim religious dress is even seen to bea declaration of allegiance with radical Islamismand terrorism.

The scarf is in fact part of the belief in modesty that is central to elements of the Islamicfaith. It is a matter of choice for each individual if they choose to wear the traditional dress, and for those that do it is usuallya source of great pride and also comfort. Perhaps itʼs hard for Britʼs to understand the appeal of modesty and traditionalism when weʼre constantly being bom-barded with images with images of scantily cladcelebrities and over-sexualised branding. For oth-ers the hijab isnʼt so much about covering up as itis about showing that they are proud to be Mus-lim.

There have been calls for a ban on headscarves particularly in professions such as teach-ing, and in some cases these have even been backedby high-profile politicians. The European convention onhuman rights protects the right to not be discriminatedagainst on religious grounds, but this freedom of reli-gious belief must co-exist with the rights of others. The right to an education, for example, cannot be compromised in favour of religiousfreedom when studies have shown that face-to-face in-teraction greatly improves effectiveness in teaching.Though the calls for a ban have so far amounted to littlethey carry great symbolic weight. The message sent bythe demands for a ban on any element of Islamic cultureis one that undermines the very foundations of religiousfreedom.

One Dutch designer taken various steps in an attempt to change Western perceptions of the hijab.Cindy van den Bremen has developed a range of head-scarfs influenced both by fashion and by practicality. De-signed to not only look good, but also to be suitable foruse in sports and other activities, these headscarfs rep-resent the integration of Islamic beliefs in modesty and respectwith Western ideals of equality for women.

Recently in Switzerland a nationwide referendum washeld to decide whether or not the building of minaretson mosques should be banned. Ridiculed by the mediaand considered to be doomed to failure even by its supporters, it came as a great shock

when the vote passed with 22 of the 26 local regionsbacking the vote. As much as this represents a slap in the face for the government andfor the Swiss model of democracy, what is almost as shocking as the result itself is the fact thatan opinion poll before the referendum showed thatpublic opinion was firmly against the ban.This illustrates one of the biggest issues in terms ofintegration between different societies; The refusal to really talk about fears, prejudices and unease between different cultural groups. For mostpeople it is socially unacceptable to be seen to beagainst free cultural and religious expression, butthat doesnʼt mean those feelings do not exist.

Since the Swiss referendum a lot of criticism hasbeen leveled at the Swiss government by variousgroups. While the right-wing Swiss People's Partyheld meetings and talks to raise support for the banand ran a strong, nation-wide, poster campaign the more rational el-ements of government did little to oppose it in thepublic eye. The Swiss Peopleʼs Party and otherright-wing elements throughout Europe are now pro-posing similar legislation that will further act againstthe Islamic sections of society.

There seems to be a persistent fear in contemporary British society that Muslims in Britainare consumed with the goal of replacing our tradi-tional culture with their own. These ridiculous fearsare fueled by the mediaʼs focus on the extreme mi-norities within Muslim communities, and by misconceptions over the na-ture of Islam. Modern British culture is about diver-sity, not discrimination.

25

DIVERSITY IN BRITAIN

By Tristam Goch

FASHION

26

Coeur De Voyouby Zombie Corp

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You’re The Dangerby J3Concepts

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The Curse Of The Hamsterby Zutto

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The Amazing Sleazeby irosaki.com

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Let The Funk Rideby SAT and DXTR

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Funkmasterby Short

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BOSTON TEE PARTYFASHION

27

Party Animalby John Hegquist

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We’ve Got Some Work To Do Nowby Travis Pitts

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Epic Battleby Jeff Battocletti

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The Hordeby Aled Lewis

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Swan Kickby Chow Hon Lam

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A Unicorn For Boysby Denise Tadla

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It is estimated

to take up

to ten years

to dispose

of the deadly

weapons.

Alls Fair in Art and WaR?

28

ART

Wolverhampton Art Gallery was opened to thepublic in 1884 and has built a large and eclecticcollection of art in all mediums. However, warand conflict have been at the forefront of manyof its collections and exhibitions. Such exhibitions have included Children in Conflictthat showcased the many talents and mediumsof a select group of artists from all around theworld during 2007 and 2008. Some of the artiststhat showcased included Simon Norfolk, GuyTillim, Anthony Haughey, Emma Summers, LauraFord and John Keane. All the artists were chosenbased on their efforts to portray the effects conflict has had upon children from all differentcultures. It was prominent throughout the exhibition that all the pieces shared commonground in that they all focused on conflict of amodern era but all differed with their own individual viewpoints.For the exhibition, John Keane, who is widely

known as a political painter, was commissionedby the Christian Aid to visit Angola as an officialwar artist to document the life post conflict. Hefelt that by visiting Angola as a War Artist, he hada responsibility to witness and commentatewhat he saw for the British public, and the world.Keane’s work combines paint and collage tocapture the surrealism and chaos of what’sgoing on around him, a task that he believescannot be carried out by a camera.

Over the years, Wolverhampton Art Gallery havecreated a growing collection of different mediums of war and conflict. The Images ofConflict contain a large amount of work fromJohn Keane, Paul Seawright and Simon Norfolk,all looking at different aspects of the topic. Dueto his passion of witnessing and commentatingon conflict around the world, John Keane’s work

has been given the title of Reporting Conflict, whilePaul Seawright’s photography deals with The After-math of the destruction of war. Seawright’s work con-sists of Afghanistan landscapes littered withlandmines, almost labelling them the invisible fron-tiers. His work showcases images that only a camerais able to show, in which they resound the fear andlegacy of past conflicts continuing to threaten the cit-izens of reformed countries. The majority of Sea-wright’s photographs are taken from a distance, notonly to reflect the fear and constant reminder of thecountry’s past but due to being instructed to keeponly to well worn paths to avoid the dangerous land-mines. Afghanistan is now the most heavily landmined nation in the world after decades of conflict. Itis estimated to take up to ten years to dispose of thedeadly weapons.

The final section to the Images of Conflict collectionis from Simon Norfolk whose work focuses on the Rebuilding Lives aspect of war. He began work as a

photo journalist for far-left publications includingthe British National Party but later moved on toFine Art Photography in 1994. He travels exten-sively to explore and capture experiences fromhuman conflict. His work shown in the Images ofConflict collection reflect on what he once saidthat “throughout history many civilizations havebeen brought down by barbarians, but the destruction, not matter how savage, always leavesbehind a trail of clues.” In his piece the “FormerTeahouse in a Park Next to the Afghan Exhibitionof Economic and Social Achievements in the ShahShahid District of Kabul” a man is shown standingnext to the ruins of a teahouse holding a bunch ofbrightly coloured balloons. During the reign of theTaliban, balloons were illegal; however in 2001,after the successful Allied invasion, they were allowed to be purchased from street vendors andwere seen as a special treat. The quality of thephotograph is almost that of an 18th Century oilpainting, while however Norfolk chose to

Anthony DaviesMutations

29

Simon NorfolkFormer teahouse party in a park next to AfghanExhibition of Economic and Social Achievementsin the Shah Shahid district of Kabul.

30

photograph his images using an old fashionedcherry wood and brass field camera, muchfavoured by 19th Century war artists. In referral tohis “Former Teahouse” piece, Norfolk states “Anyone interested in the effects of war quickly becomes an expert in ruins”. Although quite a sadcomment, his work tinges it with hope, that by although civilians have been left with shells oftheir former homes, their lives have been filledwith exciting possibilities for the future.

Another collection in the Art Gallery includes onethat has been controversial over the years. TheNorthern Ireland collection began in the early1980’s and was and still is today the only one ofits kind. An exhibition, The Northern Ireland Collection: Fresh Perspectives ran from November2008 through to November 2009, showcasing some of the collections best work, to coincide with the an-niversary of the signing of the Good FridayAgreement. The exhibition addressed the modernphase of the conflict that took place during theheight of ‘The Troubles’ in 1994. Some of the artistinvolved with the exhibition and the collection include John Keane, Willie Doherty, Rita Duffy andAnthony Haughey. Haughey’s work has takenhuge inspiration from his life experiences growingup in Northern Ireland. One of his most famous collections from 1992, ‘Children of the North’ explores the theme of children living in areas ofconflict, which can be viewed almost universally.In the paintings, children, of different ages, can beseen copying soldier behaviour, as if it is almost normality forthem. His work, although it can be viewed universally, views children from Northern Irelandas the victims of ‘the troubles’ during the 1970’saccepting that violence is normal. When looking

at the paintings, at first glance, it is very easy to assume the soldier standing before you is a grownman, but when examined closer, it is revealed a childactually stands. Davies very cleverly blurs the line ofbetween children playing and real life soldiers atwork.

A somewhat subtle war exhibition in the Wolverhampton Art Gallery comes from Steve McQueen, who acquires the many titles of film maker,photographer, artist, Turner Prize and Cam�ra d'Orwinner and now Official War Artist. McQueen has collaborated with 155 families who have lost lovedones during the war in Iraq. A cabinet, containing onefacsimile postage sheet for each deceased soldier involved. The stamps are dedicated to servicemenand women from the local region and each featurethe details of their name, regiment, age and date ofdeath. Viewers who attend the exhibition are encouraged to pull out the double sided panels bearing the sheets to create a space where they can contemplate the work and servicemen and women. The aim of the project was and still stands is to have the portraits officially published by the Royal Mail to honour the sacrifices each of the deceasedmade for the war in Iraq. However, currently McQueen’s work has been classed as incomplete, until they

Steve McQueenQueen and Country

receive the green light to have them officiallyprinted. McQueen believes that “The stampswould focus on individual experience withouteuphemism. It would form an intimate reflection of national loss that would involvethe families of the dead and permeate theeveryday every household and every office.”

The collections and exhibitions that have appeared in Wolverhampton Art Gallery showcase the endless variations for war andconflict in art. Whether it to be viewed as honoring the brave, propaganda or honestopinions of the effect of war, the gallery willcontinue to showcase work from all cultures,backgrounds and opinions.

By Emily Karakas

31

The Falling ManPhotographer: Richard Drew

The photograph of a man falling from the North Towerof the World Trade Centre became one of the mostcontroversial images of 9/11. Taken by photo-journalistRichard Drew at 9:41am on 11th September 2001, thephoto came to represent to brutal human consequenceof the attack. Many people felt the photo was voyeuris-tic, distasteful, and not what should come to symbolisethe event. However to many of those to witness andloose loved ones, it represented the final control a per-son can take � the choice in how to die. It is still debatedwhether people chose to jump from the North Tower.Official reports say they were blasted out, eye witnessreports state a different story. Either way, the composition and stillness of the photo,turned a chaotic and tragic moment into something al-most beautiful.

If a picture can speak a thousand,these snap shots tell a distressing tale...

32

ART

Burning MonkPhotographer: Malcolm Browne

On 11 June 1963 American Journalist and Pho-tographer Malcom Browne shot four rolls offilm, documenting the silent death of Bud-dhist Monk Thich Quang Duc, who set himselfalight in protest against religious persecutionby the South Vietnamese government. Oneof his photographs went on to win the 1963World Press Photo of the Year. But more im-portantly prompted President Kennedy towithdraw support of the Ngo Dinh Diem gov-ernment, who was subsequently overthrownfour months later.

Execution of a Viet Cong GuerrillaPhotographer: Eddie Adams

One of the crucial photographs that helpedturn public opinion against the VietnamWar. Eddie Adams Pulitzer Prize winningphoto captures a rarely seen moment of hu-manity � the last moments of a man’s life. Taken in 1968 the picture shows NguyenNgoc Loan, South Vietnam's national policechief executing a prisoner who was said tobe a Viet Cong captain.

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Tank Man Photographer: Jeff Widener

In 1989 what began as a hunger strike by 3,000 students in Beijinggrew to a protest of more than a million as the injustices of a nationcried for reform. About midday on 5th June, when the protests were thought to beover, thousands had been injured or killed, and the army was in complete control of Beijing, a column of tanks slowly moved alongChang'an Boulevard toward Tiananmen Square. Then one last act ofdefiance came to symbolise the atrocities that had taken place thatweek. An unarmed and unnamed man carrying shopping bags suddenly stepped out in front of the tanks. Despite the tanks tryingto go around him, he stood steady in his defiance and stepped infront of them repeatedly; finally climbing on one of the tanks tospeak to the driver, before being whisked away into the crowd.To this day, who he was and what became of him remains a mystery.

Do or DiePhotographer: Michael Wells

Michael Wells’ picture of a missionary holding the hand of a starvingchild captured the stark reality of the 1980 famine in Karamoja,Uganda. It was, in terms of mortality rates, one of the worst in history.21% of the population died, including 60% of the infants.Today the Karamoja region still suffers the highest malnutrition levels in the country. Approximately 1.15 million people are highlyfood insecure in the northeastern Karamoja region, and rely on fooddistributions by the UN World Food Programme (WFP) to meet foodneeds.Wells classed his prize for the World Press Photo of the Year an embarrassment. He didn’t enter the competition himself and feltstrongly about winning a prize for a picture of someone starving todeath.

34

Che GuevaraPhotographer: Alberto Korda

Taken on 5th March 1960 by Alberto Korda while he was working for the Cuban newspaper"Revoluci�n", the picture of Che Guevara did not immerge until after he had died. It’s nowone of the most recognisable images of the 20th century � capturing a still determinationfor change.Commenting on the illicit use of his photograph, the Korda said, "As a supporter of theideals for which Che Guevara died, I am not averse to its reproduction by those who wish topropagate his memory and the cause of social justice throughout the world, but I am categorically against the exploitation of Che's image for the promotion of products such asalcohol, or for any purpose that denigrates the reputation of Che". His out-of-court settlement of US $50,000 was donated to the Cuban healthcare system. He said, "If Chewere still alive, he would have done the same".

The Road from VietnamPhotographer: Nick Ut

At 2pm on 8 June 1972 South Vietnamese planes dropped white phosphorous marker bombs on a village in the Central Highlands ofVietnam. The naked 9-year-old girl in the picture took a direct hit; twoof her infant brothers were killed instantly. As she ran screaming inagony from the jellied gasoline coating her body and burningthrough her skin and muscle down the bone, Associated Press Photography Nick Ut captured her pain in a photograph that transmitted the human suffering of war across the world. He thendrove her to hospital where she stayed for 14 months, undergoing 17 operations.

35By Nikki Cooper

In areas affected by war and conflict graffitiflourishes on the walls of bombed out buildingsand the sides of burnt out cars. Often the graffitiis just crude, simple vandalism. But it can alsobe deeply emotional, intelligent and inherentlyartistic. The revealing nature of street art inconflict zones is what makes it so interesting,using images and simple, but emphaticphrases to convey how the artist and the people around them feel. In a country occupiedby any armed force (whether they call themselves liberating or invading) it may seemthat there is no place for art, but that is thewhole point of street art; Beauty and meaningin the most unexpected places.

Just after Saddam Hussein was deposed asleader of Iraq graffiti began to appear on wallsthroughout the country. Banned under the pre-vious regime, this was heralded as the birth offree and unregulated expression in a countryformerly known for its repressive administra-tion. At first the graffiti was little more thanscrawls denouncing Saddam or insurgent writ-

ings denouncing the US liberation force, but thesehave started to grow into more ambitious artisticpieces.

The Berlin Wall was, during its time, a site of greattragedy and the ultimate symbol of a world divided.But since it was torn down the remaining sectionshave found been repurposed as a canvas for literally hundreds ofgraffiti artists from all around the world. Some ofthe pieces act as memorials to those that lost theirlives at the site of the wall while others have amore political message. As art the graffiti is both acomment on the wallʼs history and a part of it, link-ing it to the wall in a unique way that no other artform can really match.

The USA might not be the first place you think ofwhen considering war, but many of its cities aretorn apart by gang-based warfare. Los Angeles, forexample, is home to the rival gangs the Crips andthe Bloods whose gang war has cost the lives ofmany. It is common in the gang scene for graffititags to be used as territorial markers and warnings

for members of rival gangs and these areusually relatively crude affairs. However, inbetween the simplistic gang tags, there arealso stunning pieces of guerilla art adorningthe streets of LA. Tributes and memorials tothose whose lives the gang war has costsprayed onto the wall as a reminder of thedamage the gangs cause.

Banksy is an example of a guerilla artistturned into a mainstream household name.The wit and sardonic humour of his street art is instantly recognisable and, for many, easy to relate to.In an attempt to bring tourists back to Bethle-hem Banksyʼs stenciled guerilla art wassprayed on to the security barrier that sur-rounds the city. This sparked a craze for in-ternational artists to come and make theirmark on the wall which has been condemnedby the International community and declaredillegal by the UN. Now for anyone who looksat the wall they are instantly greeted by thesight of the opposition to its existence.

36

The Writings On

The Wall...Conflict, freedom and guerilla art.

ART

37

Street art has always been linked intrinsicallyto conflict and freedom. The conflict betweenwhat is acceptable and what isnʼt, between ex-pression and oppression. The freedom to do aswe wish with the cities we live in. It is a democ-ratising art form, its audience not only limitedto those with wealth or education but accessi-ble to everyone. In the context of a war zonethis democratising effect is even more pro-found, given the potential lack of other outletsfor artistic expression.

by Tristam Goch

By Tristam Goch

Kathryn Bigelow’s film “The Hurt Locker” is notyour ordinary, run-of-the-mill action war movie.It depicts the relentless and unflinching portraitof the life of a bomb disposal unit in Baghdad,2004. Instead of choosing to add another opinion on the war in Iraq, Bigelow chose to tellthe frontline story of the lives of three soldiersworking to destroy or detonate I.E.D’s (improvised explosive devices). To force her audience in to the thick of life in an ongoingwar, the film is shot by zooming in and focusingon the important details from wires being cut toan Iraqi dialling his phone to detonate a carbomb, by doing so, tension throughout the au-dience rises faster than it would on a panoramicview. The film opens with a quote from a former warcorrespondent for the New York Times, ChrisHedges where he once stated “War is a drug”.You are later introduced to Staff SergeantWilliam James, the new leader of Delta Unit, inwhich him and two other soldiers are sent outon to the streets of Baghdad, more than likelydaily, to risk Delta Unit, their lives to detect anddefuse I.E.D’s. You are lead to believe from thevery offset of the film, that to work under youwork with a very close knit team of men, whowatch out for each other’s backs.James is introduced as a loner and the audienceisn’t alone when trying to figure him out. Ontheir first job as a team, Sergeant Sanborn andSpecialist Eldridge are left astounded by James’reckless and selfish behaviour when he sets offto defuse an I.E.D without any form of backup. Itbecomes clear that Sgt. James has earned a reputation for being a ‘wild man’ amongst thehigher ranking Sergeants while within his teamit fast becomes the opposite concerning their loyalty to him.

38

FILM

Jeremy Renner plays the character of James superbly. In every scene, another side of his personality appears. The three main charactersare played by relatively unknown actors, put together with techniques mirroring a documentary, you could be confused to realiseyou’re watching an action movie. The beauty ofthis film is not the expensive scenes with explosions and gun fire but the interaction ofthe soldiers with each other and that surroundthem and the effect war has upon their lives.Specialist Eldridge is blatantly out of his depth

in the job he is doing and a complete bag of nervesat the sound of gun fire while Sergeant James feedsoff being seconds away from death, always after hisnext fix for his addiction to war and the art of his work.This is shown by his collection of detonators and partsfrom each bomb he has ever dismantled and duringthe short period of time he returns home to his wifeand child.

Unlike pretty much every war film ever created, TheHurt Locker takes on a non-judgemental view of thewar in Iraq and leaves audiences not

thinking about the effects war has on the familiesof dead soldiers but the effects on the men andwomen out their risking their lives, whether tofeed their addiction for adrenaline or not. KathrynBigelow, who will most likely, if contrary to thebuzz, will receive numerous nods from the Oscars,blends together action, serenity and surprise certainly succeeds in allowing the viewer to takea look inside a Hurt Locker and come out with awide glimpse of reality for a member of the USbomb disposal unit.By Emily Karakas

39

If you were to stop any random person in thestreet and ask them to list a couple of animatedfilms they would more than likely start reeling offDisney movies. Maybe the occasional personwould throw in Akira, or some other anime, butthat would be it. Animated films have long beenneglected in mainstream cinema.Considered for a long time by the average movie-goer to be aimed solely at children, a recent waveof distinctly mature animated movies might be setto turn all this around. Doing away with cartoonanimals and celebrity voice overs, adult animationin the film industry is starting to get into its stride.

Waltz With Bashir is the latest in this new breed ofmature animated films. Nominated for a numberof awards and winner of a Golden Globe, WaltzWith Bashir focusses on the 1982 massacre at Sabraand Shatila during the Lebanon War. Written, di-

rected by, and starring Ari Folman (an ex-IDF soldier)the film follows him on his journey to recover his lostmemories of the Lebanon War. After hearing an oldfriend from his army service period describe the night-mares he has about his experiences in the war, Folmanrealises that he has no recollection at all of the period.Part documentary and part hallucinatory journey,Waltz With Bashir gives the audience a perspective onwar and the effect it can have on the human psycheunlike any they are likely to have seen before thanksto it’s animated style.

Whilst films featuring anti-war messages and themessurrounding the effects on the psyche are nothingnew, Waltz With Bashir takes a slightly different ap-proach. Many Hollywood films, in spite of their anti-war pretensions, still feature strong elements ofglorification (usually in the form of an action hero stylemain character). The character of Folman isn’t a hero,he is tortured by the guilt of his and his countrymen’scomplicity in the attack on Sabra and Shatila. He isn’ta character the audience look up to or admire.

The film has raised some controversy over its repre-sentation of the Sabra/Shatila massacre, with some de-tractors suggesting that Folman, in his writing anddirection, is trying to absolve himself and the Israelipeople, of their involvement in the attack. But in real-ity this film is anything but a denial of guilt. Blame forthe massacre is leveled directly at Ariel Sharon, partic-ularly in an interview with veteran war reporter RonBen-Yishai. Folman also establishes the parallels be-tween the massacre at Sabra & Shatila and the Holo-caust.

The 2008 film Persepolis, based on the graphic novelof the same name, is an animated feature following ayoung girl’s coming of age in the midst of the IranianRevolution. Starting in the present, we see the main

40

BLOOD,SWEAT& INK

FILM

character fully grown and trying to board aflight. When she is denied access to the flightthe film flashes back to her childhood memoriesof revolution and disillusionment and the colourpalette drains to simple black and white. In thismonochromatic landscape her memories appearlike exaggerated shadow puppets against thebackdrop of her reverie.

Like Persepolis before it, Waltz With Bashir usesthe level of abstraction afforded by animationto great effect. Dreams are rendered in surrealperfection. Haunting scenes of troops chasedthrough the streets by packs of dogs, or soldiersstepping naked from the sea of Beirut to pull ontheir uniforms as flares fall around them aregiven a harrowing kind of beauty that couldonly be achieved with animation.

It’s not just the themes in animation which arematuring; the sheer amount of work that has togo in to it to achieve truly stunning results isnothing to be sniffed at either. Waltz With Bashiris the result of four years hard work. The averagerate of work for an animator on the project was37 frames in a 9 hour day (that’s around 50 sec-onds worth of footage) and would leave the an-imators feeling physically and mentally drained.But all the time new technology and techniquesare speeding up the processes used in anima-tion, and opening up new techniques to ex-plore.

Japanese anime has been dealing with maturethemes such as war and conflict for much longerthan Western animation, with films such asGrave Of The Fireflies receiving great critical ac-claim from the likes of Steven Spielberg andRoger Ebert. Whilst the story of a brother looking

after his little sister in the absence of their parentscould easily have drifted into the realms of the tweeand sickly sweet, it is instead an intensely profoundand moving piece of anti-war cinema. But it is far frombeing what could be termed as a truly ‘adult’ anima-tion. Part of the success of Grave Of The Fireflies is thatit appeals to both young and adult audiences, muchlike a Disney film.

Hints of adult themes aren’t really new to cartoons,subversive jokes have been creeping into kids showsfor a long time. Disney movies have also for a longtime had storylines containing elements of betrayaland death (The Lion King, for example, is based onShakespeare’s Hamlet) but their presentation is soft-ened to widen the appeal of the movie. They’re en-tertaining but you’re unlikely to come away from aDisney animation with any kind of profound insight,unless you seriously missed out on some fairy tales asa child.

Folman has said that, “animation functions on the bor-der between reality and the subconscious.”1 Perhaps

because we are so exposed to news footage anddepictions of atrocities in our daily lives we havebecome immune to their intended effect. Pre-sented with Folman’s eerie animated images weare jarred out of this comfort zone, and forced tore-evaluate what these images mean to us.

When Waltz With Bashir was pitched to forty tele-vision station managers from around the globe inthe hope of raising funds for its production onlytwo were interested, the other 38 did not under-stand why the film should be an animation. Thisview is symptomatic of the fact that animation issimply not well respected by mainstream cinemaaudiences as a means for telling mature and com-pelling stories. As animated films are disregardedby the wider audience, so they are disregarded byinvestors as a means of profit; being viewed as un-profitable animated films don’t receive the fund-ing they need and cannot be made.

Animation is able to communicate with us in a waythat conventional films are not, but without thesupport of audiences they are likely to fade intoobscurity. Don’t let this new wave of mature ani-mated movies pass you by.

The Stoke Film Theater is the place to be inStaffordhsire for screenings of any and all alterna-tive, independent and foreign language films.Check their site for full listings, and keep an eyeout for more animated gems in the future. WaltzWith Bashir is available on DVD.

41

By Tristam Goch

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What’s this? An overweight scruffy American manfrom Flint, Michigan talking to the President of theUnited States. Seems like an unlikely picture. However, this is Michael Moore, an esteemed andcontroversial film and documentary maker, whose

political satire, has made a real difference to the wayin which we view documentaries. His weapon? Theblending of quick wit, his human qualities, and a wayof presenting facts in an attention grabbing way. Histargets? Take your pick. The American Healthcare

system. George Bush, the infamous President ofthe United States, Capitalism, and Globalisationto name a few. His documentary style of films,“Bowling for Columbine”, “Fahrenheit 9/11”,“Sicko” have made it into the top documentaries

FILM

moore,moore,moore...

of all time. With the highly anticipated “Capitalism: A love Story”, Moore’s new filmabout to hit us, I am taking this opportunity tolook at Moore’s film career, and his wonderfuland irrelevant take on some of the most famous people and institutions, and his expose of thedarker side of America, Land of the free? A satirical critique of Politics is no new creation.As long as there has been publication, there hasbeen a way of politics, being viewed in a satiricalmanner; many newspapers, jibing at and scrutinizing politicians and their decisions, perhaps even the way they look has been takenand critiqued. So if this is no new feat, then whyMoore? What about Michael Moore makes himso special? And the answer? I believe that the answer is threefold.

The first, are his subjects. The people whoMichael Moore chooses to document upon, arenot only feared for their status, but also oftenrisk his safety in many situations. America as awhole is known as a superpower, so its Health-care is quite an obstacle to overcome, part of its infrastructure. Moore knew that dealing withthe American healthcare system and the privateinsurance companies who coldheartedly takemoney off the ordinary American people wouldcause huge repercussions. However, this did notdeter him. Moore’s “Bowling for Columbine”,was a particularly sharp hyper critical look atAmerica’s gun laws, retrospectively after the

famous shooting in Columbine High school. Mooregoes to try and interview Charlton Heston, the leaderof Americas Gun Club. Heston’s famous words “Frommy cold dead hands” are just typical of his aggressive and arrogant attitude, and Moore doesn’tbat an eyelid. Instead he makes the former Hollywoodicon look foolish and uncaring. His biggest enemythrough his film making career was perhaps GeorgeBush. Bush would have been the child whose Daddyhad the biggest house with the most money in thesandpit. Moore’s quick wit and clever editing showedBush to be nothing more than a Red Neck with a blankcheck book. Not good for the leader of America. Thesecond reason for Moore’s huge success is the style ofhis Documentaries. Think the opposite of Palin in theHimalayas. Moore’s sarcastic tone, matched with hisbitterly cruel interviews with unsuspecting victims,and topped off with his cartoon-esque style and stillshots to portray events. It is different to ant other documentary style that it has to be recognised asbeing an individual and incredible style of documenting.

Another important component of Moore’s documentaries is the frankness of the interviews withpeople. These are not the people whom he seeks outin order to provoke answers from. These are the people who he meets along the journey, those whowe see for their vulnerability and compassion. An interview with an old man in “Sicko” who lost hishouse after he suffered a huge heart attack, is thoughtprovoking to say the very least. By drawing this

comparison upon a harsh reality for any American person with health complications we can see howheart-wrenching this is, and also how morallywrong.

The third and possibly most important component to why Michael Moore is such a critically acclaimed director and and documentarymaker is laughter. The way Moore implements hissatirical nature into his work is what we have cometo love about him. He is making a documentary ofcourse, he still shows the audiences facts, and exposes things which we didn’t know before,presents an argument to us of what he believesabout institutions, laws and people. However hediffers from most other film makers. We frequentlysee this; it is in his portrayal of George Bush. Bush,is everything we see that Moore despises, andMoore sets about to expose Bush as the less thanaverage cowboy catapulted to fames throughmoney grabbing relatives with dollar signs foreyes and oil control on the brain. As you can seefrom my slightly satirical tone that Moore has theability to impact within his documentaries. With“Capitalism: A love story” about to be released inBritain, there is no doubt that there will be a waveof success with packed audiences all eager to hearMoore’s latest critique on a political system whichis running under the core of most WesternCountries. The name itself is inherent with Moore’ssatirical genius, and I myself shall be in the queueto see what Moore has up his sleeve.

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By Olivia Forrester-O’Neill

There’s a common theme amongst two films outin the cinema at the moment: citizens taking thelaw into their own hands. English film ‘HarryBrown’ Directed by Daniel Barber and Americanblockbuster ‘Law Abiding Citizen’ Directed by F. Gary Gray are hitting the same theme from different angles. In ‘Law Abiding Citizen’ GerardButler plays a man, who’s lost everything afterburglars murder his wife and child; in ‘HarryBrown’ Michael Caine plays an O.A.P whose lifeno longer has a purpose when his wife dies andhis best friend is murdered by the chavs on hisestate. When the law fails them, they both decide to take revenge. However, the two films do differ in who they

decide to take revenge on. For Michael Caine, it’s asilent guerrilla warfare style attack on the chavs; forGerard Bultler it’s a high tech, full scale meltdown ofthe American legal system. (But both involve killing alot of people). I think what’s most perplexing aboutthese two films is that despite an obvious attempt ata serious social message; ( for ‘Law Abiding Citizen’it’s all about how just the justice system really is, andfor ‘Harry Brown’ it’s all about how peoples lives are ruined and restricted by gangs); neither really manageit. Instead you come away confused and rather unfulfilled by the endings of both films.

After the mass killing of the Chavs has commenced,‘Harry Brown’ ends on a positive scene of roses round

the council estate doors, children playing, andonce graffiti defiled walls freshly painted. Whichgives the impression that the problem with gangscan be solved by mowing them all down? Surelythere are much deeper social problems at the rootcause of gang culture in Britain, namely poverty,family breakdown, school systems, and policetreatment. With ‘Law Abiding Citizen’ the man wronged bythe justice system ends up dying without actuallyhaving changed anything about how the systemworks.... but he has inspired his main rival JamieFoxx to attend his daughter music recital. Makingthe deaths of all those people, almost... totallyworth it?

Film Spoiler

Welcome back to Film Spoiler. This week we have a double whammy install, with Harry Brown and Law AbidingCitizen joing hands from across the Atlanticbecoming a regular pair of

Citizen Soliders

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FILM

The Lion KingReleased: October 1994Starring: Matthew Broderick and Whoopi Goldberg

The Lion King tells the story of a lion’s struggle to gainpower of the pride rock, as his uncle ‘Scar’ misleads himinto an adventure that will help him discover new friendsand his true life’s path. With catchy songs and a memorable storyline, The Lion King truly shows why it is

the highest grossing traditional animated film of all time.

The Virgin SuicidesReleased: May 2000Starring: Kirsten Dunst, Josh Hartnett, Kathleen Turner

The Virgin Suicidesis a modern classic, adapted sensitively,from Jeffrey Eugenides novel, and is almost Shakespeareanin its delivery. From the off-set, it could be viewed as an-other teen-angst story featuring the usual dysfunctionalparents, school proms and the loss of innocence while intruth, it is anything but. A mysterious but beautiful classic.

Some Like It Hot!Released: May 1959Starring: Marilyn Monroe, Tony Curtis, Jack Lemmon

As films go, this one is spectacular. Marilyn Monroe at herbest, and brilliant performances by Tony Curtis and JackLemon, the film follows two musicians as they go into hiding after they witness a shooting as two women. Everyelement of this film works, from the innocent Monroe, tothe outlandish behaviour of Curtis and Lemon. The desertisland comedy bar none.

UP Release date: October 2009Starring: Edward Asner, Christopher Plummer, JordanNagai

Disney Pixar presents the story of a balloon salesmen whofulfils his dream of travelling the world in his very ownhouse filled with thousands of balloons. With the company of an overly ambitious 8 year old boy whowants to explore the world, a whirlwind adventure be-gins. It’s a must see for all!

The Twilight Saga: New Moon Release date: November 2009Starring : Kristen Stewart, Robert Pattinson, Taylor Launter

Moving on from Twilight, New Moon focuses on howBella Swan adapts to life without her ‘soul mate’ Edward.With more action than the first is the saga, Twi-Hards willbe grinning from ear to ear for days on end after watching. A good attempt at adaptation from director

Chris Weitz.

Paranormal ActivityRelease date: November 2009Starring: Katie Featherston, Micah Sloat

Paranormal Activity is everything that “The Blair WitchProject” wanted to be and more. A perfectly timedand shot horror film that is nail bitingly tense fromstart to finish. The last half an hour of this film particularly, isspine wrenchingly scary. Definitely not worth missing(but be prepared to sleep with the lights on).

What’s hot to watch:

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FILM

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Music PirateBBC (2009):http://newsvote.bbc.co.uk/mpapps/pagetools/print/news.bbc.co.uk/1/hi/business/7240Brand republic (2009):http://www.branderepublic.com/News/949893/Illegal-downloaders-spend-music/Gearlog (2009):http://www.gearlog.com/2006/09/illegal_downloaders_beware_of.phpGuardian (2009):http://www.guardian.co.uk/business/2009/sep/24/lily-allen-filesharing-twitter/printTelegraph (2009):http://www.telegraph.co.uk/technology/6614505/Digital-Economy-Bill-crackdown-on-illegal-filesharers-confirmed.htmlBackground Image (2009):http://fc05.deviantart.net/fs47/i/2009/186/3/e/Music_Pirate_download-ing_by_Nicarao.jpg (edited by Nicola Cooper)

War ChildWar Child Logo: http://the-exemplars.com/files/2009/10/IGS-warchild.jpg

Album ReviewsAmazon (2009):http://www.amazon.co.uk/Fame-Monster-UK-Deluxe/dp/B002T44EOS/ref=sr_1_1?ie=UTF8&s=music&qid=1260412947&sr=8-1Blogspot (2009):http://3.bp.blogspot.com/_oDmHN4Lm1HQ/SwD23_8173I/AAAAAAAAA-Y/fN8xZ4t9vd4/s1600/LadyGaGa_TheFameMonster.jpgStarplus (2009):http://www.starpulse.com/news/index.php/2009/11/17/review_lady_gaga_s_the_fame_monster_Images:Velvet Underground:http://pds12.egloos.com/pds/200809/26/05/c0022305_48dbad5c4da4f.jpg The Strokes:http://www.coverportal.com/Audio/GrafikAudio/the_strokes_-_is_this_it_a.jpg Lady Gagahttp://www.divercitycafe.ro/wp-content/gallery/lady-gaga-the-fame-mon-ster-super-deluxe-edition/01.jpg Tv on the Radiohttp://www.tvontheradio.de/fotos/return-to-cookie-mountain.jpg Christina Aguilerahttp://www.desktoprating.com/wallpapers/music-wallpapers-pictures/christina-aguilera-music-wallpaper-1024x768.jpg The Temper Traphttp://tanakamusic.com/wp-content/uploads/2009/12/The-Temper-Trap-Conditions.jpg

Sweet CharityImages Taken by: Nicola Cooper and Olivia Forrester O'NellImages Edited by: Tristam GochResearch:http://www.youtube.com/watch?v=zPRP3kx9mpg&feature=related

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Fashion Vs ReligionBBC: http://news.bbc.co.uk/1/hi/world/europe/8386456.stmWikipedia: http://en.wikipedia.org/wiki/Islamic_dress_contro-versy_in_Europe#Europe

Boston Tee PartyYou're The Danger: http://en.lafraise.com/Article/index/id/919Sleaze: http://en.lafraise.com/Article/index/id/883Curse of Hamster: http://en.lafraise.com/Article/index/id/926Epic Battle: http://www.threadless.com/product/1201/Epic_BattleThe Horde: http://www.threadless.com/product/2059/The_HordeSwan Kick: http://www.threadless.com/product/2035/Swan_KickParty Animal: http://www.threadless.com/product/1839/Party_An-imalLet The Funk Ride: http://www.funkrush.bigcartel.com/product/let-the-funk-rideCouer de Voyou: http://en.lafraise.com/Article/index/id/860A Unicorn For Boys:http://www.threadless.com/product/2178/A_Unicorn_For_BoysWe've Got Some Work: http://www.threadless.com/prod-uct/2094/We_ve_Got_Some_Work_To_Do_NowFunkmaster: http://en.lafraise.com/Article/index/id/870

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REFERENCES

formationPaul Seawright: http://www.paulseawright.info/hidden.htmlPlaying Soldiers – Anthony Davies:http://www.wolverhamptonart.org.uk/collections/browse_collec-tions/art/northern_ireland/000166.html?tab=informationReporting Conflict – John Keane:http://www.wolverhamptonart.org.uk/learning/craft/images_con-flict/reportingRebuilding Lives – Simon Norfolk:http://www.wolverhamptonart.org.uk/learning/craft/images_con-flict/hopeSimon Norfolk: http://www.simonnorfolk.com/pop.htmlSimon Norfolk:http://www.wolverhamptonart.org.uk/collections/browse_collec-tions/art/21century_art/000433.html?tab=informationSteve McQueen:http://www.artfund.org/queenandcountry/index.phphttp://www.artfund.org/queenandcountry/Queen_and_Country.htmlSteve McQueen: http://www.wolverhamptonart.org.uk/wolves/exhi-bitions/004019.html?year=2009

Snaps In HumanityFalling Man: http://api.ning.com/files/*i*RUqqv-X*wfpnet5lXkyts-ZLSvpkb*5FqSdVRSF3m6EgUJ0UqKtmKgOJbvCInP4AyeNgGuk5uyb4OglDC6OBuZT7QZdL4w/thefallingman.jpg Burning Monk: http://iwilcope.files.wordpress.com/2009/09/burning-monk.jpg Execution of Viet Cong Guerilla: http://www.executedtoday.com/im-ages/Nguyen_Van_Lem_big.jpgTank Man:http://beyondasiaphilia.files.wordpress.com/2009/06/tank-man.jpg Do or Die: http://img.blogcu.com/uploads/anyone_1980.jpg The Road from Vietnam: http://images.artnet.com/artwork_im-ages_424079904_254401_nick-ut.jpg Che Guevara: http://wyclefjean.files.wordpress.com/2009/07/che-guevara-albertokorda-1950.jpg‘9/11: The Falling Man’ (2006) by Henry Singer. LIFE 100 images that changed the world:http://digitaljournalist.org/issue0309/lm_intro.html

The Writings on the Wallhttp://static.guim.co.uk/sys-images/Guardian/Pix/arts/2005/08/05/westbanksyAAAA.jpghttp://www.elastika.org/2010/01/belin/

Blood, Sweat and Ink1st = by TristamWaltz with Bashir [DVD]http://waltzwithbashir.com/http://en.wikipedia.org/wiki/Waltz_with_Bashirhttp://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/cannes/article3939739.ece

HurtlockerThe Hurt Locker Movie posterhttp://www.celebritywonder.com/mp/2009_The_Hurt_Locker/moviep

oster.jpgThe Hurt Locker movie stillhttp://dearjesus.files.wordpress.com/2009/08/the_hurt_locker23.jpgThe Hurt Locker Movie stillhttp://www.maplepictures.com/uploadedImages/Film_Catalogue/H__/Hurt_Locker,_The/37FP2325.JPGhttp://www.ascot-elite.ch/libraries.files/37FP3916.JPGhttp://en.wikivisual.com/images/6/64/FilmReel.JPGhttp://www.shesfixingherhair.co.uk/various_photos/PR05_07.jpghttp://justbought.it/assets/67xata.jpg

Movie ReviewsBox Office Mojo (2009):http://www.boxofficemojo.com/genres/chart/?id=animation.htmNew Moon: http://www.twilight-blog.eaglepictures.com/wp-content/gallery/new-moon-foto-ufficiali/b5c92186-DF-12797.JPGRotten Tomatoes (2009): http://uk.rottentomatoes.com/m/up/Rotten Tomatoes (2009): http: uk.rottentomatoes.com/m/lion_kingImages:Some like it Hot:http://bluelle.files.wordpress.com/2008/06/some_like_it_hot.jpgThe Lion King:http://muktionline.files.wordpress.com/2009/09/anp74pk22u.jpg The Virgin Suicides:http://i.neoseeker.com/p/Movies/Drama/the_virgin_suicides_profilelarge.jpgUP: http://www.slashfilm.com/wp/wp-content/images/up.jpg Twilight New Moon: http://posterwallpaper.com/the-twilight-saga-wallpa-pers.jpgParanormal Activity:http://komischewelt.files.wordpress.com/2009/12/2009_paranormal_ac-tivity_002.jpg

Film Spoiler - Citizen SoildersMain Picture: http://www.moviecentre.net/wp-content/gallery/law-abiding-citizen/M%20039_LAC-13608.jpg Title background: http://www.rubberoom.com.au/film-reel.png Font:

Moore, Moore, MooreMichael Moore Image:http://rikstelegrafen.files.wordpress.com/2009/09/michael-moore_004.jpg George Bush Image:http://www.marylandpublicschools.org/NR/rdon-lyres/0CBA4A01-26D1-4166-8A26-1C09D466BAFA/16760/President_George_Bush__April_Todd_043008.JPG

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