Month: November 2022

Review: The Bloody Chamber

Written by Jay Darcy on 30th November 2022. Posted in Theatre.

One of the foremost feminist authors is the late, great Angela Carter. Amongst other inventive, progressive works, she is remembered for her seminal novel, The Bloody Chamber. The novel is a collection of stories, each a feminist retelling of a fairy tale or folklore. The book begins with the title story, a novella, a retelling of Bluebeard (French: Barbe bleue). It follows the original fairy tale quite closely, with feminist subversions and reclamations along the way, whilst the stories that follow radically reinvent the much-loved, misogynistic fairy tales that everybody knows.

The novel critiques and subverts not just patriarchy but society more broadly; each story deconstructs civilisation as we know it, calling attention to materialism and artifice.

I studied the novel for A-Level English Literature, and few pieces of fiction have stuck with me like The Bloody Chamber has. So, when I heard that Proteus Theatre had (somehow) adapted the novel to the stage, I knew I had to review it.

Review

We walked into the auditorium to see a finely decorated stage. It felt like we had stepped into a storybook or been transported to another realm, every one of us an Alice in Wonderland.

The stage resembled a lounge, of sorts, or maybe more a boudoir. The decor was bric-à-brac, mis-matched and shabby-chic; it was a little overwhelming, but every part of the stage serves a function to the storytelling.

There were placards at either side of the stage that read “Carter’s House of Love”, a tribute to both Carter and her The Bloody Chamber short story ‘The Lady of The House of Love’.

The all-female cast interacted with each other, and even the audience, before the action began. Then, the lights dimmed, and the House Mother (Ashley Christmas) shouted, “Welcome to the house of love!”, before giving us a camp-tastic introduction to the House. It was reminiscent of the spoken part of ‘Willkommen’, the opening number of the musical Cabaret. Mother makes it clear that this is a safe space, an escape, a place where everybody is welcome.

Proteus have chosen to adapt a handful of stories from the novel, within a (new) wider story: Mother (presumably, the Madame of the House of Love) and her girls tell the audience (their customers) a series of reimagined fairy tales, as part of a wider discussion on patriarchy and feminism.

This creative decision reminded me of a high school played I starred in called Happily Ever After?. We connected a series of dark fairy tales together with a story about children going into an attic, finding an old story book, and (unbeknownst to them) bringing the stories (and characters) to life as they read them. The play ended with the possessed children biting into poisoned apples and dying – a pretty dark turn for a high school play!

The decision to locate the main body of the story in a “house of love” is subversive; it reclaims female sexual agency and celebrates sex workers. Carter’s stories are retellings, and they remain relevant, but Proteus have given them a modern edge, to bring them into the 21st century and appeal to modern audiences.

The ladies of the House of Love have some really honest discussions about the difficulties that come with being a woman in a male-dominated society. On a few occasions, they refer to women being stalked and murdered by random men, with a nod to Sarah Everard. They even discuss the victim-blaming that persists in patriarchal society: blaming women for the assaults they face at the hands of men because of what they were wearing, for not keeping their eyes on their drinks, etc. The actors succeed in exposing the illogicality and fallacy of such a mindset.

Whilst these conversations are important, the production never loses its style or flare. It never feels patronising or preachy (preaching to the choir and the converted is a pet hate of mine). The writers successfully use fairy tales as a metaphor for real-life stories. Rather than the vacuous, fluffy nonsense that Disney turned fairy tales into, they are reverted back to what they were supposed to be: cautionary tales.

Of course, fairy tales blamed and punished women for “transgressing”, but The Bloody Chamber successfully subverts and reclaims them; they are used to tell a new, feminist story. Like one might use a fairy tale as a source/text in an essay, something to dissect and analyse, the writers use The Bloody Chamber as an artefact to study and discuss.

The novel even makes a physical appearance when the protagonist of ‘The Bloody Chamber’ finds herself in the library. It was wonderfully meta and self-referential, a reminder, almost, that these whimsical fairy tales are reflections of real life.

The novel’s title story is broken up; the actors come back to it at various points. They also retell ‘The Tiger’s Bride’ (Beauty and the Beast), ‘The Company of Wolves’ (Little Red Riding Hood), ‘Wolf-Alice’ (Little Red Riding Hood), and ‘The Lady of the House of Love’ (Sleeping Beauty).

Whilst there is a lot of back-and-forth, the scene transitions are seamless. The actors go in and out of the fairy tales with such ease. They move around the stage so casually, picking up things along the way, transforming and transporting themselves.

Without a doubt, though, the star of the show is the circus aspect of the production. Circus is used as a physical vocabulary to bring the iconic novel to life and translate the surrealism of the novel to the stage. The circus acts include aerial, acrobatics, trapeze, gymnastic sequences, and physical theatre. They are utterly breathtaking. A highlight is the use of aerial dance to represent love-making; it is a dark, erotic representation of love and sex. Another memorable moment comes when Bluebeard slides down the drapes, crashing down on the floor and terrifying his wife.

Proteus has succeeded in bringing to life (and breathing new life into) an eternally relevant piece of work. The modern edge and the pairing of the fairy tales with real-life events is done masterfully. Connecting a few of the short stories into a wider story is a genius idea that adds power and resonance to the production.

With the aid of camp acting, creepy storytelling, a crooked set, colourful costumes, and crazy circus skills, Proteus have created a (fever) dreamlike atmosphere, reminiscent of the tone of Carter’s novel. The play both honours and reimagines a novel that, itself, honoured and reimagined fairy tales. Carter would be proud.

Creating Christmas at Manchester’s biggest festive fair

Written by Anna Pirie on 30th November 2022. Posted in Arts.

The festive season has finally kicked in. The days have grown darker, the weather colder. A never-ending stream of Christmas adverts plague our lives, and the stress of present-buying hangs over our heads.

This time of year does, however, promise many great festivities: delicious seasonal food and drink, quality time spent with loved ones, and – in my opinion, most importantly – the return of Cotton On Manchester’s seasonal arts fair.

Taking place in the heart of Manchester, Art All Dayer is an art fair occurring seasonally. Each rendition of the fair features a workshop, a food market, and a featured ‘Manc of the Month’ solo artist exhibition. Oh, and a staggering amount of art stalls displaying everything from paintings, to ceramics, to prints – and quite a lot in between.

The fairs source local talent and are ongoing. I headed down to the winter edition to see what they had to offer this Christmas – and I’m so glad I did.

As my friend and I walked from table to table, we were struck by the sheer quality of the artwork on display. I made a note of picking up as many business cards as I could muster. By the time I walked out, my pockets bulged with them. Some of my favourites included John Burks’ Stone and Wire, and Ben Rock’s sketches.

The fair provided a great opportunity to catch up on overdue birthday presents and get a head-start on Christmas gifts. I must admit, I also indulged in buying presents for my most favoured recipient- me, myself, and I.

There were so many gift opportunities, I found it hard to narrow down my choices when surrounded by such impressive and affordable artwork. In the end, I decided on an intricate handmade ceramic plate from the wonderful Weird Bird stall for just a tenner. It felt like daylight robbery.

After our leisurely browse, my friend and I drifted over to the festive workshop. Each seasonal fair provides a creative workspace for visitors to get hands-on. This year’s winter workshop was set up for people to make their own Christmas cards.

Supervisors Holly and Chesca (@chescaarts) brightly invited us to take advantage of the supplies strewn across the main table. Tissue paper, wrapping paper, washi tape, stickers, pastels, and pencils awaited us. In time, two extremely handsome Christmas cards took shape, and we basked in the glory of our creations.

After a quick samosa break – courtesy of The Samosa Guy at the mini food market – we found ourselves perusing the art exhibition. This season’s featured ‘Manc of the Month’ artist was photographer Lee Cooper.

His work largely illustrates city life in Manchester through a romantic lens. My favourite pieces featured a train pulling into Oxford Road Station cloaked in fog, commuters exiting a tram into the infamous Mancunian rain, and light streaming past Kimpton Clocktower.

Each masterpiece was mounted in glass around the room, framed by the November sun piercing the exhibition hall. It goes without saying that walking through the display was a beautiful experience in itself.

After two hours we finally left the market, our bags brimming with new art and our purses empty. The Winter Edition of Art All Dayer was a resounding success. Incorporating art, food, and festivities was the perfect way to warm up a weekend I would typically spend studying. I will certainly be attending the next one!

For more events by Cotton On Manchester, see their website and instagramn (@cottononmcr).

The strange collaborations the fashion world didn’t need

Written by ameliacole on 30th November 2022. Posted in Fashion & Beauty.

Over the past few months, some increasingly odd collaborations have begun to emerge from the fashion world. They seem forced, out of touch and, in most cases, unnecessary. Who even needs a high-heeled Croc? We take a look at some of the strangest examples.

Burberry X Minecraft

Minecraft green creeper face — Photo: Aiminfreddy9 @ Wikimedia Commons

The most recent strange collaboration (November 2022), was Burberry with Minecraft. Burberry bridged the virtual world with real life, with a clothing line like no other. With a price range from £280 to £2,090, customers can buy comfy-casual apparel decorated in designs of Minecraft’s pixelated blocks. Items include, but are not limited to, jumpers, jogging bottoms, trench coats, shirts and even a scarf. Burberry described the collaboration as “inspired by the narrative of our in-game adventure.”

But, who is this collaboration for?

Minecraft is a hugely popular game that’s accessible through gaming platforms. Released in 2009, its target demographic was mostly young boys aged between six to 13 years old. Although this has since expanded to encompass a larger age range, the game is still most popular with children.

On the other hand, Burberry is a luxury fashion brand with a target demographic of highly affluent women. Its glamorous appeal frankly does not suit the demographic of Minecraft. Most six to 13 year old’s are not decked out in Burberry. Their collaboration seems incredibly ill-matched.

Balenciaga X Crocs

In spring 2022 creative director for Balenciaga, Demna Gvasalia, graced the runway with Croc-Dutch core. Think Croc rainboots, slides, you name it. The most jaw-dropping was a pair of high-heeled Crocs clogs. Yep, they’re real (and £450)! Balenciaga redefines the meaning of haute couture. And yet, many thought this collaboration made sense.

Demna uses his designs to make social commentary. For him, collaborating with Crocs – positing an everyday and largely accessible shoe as a luxury- was an opportunity to make people think. On his end, the collaboration seems innovative. But, the pairing is particularly odd for Crocs. The brand prides itself on being functional over formal. The Balenciaga/Croc high-heels can in no way be described as functional.

Like the Minecraft collaboration, it is equally hard to decipher who these shoes are for. From Crocs’ end, this collaboration feels like fashion gentrification. Bulldozing fairly ordinary items with over-priced silliness.

Travis Scott X McDonald’s

Mcdonald's burger and fries — Photo: Polina Tankilevitch @ Pexels

All things considered, food collaborations are not too far-fetched. In fact, this collaboration is probably the least strange out of the pairings we have seen recently. Despite that, the circumstances surrounding the Travis Scott X McDonald’s collaboration are undoubtedly questionable. It’s important to keep in mind that this collaboration was released in 2020 during the pandemic.

With people scared to leave the safety of their homes, drive-thru takeout was a source of comfort. Given that drive-thru systems were naturally social-distancing friendly, fast-food chains triumphed over sit-down restaurants. But what has this got anything to do with fashion?

Travis Scott released a meal with the fast-food company – the ‘Travis Scott Meal’. As well as a line of merchandise which included crew neck T-shirts and hoodies, branded with the golden arches and the name of his record label, Cactus Jack. Interestingly, Morgan Flatley, McDonald’s US Head of Marketing said that Travis “will resonate and spark excitement with our youthful multicultural customers.” This implies that through fashion, more young and culturally diverse people will eat at McDonald’s.

But with all this in mind, would you wear the clothes from any of these collaborations? Why are these brands targeting two very distinctly different audiences, where either likely cannot afford the new price tag. Those who can afford the collabs seem far from interested. Are they really necessary? We think not.

Octagon is visited by three ghosts

Written by Jay Darcy on 30th November 2022. Posted in Theatre.

Octagon, a wonderful theatre over in Bolton, is getting into the Christmas spirit with a brand-new adaptation of one of the most notable Christmas stories of all time: Charles Dickens’ A Christmas Carol.

“Whilst Christmas cheer and goodwill thrive across Victorian England, tight-fisted Ebenezer Scrooge goes to bed on Christmas Eve with no compassion or love in his heart. However, that night he is visited by the ghost of his old business partner Jacob Marley and is taken on a mystical journey of yuletides past, present and future – will he be able to see the error of his ways before it’s too late?”

Octagon is a producing theatre – that’s to say, it ‘manufactures’ its own shows in-house, rather than hosting touring shows from other production companies. The theatre produces eight or nine professional theatre productions each year in its Main Auditorium. Most noticeably, it recently produced the world premiere of The Book Thief, which received rave reviews.

Whilst it has began to specialise in producing American drama, including works by Arthur Miller and Tennessee Williams, it is now honouring our national heritage with a Dickens adaptation.

This brand-new stage adaptation comes from the writers of the Octagon’s 2019 festive production, Treasure Island. It features toe-tapping live music, festive fun, and a good splash of magic. This heart-warming and uplifting tale of redemption is the perfect festive treat.

A Christmas Carol began its run at Octagon on November 17 2022, and it plays there until January 14 2023 – a whopping two-month run! There’s a load of school-friendly 10:15am shows.

Making sense of the Manic Pixie Dream Girl

Written by Daniella Alconaba on 30th November 2022. Posted in Film.

In Laura Mulvey’s 1975 essay Visual Pleasure and Narrative Cinema, Mulvey expresses contempt for Hollywood cinema for depicting women as “passive” accessories to men. She states that “the presence of a woman is an indispensable element of spectacle […], yet her visual presence tends to work against the development of a storyline.” This is true in many cases of female representation, but can the same logic be applied to the Manic Pixie Dream Girl (MPDG) trope?

Who is the Manic Pixie Dream Girl?

In 2007, film critic Nathan Rabin coined the term to describe the phenomena of women in romcoms who are outgoing, spontaneous, and seemingly mysterious. These women counteract the male love interest who is often awkward and lacking romantic experience. The term initially described Kirsten Dunst’s character in Elizabethtown (2005). Within the narrative, a binary opposition is created between woman and man, compelling audiences to explore gender dynamics. However, from a representational point, the MPDG trope is controversial as she is always left responsible for changing and improving the man’s life.

Rabin writes that “the Manic Pixie Dream Girl exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” It is in this sense that I would argue that the MPDG actually defies Mulvey’s claim that women halter the “development of a storyline.” In romcoms, it is the MPDG who is actively improving her male lover. Nevertheless, the MPDG trope is still inherently problematic.

The problem with the MPDG is that she is an exciting accessory. Her only purpose in the film is to play a catalyst in a man’s development. Her interests are only deemed cool because he is attracted to her. She cannot independently exist. In a later article calling for the death of the MPDG, Rabin says: “The trope of the Manic Pixie Dream Girl is a fundamentally sexist one, since it makes women seem less like autonomous, independent entities than appealing props to help mopey, sad, white men self-actualize.” It would seem that the MPDG is in control as she is the one changing a man’s life but in doing so she is fundamentally still serving him.

In an article from The Atlantic, titled ‘The Real-World Consequences of the Manic Pixie Dream Girl Cliché’, writer Hugo Schwyzer acknowledges the work of Laurie Penny. Penny states that in real-life circumstances women often “grow up expecting to be the supporting actress in somebody else’s [life]” mirroring the ‘fictional’ trope of the MPDG. Schwyzer writes that “manic pixie dream girlhood served as a model for how to live as a teen and early 20-something.” I wonder if a correlation between the ‘I can fix him’ mentality that many women may have when entering relationships is related to the mass exposure of the MPDG trope.

Surprisingly, Rabin calls for the demise of the MPDG term in an opinion piece titled ‘I’m Sorry For Coining The Phrase “Manic Pixie Dream Girl”’. Increasing discourses posit that the term itself is misogynistic, Rabin regrets its over usage in the media. He explains that it can be “reductive” in describing female characters. It can become an easy way for critics to downplay an interesting female character just because they have the odd quirk.

In the same piece, Rabin mentions a Zoe Kazan interview where she dismisses the phrase. She calls it an “unstoppable monster where people use it to describe things that don’t really fall under that rubric.” I do find truth in Kazan’s statement. As a female viewer, I have found solace in eccentric characters… for them to only be reduced to a MPDG. When often they are not. Take for instance Clementine from Eternal Sunshine of the Spotless Mind (2004). Clementine is a striking and unapologetic character yet she is minimised to this. Clementine even states that she is “not a concept”.

Overall, exposure to more female characters written by women are needed to avoid the term altogether. It is often male writers that project their fantasies onto their fictional female characters. As Rabin writes “Let’s all try to write better, more nuanced and multidimensional female characters: women with rich inner lives and complicated emotions and total autonomy, who might strum ukuleles or dance in the rain even when there are no men around to marvel at their free-spiritedness.”

Collage with purple background with Shuri, Wakanda Forever and photos of the Black Panther Outfit

Black Panther Wakanda Forever: A tribute to a beloved actor

Written by Imogen Mingos on 30th November 2022. Posted in Film.

The latest Marvel film Black Panther: Wakanda Forever arrived with much anticipation, not simply because the original movie earned numerous award nominations and grossed nearly $1.35 billion at the box office, but also in light of the passing of Chadwick Boseman, who played beloved protagonist King T’Challa the Black Panther himself, in April 2020.

Wakanda Forever obviously had a very different feel to it compared to the first movie; it was very much a tribute to Boseman and the immense loss felt by fans, cast, and crew alike was present throughout. I thought that the tribute was fitting and well done both on and off screen. From the T’Challa montage during the Marvel title sequence to the funeral service held for T’Challa, there’s no doubt that audiences wouldn’t feel the ‘grieving ripple effects’ and the ‘great shadow of loss’ from Boseman’s death.

At the film’s premiere, the cast and crew honoured Boseman in their own ways such as Letitia Wright’s recreation of Boseman’s suit that he wore to the first movie’s premiere, Director Ryan Coogler wore a chain with Boseman’s photo on it at premieres and Variety’s photoshoot, and Janeshia Adams-Ginyard had a body painting of Boseman that she wore alongside her backless dress. Overall, Wakanda Forever is less of your typical action blockbuster and rather a well-deserved tribute to an actor whose loss has been grieved by many.

As a big action movie fan, I thought there weren’t as many epic fight scenes in Wakanda Forever as there had been in the original film but, in hindsight, this made sense since T’Challa’s younger sister and brilliant scientist Princess Shuri (Wright) takes on the role of protagonist alongside other female cast members, Queen Ramonda (Angela Bassett), Okoye (Danai Gurira), and Nakai (Lupita Nyong’o). As the country mourns the loss of their king and deals with the consequences of T’Challa revealing Wakanda’s true nature to the United Nations from the first movie, there is a sense of peace and stillness across the nation. That is until the latest antagonist shows up and, of course, everything changes.

Rather than the villain being one of Wakanda’s own, this time it is Namor from underwater kingdom Talokan who threatens the nation’s peace and stability. Personally, I found Namor to be underdeveloped as an antagonist. I found his motives didn’t match up to his intentions, similar to Safin in No Time to Die, and sadly had to agree with The Telegraph’s description of him being a “dull, grandstanding nitwit whom the film continually mistakes for a noble outsider, and his subjects … look more like the attendees at an Avatar fan convention than a proud seafaring warrior tribe”.

The soundtrack, however, was spectacular. It worked perfectly with all the scenes and added tension and atmosphere throughout. Whilst I didn’t enjoy Rihanna’s song ‘Lift Me Up’ for the movie as much as Lady Gaga’s ‘Hold My Hand’ in Top Gun: Maverick, I loved the rest of songs.

Overall, the movie received mix reviews by fans and critics alike. Whilst it scored highly on Rotten Tomatoes (84% from critics and 95% audience score), other critics described it as a “cobbled-together sensibility”, “Threadbare and pallid”, and “Hopelessly stalled… repetitive, over-familiar… occasionally incoherent”.

This is arguably not that surprising as Marvel’s sequels usually face much criticism, or as The Independent puts it: “When it comes to direct sequels, it [Marvel] is more villain than hero.” This year’s Doctor Strange and the Multiverse of Madness faced heavy disapproval with reviews going so far as to say it was a “CGI horror show”. However, Wakanda Forever didn’t receive quite such criticism as The Independent wrote that “the focus” on Shuri and Ramonda “works beautifully” but the ‘nearly three-hour run time… manages to be at once stultifying and rushed. Wakanda Forever gets one thing right by opening with a moving funeral scene that is a tribute both to T’Challa and the actor who played him.’

In my opinion, the movie is worthy of four stars due to the acting performances of Wright and Bassett, as well as the impressive soundtrack. Whilst the villain was somewhat undercooked and the movie lacked the overall action blockbuster feel achieved by the original Black Panther, there’s no doubt that fans wouldn’t find something to enjoy. Of course, it goes without saying that Chadwick Boseman continues to be missed by fans, cast, and crew alike but, overall, the film was an apt tribute to a beloved actor.

4/5.

Black Panther: Wakanda Forever is in cinemas now.

Empowerment through language: Stop putting yourself down

Written by Annabel Benton on 30th November 2022. Posted in Lifestyle.

Language is the means through which we communicate, and is therefore a central part of human existence. How we talk, how we think – everything comes back to the words we use. Needless to say, the power of language over the interactions we have with both other people and ourselves is huge.

To begin, let’s talk business. Language in the professional world has often been studied, with many articles on LinkedIn about how to attract the achievements you want or stop putting yourself down through language.

Many of these articles talk about internal conversations we have which minimise our confidence, yet the way we speak to others is also a component of feeling empowered professionally. Avoiding excessive exclamations and emojis in professional contexts will help you to avoid undermining yourself, while being firm with your requirements from others will avoid co-workers undermining you.

Using more positive language professionally can be an internal endeavour, however, such as in the act of goal writing. In writing down a list of things which we wish to achieve using positive language, we set intentions for ourselves: try using phrases such as ‘I will’, ‘I am going to’, or ‘I want to’. This allows us to make it clear to ourselves what we want to achieve and set about communicating these goals to others in an assured manner.

This is also relevant to imposter syndrome, a common phrase in the business world which can be just as relevant to education or friendships. How many times have you found yourself sitting in a seminar and thinking that everyone knows more than you do? Or thought that a new friend can’t possibly like you as they’re far too cool?

The cycles of doubt that we trap ourselves in due to imposter syndrome can be incredibly damaging to both confidence and achievements, as we stop ourselves from doing something before we’ve even begun, as we already believe that the outcome will be a failure. Ask yourself why it is that you’re afraid to fail, or why you don’t feel good enough, then try to flip the language with which you’re addressing yourself. Words which might help include ‘I belong’, ‘I deserve to be here’, or even simply saying ‘yes’ to opportunities which you come across.

One word which should be avoided for a more confident demeanour is ‘just’. ‘Just’, in the same ‘hedger’ category as ‘kind of’ and ‘sort of’, makes us appear unsure and minimises our requests or endeavours. As ‘just’ is a qualifier, you can grammatically get rid of it without consequence – be clearer, more confident, and more active with your voice. Once we stop using ‘just’ when communicating with others, we eliminate a sense of lacking of motivation or clarity, and will hopefully find that the rest of our language becomes clearer as a result.

Similar low-confidence language to avoid includes ‘basically’ and ‘I was wondering’, both phrases dilute your point and make you seem tentative. ‘Wondering’ can be switched out for a more active verb, while ‘basically’ can be gotten rid of altogether: remind yourself that there’s nothing basic about yourself, your thoughts and, in turn, how you express these things through language.

The move towards being more confident, clear and active through language is also extremely relevant to our personal lives, where we equally deserve to give ourselves the best chance at self-confidence and belief.

The personal power of language can be as simple as reframing things in our minds. Using positive mental language when approaching a task is a great way of seeing the good in something, such as by identifying the lessons you’ve learnt from a situation which didn’t go as planned, or by thinking of things with a growth mindset rather than in the language of ‘I can’t’. There is also evidence that rephrasing our thoughts with less extreme language is a good way of reappraising a situation, as a way to manage stress and be mindful of the language in which we’re thinking.

The ways in which we channel language in our daily lives can also improve how we see the world, come to terms with events, and process our emotions. For example, journaling has long been seen as a brilliant way to be more mindful and reduce stress. Using a daily journal to note down what we’re grateful for is another way to reframe small daily occurrences with positive language.

In addition, manifestation has recently gained traction as a method of attracting success. The practice stems from the ancient principle of the Law of Attraction and involves setting your vision and intentions into the universe. Language is a key component of manifestation, as you work to clarify exactly what it is that you desire through positive words, and bring about these wishes through affirmations.

Affirmation, in turn, is ‘an assertion, declaration, or positive statement’ (Oxford English Dictionary), and involves either speaking or writing positive words in order to improve your self-confidence. Popular affirmations include ‘I am strong’, ‘I deserve happiness’, and ‘I love myself for who I am’. Language is the first step to setting our intentions and emotions into the world, and by using such positive affirmations we can attract a more positive, confident, and self-assured approach into our lives.

Empowering ourselves through language, whether professional or personal, is particularly relevant in the modern world we live in. There is more research and focus now than ever before on how best to make language work to improve your life, whether that be through goal-setting, practising affirmations, or revamping your go-to phrases. However, there is also more cause to think about the language we use than ever before.

‘Hustle culture’ has recently sprung out of a melting pot of capitalism, the internet, and the commodification of hobbies during lockdown. As such, the modern world can be incredibly productivity-focused, which can, more often than not, lead to experiences of burnout.

It can be especially easy in the digital age to fall into a trap of self-comparison: a quick scroll on TikTok or Twitter will yield a fair few examples of people showing their highlight reels of achievements. It’s therefore important to practice kindness and self-care in the language we use, not just self-confidence. Through whichever means you’re aiming to change your language habits, make sure to work in self-love: you are good enough, and you are exactly where you’re meant to be.

Whether it’s starting a gratitude diary, speaking to a colleague with more confidence, or researching the best methods of manifestation, it’s important to take a moment to reflect on the ways in which you can use language in a more positive way. We undersell ourselves to others and in our own minds so often: it’s time to be confident and feel empowered through all the ways in which you communicate.

Review: Skies in the Cloud (UMDS)

Written by Witiko Grevel on 30th November 2022. Posted in Theatre, Societies.

The audiences of the UoM’s Drama Society’s plays are yet again swept off their feet by Skies in the Cloud written and directed by Martha Jamieson. After Zee (Ruby Woods) spots a mysterious figure amongst the clouds as a child she can’t stop thinking about it. One night, after years of intrigue and speculative drawing of civilisations in clouds, she gets a visit from a faint figure outside her bedroom window… why it’s Wren (Loie Milne), a particle person from the clouds above!

As soon as you sat down amongst the audience, the delicate and intimate nature of the story was apparent. The set was designed by Martha Jamieson and Carmen Kemper. It consisted of a double bed with blankets and shelves, soft white baskets, and a hanging window which made up the bedroom of Zee. And in a corner behind and looking around at everything was the curious and reserved character of Wren, pleasantly taking in the surroundings.

Zee appears out of nowhere and starts explaining Heterotopias. Worlds within worlds, mirroring yet upsetting what is outside, and Utopic places with ideal perfection which only exist in the mind. She does this by addressing the audience on a blackboard she repeatedly hauls from behind them. This classroom lecture from the six year-old helps set up an idea of a possible another world. During this Wren begins hanging up clouds behind the girl, each one gradually getting darker from a clean white to a stormy cloud. This creatively started to develop the idea of an ethereal world. Always looking down on us from above and also it seemed quite sadly a sense of foreboding.

Zee goes on to explain the story with full vigour and animation of how her fascination all started: a walk with her grandmother at the age of 6. They were gazing at clouds, her grandmother pointed out a dog behind them, and when she turned back at the cloud, something was there, for a moment, maybe something she shouldn’t have seen, an accident. A person in the clouds. Not content with her grandmother, ex-geography teacher’s scientific explanations, she believes there is more to this appearance.

Being the overly eager, creative, and energetic girl that she is, she can’t stop talking about a possible ethereal world above! Zee explores theories about a world where clouds are made of tiny cloud people and where rain is made from the break-up of two rain people! Or at least until her parents get worried about her, but she never stops thinking about it. She paints and draws cities in the clouds, distributed on the floor of the stage. Though Zee grows older and goes off to university the experience stays with her. Despite how weird it may seem, even as she begins entering the rational, logical, mechanical, reasonable world of adulthood.

Throughout this soliloquy, the amiable Wren dances around upstage with cloud-like lightness observing the bubbly, rambunctious Zee as she grows up, and never abandoning her. Wren even makes it snow whenever winter comes around, precisely and sensitively letting cut-out snowflakes shimmer to the ground and throwing them up again.

One night something extraordinary happens. As Zee is getting ready for bed, a ghostly figure appears out of the mist on the other side of the hanging window which perfectly portrays the fantastical nature of what is to come. Zee notices and stares in shock, but before she can say anything the face disappears.

The next night, Zee determined to find out what this otherly figure is doing stays up all night intently watching the window. This time Wren approaches the window but doesn’t shy away, Zee greets her and invites her in. Before Wren can say anything Zee absolutely must know if Wren is from “up there” and when Wren confirms, Zee can’t hide her amazement, this is all she’s been dreaming about all these years. She pulls up a couple of stools, high enough so that all in the audience can see this first sensitive encounter between these people from worlds so near yet so different.

Both slowly begin to teach and learn from each other every night. And every night the two become closer and closer with hints of a delicate romance commencing. The first interaction is acutely carried out, with Zee asking questions slowly, and attentively, while Wren (slightly socially awkward) tries to understand how things work on the planet’s surface. Attempting to get accustomed to things like Zee’s Percy Pig addiction or dancing!

Several lively beautiful dances expertly choreographed by Amari Creak show the pair boogie, hop and swing and twist to ‘Trouble’ by Shampoo or ‘Back for Good’ by Gary Barlow. The dancing was well balanced between facing and showing the audience and dancing together to create intimacy. The chemistry between the two was easily and gradually increasing with every night they saw each other.

Though the two always got painfully close, they barely touched each other, their two worlds apparently not quite able to mix. Their connection seemed so strong despite this that when they were together, they might as well have been in each other’s arms. When they almost kissed, they seemed not to need it, already surely connected, nevertheless upsetting many an audience member.

Zee and the audience get to learn their fair bit about how particle people in the clouds work to produce rain and are happy when the sun is out as they can rest. The particle people work tightly packed together and every now and then they have particle shake-ups where they get to meet others. Therefore, Wren is unique and a curious observer. She went out of her way to come down and meet the girl she felt a special connection with back when they were both six years-old. Back when they caught a glimpse of each other across the sky.

Every night however came to an end and Wren had to go home to sleep in the clouds. And the lights changed and the projector at the back showed the sunrise developing out of the night sky. One night Wren has something important to say. While Zee doesn’t want to believe her ears, Wren nervously explains the truth of their circumstance. Wren came down to save Zee from being called to the afterlife.

If Zee knew about the particle people, her passing could be delayed, and she could continue her studies at the university that she so loved. Wren, however, must pay the price for visiting a human and is going to turn into rain. The only time they will be together again is when it rains. Poor Zee proclaims she will always wait for the rain, and never wear a coat. Though Wren explains that Zee won’t remember her, she will feel something deep inside herself, a nostalgia, she just won’t know why.

The final scene brings us out of known laws of reality as an unnaturalistic white wash fills the performance space. Wren and Zee have a drink as if on a date, as Martha Jamieson explains, these two only wanted something so simple as to spend some time together. So here Zee embraces the Utopia of her memories with Wren and they dance one last dance together. As ‘A Table for Two’ by Rae Morris plays we relive the softness and embrace the two had in their relationship. In the end, as they start to head different ways, they get pulled back together by an invisible force and take a breath. Here in Utopia, they get to defy the laws of the complex world into which they were born.

A beautiful tale with a hint of tragedy. Performed charmingly with the help of Maisy Crabtree the producer and the original music composed by Stan Lawrence which helped accentuate every flutter and beat of anticipation throughout. Martha’s story though involving queer characters, was not meant to be a traumatic narrative ark of a queer person coming out.

Very importantly this story doesn’t follow that mould. Instead, it accepts its queer characters as normal and takes the story further into one of romance and love and the difficulties met in its search. The talented creative team and cast ensured this elegant and almost magical story was performed to enthral and amaze.

Skies in the Cloud was performed in The University of Manchester’s Student Union Theatre Space to astonish packed audiences 3 nights in a row from November 20 to 22.

Andor review: The best, and most leftist, Star Wars show yet

Written by Joe McFadden on 29th November 2022. Posted in TV.

What does revolution look like? What does it cost? What does it drive people to do?

These questions may sound like something out of a politics tutorial from days gone. A time before education was reduced to a set of box ticking exercises and the simple act of having an opinion wasn’t treated as borderline heresy against a prevailing, stifling orthodoxy of ‘balance’ and ‘objectivity’.

However, they are simply a handful of the key themes and ideas raised in Andor, the Star Wars show from the creatives behind 2016’s Rogue One: A Star Wars Story and the latest in what seems to be a never-ending conveyor belt of Disney+ franchise shows, churned out at a rate that makes even the most dedicated of nerds feel fatigued.

With that in mind, Andor is not only a breath of fresh air from the over-saturated, storytelling-by-corporate-committee status quo, but a compelling human drama that’s equal parts sci-fi spy thriller as it is a televised version of Marxist-Leninism.

Andor follows its titular protagonist, Cassian Andor (Diego Luna), five years before the events of Rogue One, charting how he transforms from a self-interested mercenary to a martyr willing to die for the rebellion. Accompanying Luna is a fantastic ensemble including Stellan Skarsgård, Denise Gough, Fiona Shaw, Genivieve O’Reilly, and Forest Whitaker, to name but a few.

The show itself, consisting of 12 episodes, is roughly split into four story arcs, which build on each other to track Cassian’s evolution into the rebel we know he becomes. The first follows Cassian on his adopted home world Ferrix as he attempts to evade the local authorities after a “misunderstanding” left two corporate security officers dead.

“… but a compelling human drama that’s equal parts sci-fi spy thriller as it is a televised version of Marxist-Leninism”

Released in one block, the first three episodes are a slow burn, introducing audiences to the titular hero and the life he will inevitably leave behind. It’s only with episode three’s climax, a dramatic shoot-out and chase through the streets of Ferrix, that the show really shifts up a gear. However, despite the relatively passive nature of this beginning arc, the show is far from boring, as many fans have (wrongly) decried.

One of Andor’s greatest strengths lies in its world-building. The first three episodes form a fantastic basis for this, grounding not just the first arc, but the series as a whole, in its character driven narratives. Ferrix feels like a real place rather than just a convenient Outer Rim planet to fit Andor into the tapestry of Star Wars canon.

Its design elements, ranging from scrapyards to the run-down, grey colour palette of buildings, all add depth to the location as a declining city, mired in post-industrialisation akin to contemporary Baltimore or even Manchester itself. This sense of physicality is palpable, found in the fact that it was largely shot on location rather than against a green screen or in ILM’s new innovative space The Volume.

2022’s earlier two Star Wars entries, The Book of Boba Fett and Obi-Wan Kenobi, respectively, were notably constrained by The Volume’s limitations. Instead of feeling vibrant and lived-in, their worlds felt small and claustrophobic, a fact which only served to exacerbate the show’s narrative flaws and opened them up to internet ridicule.

The Volume is clearly preferable to the green screens and exploited VFX teams of recent Marvel productions, and is a welcome development in visual effects after the sequel trilogy’s failure to build on Star Wars’ history of innovation (superbly captured by this summer’s documentary series Light & Magic). However, it will still never be an adequate substitute for physical sets and location shoots.

The difference is made all too apparent in Andor’s second arc about a rebel heist on the planet Aldanhi. Filmed on location in the Scottish highlands, the ruggedness of the landscape offers a gritty, windswept honesty to the gruelling conditions faced by the small team of guerrillas. Sheltering in makeshift camps and hiding from patrols of TIE fighters makes their struggle feel all the more authentic as they attempt to blend into the natural world around them. Indeed, when taken out of context the rebel cell resembles the IRA flying column from Ken Loach’s Palme d’Or winner The Wind That Shakes the Barley (2006) more than it does the rebels of the original trilogy.

A still of the planet Aldanhi from *Andor*‘s second arc
Photo: StarWars.com

Andor’s Aldhani arc ends with a visually stunning, yet fittingly tragic set piece that is among the best in Star Wars history, managing to intertwine this with a sharp and focused commentary on colonialism, furthering the show’s leftist message and anti-fascist values.

It’s in this second part of the series that Andor’s most intriguing story thread takes shape. Developing an array of supporting characters including Senator Mon Mothma (Genivieve O’Reilly), Imperial Security Bureau (ISB) Supervisor Dedra Meero (Denise Gough), and rebel-in-disguise Luthen Rael (Stellan Skarsgård), the show foregrounds the intricate political workings behind the evil Empire and emerging rebellion.

Mon Mothma has been a part of Star Wars since 1983’s Return of the Jedi but it is in Andor that she’s finally given her due. Mothma’s storyline is about the building and financing of the rebellion, and what sacrifices must be made in the name of freedom. O’Reilly’s performance (like all the show’s performances) is nothing short of remarkable and the dialogue of her scenes is some of the best put to screen in a genre series since the early days of Game of Thrones.

In stark contrast, ISB Supervisor Dedra Meero is ruthless and reprehensible in her hunt for Andor. She is the perfect foil to Mothma, equally as obsessive but cruel where Mothma is kind. Meero allows showrunner Tony Gilroy to lay bare fascist bureaucracy, showing how oppression is maintained through systems and structures as well as brute force and abhorrent acts of violence.

Since its conception Star Wars has always been – and always will be – a political work. Indeed, it is ludicrous to even suggest that art is apolitical but doubly so for a franchise whose humble beginnings were inspired by World War II, Nazi Germany, and the Vietnam War. Andor’s exploration of these concepts, utilising a more nuanced and ‘adult’ approach, is a welcome deviation from the nostalgia-bait of recent Star Wars projects and the sequel trilogy’s total absence of political messaging.

Seeing Dedra Meero scheme her way to the top of the ISB or Mon Mothma (metaphorically) sacrifice her family for a rebellion that doesn’t even exist yet allows Andor to ask human questions of its characters; it creates drama not from external threats but internal conflicts and, most importantly, gives the story a reason to be told.

“Since its conception Star Wars has always been – and always will be – a political work”

Andor is at its best when these conceptual questions and left-wing values are at the forefront of the series’ mind. In an Emmy-worthy speech of Shakespearean proportions, Luthen Rael, the enigmatic and devious orchestrator behind the rebellion, challenges characters and viewers alike to ponder the sacrifices of rebellion. How far is too far? How can you fight evil without becoming evil yourself? What counts as a necessary sacrifice? Why should we fight?

The third arc, which sees Cassian jailed not for his rebel activities but merely walking down the street, is a not-so-subtle commentary on America’s prison industrial complex and another exploration of the way fascism manifests itself. Fascism doesn’t, and won’t, always come in the form of a planet killing superweapon or genocide, but it comes with marginalising minorities and criminalising even the most peaceful forms of dissent.

Andor’s denouement comes in Episode 12 ‘Rix Road’ where all characters converge on Ferrix for (SPOILER ALERT) Maarva’s (Fiona Shaw) funeral. Over the course of the series the imperial occupation of Ferrix has become increasingly repressive, and in turn rebellion has been festering. The episode’s climax see’s a posthumous speech from Maarva rally the citizens of Ferrix to “fight the empire” in a spectacular riot sequence which evokes memories of real-world authoritarian crackdowns like Bloody Sunday during The Troubles or Israel’s continuing apartheid against Palestine.

Stormtroopers fire indiscriminately into crowds, murdering civilians whilst Ferrix’s citizens attempt to rebel armed only with rocks, their bare hands, and a homemade bomb. Perhaps the most satisfying moment comes when Brasso (Joplin Sibtain) uses Maarva’s funeral brick to smash a fascist’s skull in.

Maarva (Fiona Shaw) inspires the citizens of Ferrix to fight the Empire in a rousing speech during *Andor*‘s season finale
Photo: StarWars.com

These sequences contribute to Andor‘s complex narrative where audiences are left to both challenge and support the wealth of characters we see on screen. Maarva’s speech isn’t one of grand political ideology but simply a call to resistance against an unnatural tyranny. It represents the righteousness of resistance and Star Wars’ prevailing ideology: “Rebellions are built on hope”.

As alt-right sentiments rise in the West and the spectre of war haunts Europe once again, Andor is not only a stark warning of what happens when empires and autocrats seize power, but also a reminder of why their regimes will never truly last. Repression breeds rebellion, which in turn sparks revolution, and it requires everyone to stand up, say “no”, and fight to defeat it. Simply put, Andor is the best, and most leftist, Star Wars show yet; a phenomenal piece of political storytelling that will radicalise even the most passive viewer.

5/5.

All episodes of Andor are available to watch now on Disney+.

X: A Manchester Anthology review

Written by Jacob Folkard on 29th November 2022. Posted in Books.

As blasphemous as it may sound as the editor of the books section, I have never attended a book launch. As such, I wasn’t quite sure what to expect from the launch of the newest edition of the Centre for New Writing anthology. Suffice to say, I will be going to more.

The setting alone was awe-inspiring. Held in the bright building in Manchester’s science park (just behind the Main Library), a massive light sculpture greets you as you walk through the doors. Equally awe-inspiring is the smorgasbord of free drinks and food that greeted my housemate. As well as a selection of soft and non-alcoholic drinks, there was a selection of beer, white wine and red wine all provided for the price of the free ticket.

Just as we thought that couldn’t be topped, we cast a hungry glance over the selection of snacks provided; vegetarian antipasti, red pepper and parmesan tart, rice paper rolls and beautiful, ruby red falafel made up my evening’s diet. Furthermore, everything was vegetarian, meaning none of the usual awkward asking of a caterer whether that really is beef in the summer rolls.

Following the initial food and drinks, we sat down to settle into the bulk of the evening’s content; the reading of the anthology. Of the 17 writers that contributed to the anthology, twelve were present on the night, six of whom would read, followed by an interval, followed by another six.

Having had no real clue what the anthology was, I was pleasantly surprised to learn that it was the final works of students of The Manchester University Centre for New Writing’s programme. This game the evening a distinct relatability, especially as an English literature student myself.

The readings were introduced by Professor Ian McGuire, co-director and lecturer at the Centre for New Writing, and author of North Water. It’s fair to say that McGuire his talk in the boldest way possible, citing, “Getting an erection in public is, at best, impractical.”

Each of the pieces was read by their own author, and each brought a very different element to the evening. Starting off with an embarrassing tale of pre-pubescent discovery, to teenage loving, to a genuinely harrowing story of an ectopic pregnancy. All these topics were just within the first six readings, and the writings were incredibly varied.

However, what struck me most about the pieces was not their variety, but just how personal they were. Not necessarily that they were biographical in any way (I’m not sure if any were or not), but that each of the authors had put themselves onto the page.

When reading their own work, their eyes lit up and their voices spoke loudly and clearly and it was obvious to tell the pride that each had in their work. The stories, tales and poems were given an extra level of resonance and, to someone who had no ties to any of the authors, they affected me far more than I ever could have imagined.

As aforementioned, the book was not just comprised of short stories but of a selection of poetry. One that particularly stood out to me was Jennifer Nuttall’s poem, Here’s You. Intertwining the microscopic aspects of the body with sweeping images of the universe, the poem oscillates between the big and the small, leaving the listener caught between the two, marvelling at the connections between these two seemingly opposite ideas. On the page the poem took the shape of a human body, as the content of the poem is reflected in the form.

Although I have singled out this one poem, every piece of work was exemplary. When the evening had begun I thought it was going to take a lot to outdo a glass of red wine and a parmesan and red pepper tart but with the standard of work on display, I couldn’t have been more wrong.

Laura Hilliard Interview: “Storytelling is a noble profession”

Written by Ibiwunmi Balogun on 29th November 2022. Posted in Film.

Laura Hilliard is a cinematographer from Pennsylvania and teaches 16mm cinematography at the University of Salford. Having worked on shoots with VICE, Nike, Teen Vogue, and many more, Laura is a skilled cinematographer with a wonderful personality that strives to create opportunities in the industry for marginalised filmmakers.

Do you prefer to be called a Cinematographer or Director of Photography?

I honestly don’t care. I think it’s confusing for people who aren’t in the industry. It’s the same job. I guess, Director of Photography is the job and cinematography is the verb, as in the act.

How creative are you allowed to be on your projects?

Sometimes cinematographers are hired because they can do a certain look. Other cinematographers are hired because they adapt to whatever project it is. I fit into the second camp. Sometimes you can’t light it all in crazy colours or make it super soft…you just need to give the client or the director the genre. I find that I get over those excitements or disappointments in pre-production and then once I get on set, it’s really about the joy of everything going awry and this is creative for me and fun. I think you have to love the doing of it and problem solving. Ultimately, for me, cinematographers always have a responsibility to the director and what a story is about.

How important is the collaboration aspect of filmmaking?

The collaboration is essential. You can’t make films on your own. Well, you can but for the projects that I want to work on they’re gonna be with bigger crews and being able to work with people. That’s what makes it run. Being a cinematographer is really about understanding the roles of the crew that you’re managing and being able to tell them what you need in a clear way. It’s really good to do all the crew roles to empathise with what their day and work is like. I definitely have less gaffing experience and I wish that I could be a bit better with my gaffing…so that would make me a better cinematographer to be honest.

I think it’s one of the hardest things to teach because you’re marked on a group grade and students hate that, and I would hate that, but there are so many projects that you have to work on as a professional. You have to work with people you don’t like or people you find really challenging. You have to figure out a way to make it happen to motivate people to want to work for you. The reason why I’ve looked up to my mentors has been because they really know how to inspire a crew to work really hard for them. It’s kind of like playing on a football team and the captain is great… and those are rare.

How crucial is film school to become a professional filmmaker?

I think it is up to the individual…is it right for you at that time? Can you take advantage of it the most? It’s [film school] a very modern thing. Before you worked your way up. That still exists and you can learn everything you need to know on set. That being said, film schools offer more opportunities to different types of people and a learning environment but it costs money, which sucks. People are in massive debt and that brings the question: are they worth the money? I have a lot of friends who never went to school and are doing well in the industry and don’t have any debt.

To practise with cameras in a learning environment is really good because it means that we take off the pressure of the set. When I teach 16mm if we scratch a roll [of film] that’s ok because everybody makes mistakes and you’re learning. If it was on a set that means we’ve lost a whole day of shooting. That’s stressful. That’s where I think film school is really good.

What is your experience in such a male-dominated space?

Cinematography is what 3% women? It’s so small. I had the experience in school of feeling like I was working twice as hard to get half as far and it was frustrating to me. I did the homework and my guy friends on the course would get the project without doing any prep and I wouldn’t. They get the benefit of the doubt and women and minorities usually don’t. You’re a white man and pick up a camera and people trust you and if you’re not you have to be seen doing the thing but how do you do the thing if no one will give you the opportunity to do the thing. It’s funny but the picture of you with the big camera is important to have on your website because once people see that on your website they think “oh she’s serious”… which is so silly but it’s true. That is also when the reel [filmmaker portfolio] comes in and is important.

Creating opportunities and realising that we have a lot of work to do. In my class, I have to figure out a way to make sure that each person gets the same opportunity to touch the camera in the same way to help them build confidence. It starts there. You have to put an intervention in place in teaching where each person gets to do everything one bit at a time to avoid creating bigger and bigger gaps.

I find that there is a really amazing comradery when you meet women working in the industry. I want to help every woman that wants to be a cinematographer so much, I will give them so much time of day. I have a bias towards getting more women and people of colour behind the camera and I would stand up to that if anybody challenges it.

Is there pressure to keep up with technological advancements in film and what do you think about these new technologies?

There is loads of pressure to keep up with it all. I remember when I was in film school and I had a lot of friends who were really nerdy and read all the output surrounding technology in film. That’s great and we need people like that but I am not like that, I used to feel insecure and think I can’t be a cinematographer because I’m just not like that. It’s good to be open to realising that you can’t know everything and asking informed questions.

The way that you learn it [filmmaking equipment] is to use it on set. There were some pieces of kit that we brought to the set last week that I had never seen and I was so excited because I didn’t know we could do that. You kind of know about the tools and the tool box and there is always something new but for the most part you will feel confident that you can hold it all in your brain.

There is a cap. I don’t think the VR stuff will replace the cinematographer. We need people to do the thing. The jobs are changing but there is so much that is the same. It’s also creating new jobs. All the VFX stuff is crazy and great. It is also a barrier to entry and to access for anybody who isn’t already in it or going to the school and that I think is problematic in many ways. That stuff is frustrating but that is the industry and I hope that that stuff is phasing out and that there are more points of entry.

Do you have any advice for any up-and-coming filmmakers?

Make as much stuff as you can. Sometimes it gets scary to put the crew together. That’s one of the joys of film school, that you have to make a load of stuff and when you get out nobody makes you make loads of stuff anymore. You have to create the energy to do it. You do it but it becomes harder. Just keep making films and love seeing films too. Reminding yourself why it’s amazing to go into a cinema and the lights go down and that feeling of seeing a great film. That’s what we’re doing. But sometimes it feels so far from that and so it reminds you that storytelling is a noble profession. Be kind to your body, to yourself and be patient. I definitely did too much heavy lifting and hard labour that made permanent damage. I have back problems that will never go away because of too many hours of camera operating.

A piece of advice for third year students, it’s a scary time and it can feel like you’re floundering. You don’t need to know the whole year or the next five years. Just figure out what you’re going to do for the first three or six months, whether that’s working at a café or something and writing a script figuring out finances [for a film]. Give yourself really small and achievable building blocks.

Advice for up-and-coming cinematographers?

For cinematographers, try and be on as many sets as you can and work for different types of DoPs as you can. Value your time and your labour. Pretty early on you should be paid for it as a camera trainee. There is an expectation that you have to do a lot of free labour to make it happen and I disagree with that. Seek out sets that are exciting projects and that are going to be run well. There is nothing worse than working on a poorly run set. It’s just not worth the energy. Practice and notice lighting in rooms and buildings and how it impacts things.

Live review: the Vamps bring a night of singalong hits to Manchester’s O2 Apollo

Written by Katie Bray on 29th November 2022. Posted in Music.

The Vamps have finally returned to Manchester’s O2 Apollo Arena to celebrate ten years and five albums of music together. Known for hits like ‘Middle Of The Night’, ‘Last Night’, and ‘Somebody To You’, the Vamps have a plethora of great tunes and styles for any music fan to enjoy, with their first album being especially nostalgic for any noughties-born listener. As a long-time fan of the Vamps, I was extremely excited to see what the night would bring and whether they would top their previous performances in Manchester – and they sure didn’t disappoint!

Opening the night were two great support acts, singer Henry Moodie and Indie rock-pop band The Aces. Henry Moodie, best known for his TikTok hit ‘You Were There For Me’, openly admitted that this was his second live performance before proceeding to wow the audience with his own songs as well as covers of artists like Taylor Swift. He has great potential as a singer-songwriter, with catchy lyrics, powerful vocals and a clear talent for both the keyboard and guitar. Certainly, a gem to keep an eye on!

The Aces were also great, introducing the audience to their edgy, headbanging sound with ear-worm songs like ‘My Phone Is Trying To Kill Me’, effectively riling up the crowd for the impending arrival of the Vamps. Each member was full of energy and never stopped utilising the spaces on-stage, jumping, thrashing and shredding with each other, much to the audience’s enthusiasm. Whilst the aforementioned track was not my usual cup-of-tea, every song was played with so much skill and energy that I couldn’t help but enjoy their performance.

Eventually, after a small interval, the stage went dark, the audience roared, and guitar strums foreshadowed the arrival of the main attraction. As the drums and guitars built and a computerised avatar backdrop was projected, Tristan Evans (drums), Connor Ball (bass/guitar), James McVey (guitar) and Brad Simpson (lead vocals/piano/guitar) appeared under the strobing lights and behind a thinly veiled curtain, and were instantly met by the high-pitched screams of their adoring fans.

Opening with ‘Last Night’ and ‘Girls On TV’, two classic hits from their first album Meet The Vamps, the band proved they had as much energy and skill as ever, with Bradley running across the stage and playing to the audience seamlessly as the fans chanted the lyrics. What never fails to amaze me about the Vamps is the sense of community that each band member shares, inviting the audience to witness their friendship through moments of banter, harmonies, strumming together almost competitively, and letting loose in the craziest ways. Later, they gradually moved on to more recent songs like ‘Rest Your Love’, ‘Married In Vegas’ and ‘Shades On’ – the latter of which they brought out the iconic sunglasses for.

At different points in their performance, they returned to more intimate styles of music, with acoustic or slowed down versions of songs like ‘Middle Of The Night’ and ‘Wake Up’, which allowed Brad to show off his piano skills as he serenaded the audience. There’s something about his stripped back vocals and the soft harmonies of his fellow band-mates that creates an air of sincerity. This really allows you to connect with the band and, when contrasted with their usually happier or more energetic styles, proves their versatility as artists.

Throughout the performance, the Vamps used a myriad of stage devices from neon lights on guitars, lighting that enhanced the beat or mood of certain moments, and backdrops with a large screen that projected lyrics, music videos, the band’s past moments, groovy geometric patterns, television backgrounds and more, keeping the set constantly fresh and unpredictable. There was even an intermission playing a video of their history as a band, united by James after meeting each other through social media platforms like YouTube. It showed their previous music videos, songs, fan encounters, moments with each other, concerts, and the lead up to their 10-year anniversary, with Brad later promising a return to Manchester on their 20^th Anniversary too.

I think an important part of what elevates their performances is their interactions with the audience, from banter, to looking at the signs, jumping into the press pit to interact with the front row, encouraging the audience to repeat lyrics, use their phone lights, stand, bounce or have intimate phone-less moments with them towards the last moments of their performance. They always highlight their love of the fans and Manchester and make the audience feel like a part of the 10-year journey as much as each member themselves.

Their musical style is constantly evolving, with the exploration of love ballads, pop and party styles, rock and indie elements over several albums. They constantly revisit old works and try acoustic experiments or play with certain sounds, making even old music feel reinvigorated. Overall, I would highly recommend the Vamps’ music and visiting one of the future stops of their tour. With this being a greatest hits 10-year anniversary, it allows fans old and new to explore the different sides of the band and have a simply amazing time singing along.

The Vamps are on tour throughout December, and you can buy tickets here.

Tkay Maidza writes a love letter to New York in ‘Nights In December’

Written by Molly Gregson on 29th November 2022. Posted in Music.

Has Christmas come early this year? Certainly if you’re a fan of Australian singer-songwriter and rapper Tkay Maidza, who has already got into the festive spirit this year on her new track ‘Nights In December’.

Musicians embarking on the Christmas cash-grab is nothing new – much to the commiseration of retail workers everywhere. Plenty of artists throughout the years have pulled out the literal bells and whistles to have their chance at a Christmas number one. This year is no different, from the faux-lisped, heavily-mocked pronunciation of “kwismas” in Camilla Cabello‘s rendition of ‘I’ll Be Home For Christmas’ to The Backstreet Boys‘ Christmas cover album, A Very Backstreet Christmas, released all the way back in mid-October to maximise their streams. But, where most artists opt for a Christmassy cover, or an unoriginal-original song, Maidza’s take on the festive single is much more interesting.

Maidza embarks on what is more of a winter tune than a Christmas-specific track and as a result breaks from the traditional, overdone formula of the commercialised jingles of the Christmas pop song. Upon first listen you may not even notice the song is festive themed at all, as the subtleties of the wintery descriptions in the lyrics are overlaid by downtempo RnB melodies and bass heavy synths. This makes the track perfect to listen to all year round, even if it does lean towards cosy themes.

In ‘Nights In December’ Maidza uses memories of Christmas in New York as a backdrop for budding romance. Reminiscing on past trips to the city, Maidza compares the feeling of newfound love to the captivating allure of wintry New York. Maidza makes the city sound “magical” and imbues her lyrics with a dreamlike quality: “On the streets, all my dreams/ you and me, we don’t need reality/ I hope it’s going to last forever”.

Maidza writes from the perspective of a tourist, only seeing the beauty of the city. She describes the more obvious attractions of the “Empire State” building and “Central Park” in the snow with the same romanticised fervour of the mundane “alleyways”, “flashing lights”, and the “neon signs”- just as one might romanticise every aspect of a new partner.

Thematically, the track isn’t particularly unique to the Christmas genre – almost all Christmas songs draw on the idea of love to an extent – but Maidza’s neo-soul vocals and dreamy lyricism surrounding the feeling of winter rather than the commercialism of Christmas bring new flare to the holiday season. It’s definitely worth a spin this December!

You can stream the track below:

ABBA Voyage: As Good As New?

Written by millieesmesheppard on 29th November 2022. Posted in Music.

My love affair with ABBA began when I was six and my mum took me and my sister to see Mamma Mia on the day my dad moved out of our family home. Through ABBA’s music, I could escape into a world of glitz and glam. A year later, on our first holiday since we became a family of three, we drove around Irish hills with ABBA Gold blaring out of the CD Player. At ABBA Voyage, I couldn’t help but wonder what the music meant for my fellow audience members.

ABBA Voyage, a ground-breaking audio-visual performance of ABBA’s iconic songs by CGI-assisted holograms, took place in the purpose-built stadium next to the Olympic Park in London. The experience launched earlier this year and has been selling out for months. Arriving at the venue, which is collapsible so it can be easily relocated, I was greeted by many enthusiastic ABBA fans complete with flares, sparkles and feather boas.

Indeed, the popularity of ABBA is evident in how this venture has been undertaken despite its whopping expense, as it needs to earn £140 million to break even. Attending the event did feel luxurious. I stayed at Hyatt House in Stratford, a hotel located within Westfield Shopping Centre which had a sophisticated, art-deco aesthetic. After sipping our drinks in the Hotel’s Elondi bar, me and my friend took the short 15-minute tube journey to the stadium.

The event was well-staffed. The ease with which the large audience was managed hinted at how for the workers, these crowds were a nightly occurrence. We were quickly directed into the venue which held bars, food servers and a merchandise shop. The lobby area had a Scandinavian vibe, with a pine geometric ceiling and LED strip lights. When we entered the performance space, which can host 3,000 people, its scale was obvious.

The holograms of Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad have been created through the work of over a thousand animators, who have digitised old footage. Watching the holograms, who have been cleverly referred to as ABBA-tors, ‘walk out’ onstage was witnessing a technological breakthrough. Though you could tell that they weren’t human, they did feel so close to the holograms I’d seen in fantasy sci-fi films that it felt hard to believe I was watching in real-time. Moreover, critiquing the holograms for their unnaturally smooth skin or glossy eyes feels like it would miss the point of this event. What is incredible about ABBA Voyage is that the audience have bought tickets fully aware that the real-life ABBA will not be performing. If anything, surely this shows the enduring legacy of ABBA?

Watching the show though, I was left feeling slightly conflicted. ABBA’s pre-recorded voices, which were created by using audio from all stages of their career, were supported by a 10-piece band including vocals. Though this band were lit up for one song, they performed in darkness for the majority of the night. Though, presumably, this was to allow us to see the visuals, part of me felt I was appreciating the wrong thing. Focusing on pre-recorded holograms when there was a band playing simultaneously felt strange. The holograms did reference the unusual medium of the performance, as they joked they needed time for a “costume change”.

Yet the cynic in me wondered if they were programmed to make the same joke every night. I found myself thinking about the Black Mirror episode ‘Rachel, Jack and Ashley Too’. In the episode, a controlling music manager suggests hologram tours are the future of live performance, offering more profits and no need to worry about performer wellbeing. As much as I enjoyed the night, I was left with a yearning for the authenticity of the live experience. In the end, it was hard to not feel as though our applause was misdirected. Our clapping was projected not towards the live band or the scientists and animators who made this experience possible, but toward the holograms themselves.

Regardless of this, ABBA Voyage did offer an unashamed celebration of ABBA; a band whose music has soundtracked so many of our lives. It couldn’t replace a live gig, but it was an experience that my childhood self would never have believed.

ABBA Voyage is now booking until November 27 2023 at the ABBA Arena, London. For more information and best availability of tickets go to abbavoyage.com

Live review: Wet Leg at O2 Ritz, Manchester

Written by Sarah Taylor on 29th November 2022. Posted in Music.

If you haven’t heard of Wet Leg by now, where the hell have you been? Since dropping their signature ‘Chaise Longue’ last summer, the Isle of Wight indie duo have catapulted to stardom. With three sold out UK tours, a Mercury-nominated and number one debut album, and a string of Grammy nods now under their belt, the world is truly Wet Leg’s oyster.

Tonight, they play to a packed O2 Ritz, a venue that they sold out in record timing, and one that they’re unlikely to play again given their surge in popularity since the show was announced. Wet Leg perform a swashbuckling set of instant classics to the lucky 1,500 concertgoers. The Ritz, with its bouncy floor, is the perfect setting for Wet Leg, a band whose selling point is its witty one-liners and jaunty pop-rock bangers.

Wet Leg open with the first track on their album, the fizzy ‘Being In Love’, a track that lyrically and sonically encapsulates that feeling. Lead singer Rhian Teasdale is dressed in a black leather mini skirt and cat-ear bonnet, striking the balance between cool and quirky – a balance that the band pride themselves on (note the lobster-featuring video for ‘Wet Dream’ or the fact they quite literally marched onstage to an obscure song from the Lord of the Rings’ score). Their ability to deliver amusing lyrics and memorable hooks over irresistible instrumentals is, of course, part of their appeal.

A triumphant rendition of ‘Wet Dream’ follows, one of the year’s most popular hits, having also been covered by Harry Styles for BBCR1’s Live Lounge. For a band whose schedule has been gruelling at the best of times, Wet Leg look like they’re having the time of their lives, beaming with smiles before cutting to another insatiable earworm in the shape of ‘Supermarket’.

Two new unreleased tracks are played, and it is during one of these tunes ‘I Wanna Be Abducted (By A UFO)’, that the crowd is at its giddiest. A few fans near the front have even brought signs and alien masks, catching the band’s attention, and warranting a “thank you!” The dark, brooding ‘Obvious’ follows, teasing a left turn for Wet Leg in terms of style and tone.

They take a moment to introduce each member of their touring band, encouraging ample applause from the audience. Despite this, audience interaction is few and far between – the occasional “how are we doing Manchester?” between songs suffices. On ‘Convincing’, Hester Chambers takes the lead, her whispered vocals offering a sense of calm and clarity.

‘Ur Mum’ is a marked highlight, with Teasdale egging on the crowd to unleash their “longest, loudest screams”, just as she does in the studio version. She crouches on the edge of the stage, wide-eyed, as everyone engages in the silliness. ‘Too Late Now’ closes the main set, with its playful observations on modern dating echoed by an enthusiastic audience. Predictably, Wet Leg save their best until last, returning to the stage for a rip-roaring rendition of ‘Chaise Longue’. The crowd breathe new life into the call-and-response parts of the tune (“Excuse me! What?”) and mosh-pits form in its final chorus.

Wet Leg’s performance amounts to a succinct 45 minutes. Two songs from the band’s album are omitted – ‘Loving You’ and ‘Piece of Shit’. Perhaps including these and adding a cover could have fleshed out their set a little more. That being said, in a live setting, Teasdale and Chambers’ ability to riff off each other lyrically and musically translates. With a second album under their belt, they’ll be unstoppable!

Keep up with Wet Leg on their official website here.

Review: Stump (UMDS)

Written by Witiko Grevel on 29th November 2022. Posted in Theatre, Societies.

A night brimming with frolicking animals and hysteria on the edge of witchcraft. All this while slaying a club in the legendary Gay Village. The play follows the after-effects on Ingrid (Holly Langlois) and Finley (James Murison) after an enormous oak is felled outside their home. Ingrid won’t let go and believes the tree must live again.

This rendition, written by Eris Kennish, explores the inner turmoil of a couple after an ancient Oak was slain in front of their house to make way for a major motorway construction. Exploring strong themes of a threatened natural environment and community.

The story starts off with impressive and majestical dancing furries swirling through the audience. As they slowly approach the main stage, Ingrid is standing paralysed with mourning for the stump before her; all that remains of the mighty oak. In this fairy den atmosphere, the animals twirl and throw confetti before her very eyes, but she is alien to this. Celebration is happening all around Ingrid, but she can’t seem to join in the fun. The animals consisted of a magnificent dancing troupe including the magnetic Fox (Carlos Lee), the graceful Crow (Isobel Oldroyd), the slinking Snake (Stella Stevens), and the swirling Moth (Ben Chesworth).

The Brewers in Gay Village hosted the performance, while upstairs the club was in full swing. People were waiting with anticipation to watch the UK Drag Race Finale and the music from upstairs reverberated through the ceiling and walls. Our audience members sipped from pints bought from the bar at the side.

Before the play even commenced, the director (Adelaide Marshall) made an announcement from the DJ corner, welcoming everyone for the night ahead. As Adelaide intended, a theme of community and teamwork was apparent throughout the world of the play. The dancers were always working together effectively in a group. They even executed duet dance-offs despite the constraints of the small stage. Finley stayed loyally close to comfort and reassure a hopeless Ingrid. The soundtrack couldn’t be queued or recorded on the system, so Adelaide played the music and sound effects from his DJ set. This air of authenticity to the music combined with the jovial atmosphere only a club can guarantee, and the performance of the dancers and cast ensured a captivating night for all.

Finley, the golden retriever partner of Ingrid, struggles throughout to bring sense back to the stubborn and anguished Ingrid. When people take turns standing on the tree stump during a birthday party (to make speeches), Ingrid gets especially annoyed. This leads to an intense argument between her and Finley. They finally relent when an awkward and almost sarcastic “Happy Birthday” is sung to remind them of where they are.

Still tense when cutting the cake for everyone, Finley cuts himself which sends him to the hospital and Ingrid warms up slightly as does the atmosphere as Ben Chesworth satirises the A&E waiting room with his comedic portrayal of an overworked Nurse. Tensions between Ingrid and her – sister Grace (Stella Stevens) also escalate. Grace is pregnant and needs help from her only sister. Ingrid doesn’t seem to fully comprehend what is going on anywhere in her life.

Still crazier is when Ingrid calls on dark magic and help from the forest creatures to resurrect the tree. Starting slowly and gradually gaining grandeur the furries reappear and surround her. They sacrifice parts of themselves to be added to the bowl of ingredients. Ingrid begins chanting and the creatures enact a hypnotising and powerful dance which seems to propel the incantation. This draws out longer and longer and slowly loses ambition as Ingrid realises her spell isn’t working.

In the final scene, critically upset if she wasn’t already before, Ingrid gets on top of the trunk. She finally recognised the beasts around her. She welcomes them and lets them lower her down to sit and one by one they surround and embrace her. When she has returned from whatever plane of reality she was on and accepts the furries as her friends. Ingrid has moved on from grief and has returned to trusting and listening to those around her.

Stump was performed at The Brewers Club in Gay Village from November 23 to 25. Four Furries and a Necromancer title is courtesy of Jack So.

HOME steals Christmas

Written by Jay Darcy on 29th November 2022. Posted in Theatre.

There’s no Christmas story quite like Dr Seuss’ How the Grinch Stole Christmas. You’ve read the book. You’ve watched the film. You might have even seen the musical. But have you come across the sequel?

Who’s Holiday! is an adults-only comedy that tells the story of an adult Cindy Lou Who as she recalls that Christmas Eve she first met the Grinch – and the twisted turn of events her life has now taken.

“You saw her last when she was just two,
Celebrate the holidays with Cindy Lou Who.
Pull up a seat and fill up your cup,
‘Cause your favourite little Who is all grown up!”

Based on a book by Matthew Lombardo, it premiered off-Broadway a few years back, and now it is set to have its European premiere in Manchester, followed by a stint in London.

Whilst the world premiere starred a cisgender woman as Cindy Lou Who, it has been transformed into a drag comedy for UK audiences. After all, it is co-produced by TuckShop, the electric company behind successful drag shows such as Death Drop and its upcoming sequel, Death Drop: Back in the Habit.

Who’s Holiday! stars Miz Cracker, who placed fifth on the tenth season of RuPaul’s Drag Race and was the runner-up on the fifth season of All Stars. She recently performed at Drag Fest – which, like Who’s Holiday!, visited both Manchester and London.

The parody musical’s premiere is timely, given the upcoming horror parody of the iconic children’s book: The Mean One. A Christmas slasher, it follows the eponymous character as he goes on a murderous rampage in a sleepy mountain town during the holiday season. As if the Grinch wasn’t already scary enough…

Fortunately, Who’s Holiday!, though intent on ruining your childhood, aims to humour, not horrify, you.

Who’s Holiday! has its European Premiere at HOME (Theatre 1) from November 30 to December 1, before transferring to Southwark Playhouse (Borough – The Large) for a month-long residency, from December 7 to January 7.

Review: Agatha Christie’s The Mousetrap

Written by Shikhar Talwar on 29th November 2022. Posted in Theatre.

The Mousetrap is in Manchester as part of its 70th Anniversary tour. Based on the Agatha Christie radio play and subsequent short story, the production lived up to its reputation.

One of the first things you notice about the play is the stage. A wide, majestic set brings the story to life. Whilst such a huge set may not be crucial to the story, it is something that can be toyed around with, and that it was.

You could see the actors go up and down staircases, get lost in different doors, and struggle to navigate the set. Cast members would stand through the entire width of the set, not letting a single spot go unused. Even the placement of a door is critical as one opens during a murder, but is crucially angled in such a way that the actors can see who it is, but the audience can’t.

The awe-inspiring stage was companied by an equally jaw-dropping background score. The music increased and decreased as the play required. For example, once the twist was revealed, there was no music, just pure silence. However, as it progressed during the play, you heard a far-distant piano or the increasing sound of a radio.

The play also addressed the reason for music. There was never a reason for the existence of music, and if so it was always explained by one of the characters playing it.

At the same time, the acting was amongst the best. Mr Paravicini, played by John Altman, made the best of the character he was given. The veteran actor got out the little quirks of the character as you wanted them to come out.

Paravicin has an accent that reminds you of Hercule Poirot, one of Agatha Cristie’s most famous characters. This often sends viewers into a red-herring of Poirot being the detective when that is not the case.

However, Altman’s accent could have been better. It often came off as a mix of German and French but, rather than building the character, it seemed like a caricature of a sadistic Frenchman.

The other standout performances were Joseph Reed’s Detective and Elliot Clay’s Christopher Wren. Reed got the reaction out of the characters and the audience as he wanted. You feared him when you needed to, you loved him when you were angry, and he took you on the journey of solving the case with him. Meanwhile, Clay made Wren a pitiful character. He is lovable, simply high on life, but you are unsurprised when the sad death of his character, and his past, came out.

While the play had plenty of positives, one thing that I would take an issue with was the pacing. Only 45 minutes into the play did the actual story begin to take hold. 15 minutes more and you had the interval Furthermore, the exposition scenes lasted way longer than they needed to. In some parts, I wished I had the 10 second forward button, to avoid being re-told what I already knew.

Then there was the big reveal. The lack of convincing red herrings doesn’t surprise you about who the murderer is. From the moment of the character’s entry, you can sense a lead-up to them being the murderer. There was no iconic Agatha Cristie detective breakdown of the events, à la Poirot. You just simply know who killed.

The unmissed ideal ending of the ‘perfect’ play is used in The Mousetrap. After the big reveal, a long part is focused on life in the play being brought back to normal. However, the plot by this point is over. People are looking for a chance to applaud the actors and exit in the hall. But you can’t, as you are held back for a little bit longer, for the parts of the story that you are going to forget quickly.

This play does justify the reason for its 70-year-long run. However, it might be for those who prefer plays that were on a roll 70 years ago…

If you do want to watch a murder mystery that doesn’t get too serious but keeps you firmly in the middle of your seat, then this play is for you. It will keep you extremely entertained throughout, either by the uniqueness of it characters or by the nature of the rest of its set up.

The Mousetrap runs at Manchester Opera House until December 3 and tours the UK until late November 2023.

No mandatory consent module for UoM students

Written by Jacob Robinson on 29th November 2022. Posted in Investigations.

Trigger Warning: this article contains references to sexual assault and rape with specific emphasis on student experiences. Please contact Report and Support at The University of Manchester if you have been affected by these issues.

The University of Manchester has no mandatory consent education, The Mancunion has discovered. The optional online consent module is completed by less than a quarter of students in SALC, calling into question the suitability of the current scheme.

Typical consent education in academic settings often involves a three-minute video detailing that consent is as “simple as tea”. Viewed 10 million times on YouTube, the video lets us know that drunk people might not want tea. However, consent – although it should be as straightforward as the video implies – is not understood this clearly in real life.

Sufficient consent education should involve discussions around what revoking consent looks like. Likewise, the role ‘blue balls’ plays in pressuring people into consenting or that having a sexual history with the person in question doesn’t entitle you to sex. Evidently, consent education requires informing students about coercion, nuance, and checking in on their partner. Yet, a mandatory and detailed education programme at this University is yet to be rolled out.

The university currently delivers a tiered approach to consent education. Before new students arrive, during the “pre-registration window,” they are invited to complete a Transitions module, in which the Healthy Relationships section gives the basics of consent.

Those who do not complete such activities are flagged and sent automatic reminders. Returning undergraduates and postgraduates (both those undertaking taught and research courses) are given variations of the same activity. Each school at the University has the opportunity to seek guidance from the Advice and Response team in the delivery of this education, but is not required to adhere to a standardised framework.

The School of Languages Arts and Cultures (SALC) is one of the schools with an established consent module. Last year 1396 students completed the SALC consent module. Completion rates so far for this academic year are 1672 students out of circa 7000, just 24% of students. Progress perhaps, but has it progressed enough?

Imogen Boylan and Sohini Biswas, co-chairs of Resist Rape Culture, a campaign at the University tackling rape culture and sexual violence, suggested a much needed overhaul of the University’s current approach is needed. They suggest the primary issue with the module is that it is not a compulsory activity and is not targeting a substantial, university-wide audience.

Resist Rape Culture suggest in-person talks on consent could be a more inclusive and engaging method, compared to the existing Zoom sessions. They proposed the idea of bringing in external speakers, in order to further educate a wider audience of students about consent. Imogen and Sohini argued that an online module does not tackle the issue in the most appropriate manner.

We spoke to a ResLife advisor, who revealed that in-person consent education was originally a part of the accommodation induction, but for the second year running it has not been included. Due to the Covid-19 pandemic, the induction was moved online and has remained this way despite the removal of restrictions.

Though the removal of in-person consent education from the accommodation induction is certainly discouraging, the same advisor revealed the proposals for a new online drug training course, which contains a module called Sex, Drugs & Consent.

The root of the problem here seems to stem not from a lack of understanding of the subject but rather from a lack of engagement. In order to encompass all students, the conversation needs to be fundamentally widened to promote inclusivity.

The University’s Students’ Union is also taking steps to improve. Celina Sousa Pereira, Wellbeing and Liberation Officer at the Students’ Union said that “working on the consent module is one of my key priorities for the year”.

Her aim is “by the end of the year is to ensure that consent education is mandatory, that it provides a comprehensive take on consent with the nuance and seriousness that it needs (as opposed to the Tea video they showed in my time), and that it includes non-heteronormative experiences as well.”

The Mancunion was informed by both the ResLife advisor and Resist Rape Culture that one of the primary obstacles was the absence of communication between Student Support and students, explaining the multitude of resources which are available but effectively remain hidden. Both suggested that valuable services from the University needed to be highlighted, including Report and Support.

In 2017, the University of Manchester was the first higher education institution in the UK to introduce Report and Support (part of Advice and Response), an online reporting system for incidents of sexual assault and rape.

Students, staff, and members of the public can use the system to report an incident anonymously or request to speak to an advisor, which will put them in contact with a specialist practitioner.

The Advice and Response Team also works in conjunction with Manchester City Council, Greater Manchester Police, and various sector networks, such as the Sexual Violence Action Network.

Resist Rape Culture and the ResLife advisor we spoke to similarly commended the service, with praise also for the Advice and Response Manager, Melissa Riley and Spencer Davies, Head of Advice and Response, and their suggestions for changes moving forward.

The pair told The Mancunion of the disclosure training frontline university staff receive. This aids them to refer students in incidents of sexual assault and violence, to services such as Report and Support. According to Melissa and Spencer, students in committee roles in societies will also hopefully be given this training over the next academic year.

Speaking to Melissa Riley, Advice and Response Manager (Safeguarding, Gender-based Violence and Hate Crime), she told us that consent education is a “lifelong ongoing practice which we all need to remind ourselves of.”

Spencer Davies, Head of Advice and Response, added that it is important to give “as many opportunities as possible” to complete consent education in order to prevent such events from unfolding.

Nonetheless, Melissa admits that “it’s not a one size fits all approach.” Changes have already begun to be made, with two hour theatre workshops given specifically to members of sports teams following incidents of sexual assault.

Melissa and Spencer told The Mancunion that a student-facing website, specifically for Report and Support, is in the final stages of development. Access to the Report and Support incident portal can currently be found on the Student Support website.

They were eager to tell us that there has been “no pushback from any area of the university” in their joint desire to reform the tackling of preventative and educational measures around consent training and the combatting of sexual violence. Their department enjoys hearing from students about how such educational measures can be improved, saying that they are “very lucky to work with students.”

Following a Freedom of Information request, it appears that like the consent module, students are not sufficiently familiar with these services. Given the number of students at the University, only 182 cases were reported in the last two academic years, a statistic that doesn’t appear particularly credible.

In 2022 alone, across Greater Manchester 1664 rape and sexual offence cases to people aged between 18-25 have been reported to Greater Manchester Police. It is a commendable system of support that is owed more exposure, both for a recognition of its work but also for the benefit of the student community.

Other universities have provided services that mirror the severity of the situation, presenting an overall more suitable strategy. Loughborough University champions the “Don’t be a Dick” campaign where every student has to complete the consent module prior to purchasing tickets to any events organised by the Students’ Union. They would thus be prohibited from any freshers week activities without first receiving a reminder of the complexities that coercion or nuance can pose. Freshers week is a particularly appropriate time for the reintroduction of this education given the considerable rise of sexual interactions during this period.

The university alternatively could adopt a similar approach to consent education as many other universities, by using a scheme called “Consent Matters.” Used by universities across the UK, including Manchester Metropolitan University, the scheme is an online, interactive consent programme. An explanation of the scheme on the University of Oxford’s website reads: “The programme offers initial training helping to build understanding of consent, respect, boundaries and positive intervention. Talking about sex can be difficult, and through the completion of the programme we hope students will learn how to recognise and ask for sexual consent, look out for others at the University, and find support if it’s needed.”

Whilst promised action from the University of Manchester is certainly a welcome step in the right direction, the need for mandatory consent education is apparent. Multiple UK universities have adopted such schemes, and given the devastating effects sexual assault can have on people’s physical and mental health, it is crucial that consent education, alongside key services such as Advice and Response are available to all students.

It is not plausible that something as oversimplified as the Tea video or as withdrawn as a Zoom call is sufficient education for something that has the ability to dismantle people’s lives. It inspires hope that the development of a new consent module is taking place. Given the logistical challenges of creating such a change, we can only hope for the mandatory integration of this module in the near future.

If you have been affected by any of issues raised in this article you can find support here:

Greater Manchester Rape Crisis or via telephone 0161 273 4500.

University of Manchester Report and Support

St Mary’s Centre or via telephone 0161 276 6515.

Making the most of Manchester this winter

Written by Delyth Henley on 29th November 2022. Posted in Lifestyle.

The days may be getting shorter, Manchester has no shortage of things to do all throughout the Christmas period. Whatever you are getting up to this month, make sure to take time off to enjoy some of the opportunities around the city. Here are five suggestions for where to go and what to do in the run-up to the holidays.

Visit The Whitworth

Location: The Whitworth Art Gallery, Oxford Road, Manchester M15 6ER

If you’re in university for the day, then there’s no excuse not to check out The Whitworth Art Gallery, just a few minutes down Oxford Road from the University Campus. Entry to view the beautiful collections is completely free and there’s an expansive range of art to view. The current Althea McNish: Colour is Mine exhibition is worth seeing, and is vibrant enough the brighten up these darker months. With a lovely gift shop and café backing onto Whitworth Park, this is also a peaceful spot for unwinding in winter.

Wellbeing walks – Castlefield, Manchester

Location: Castlefield, Manchester, Lancs, M3 4LZ

In the middle of a city and during one of the busiest times of the year, getting the chance to slow down might seem rare. However, Manchester is filled with plenty of fantastic walking trails to try out. There is beautiful scenery to be found within the city, most notably with the canals which stretch all throughout Greater Manchester. The Castlefield area is perhaps the best place to wander along the waterways, and there are plenty of places to stop off for food or drink.

See what else Castlefield has to offer here.

Outdoor ice skating

Location: Skate Manchester, Cathedral Gardens, Manchester M4 3BG

If you’re happy to embrace the cold, then look no further than Manchester’s outdoor ice rink for a festive staple. Skate Manchester can be found in Cathedral Gardens, positioned near the Christmas markets. You’ll be surrounded by festive décor as you skate and the rink is covered, meaning that you’re guaranteed a fun trip with friends whatever the weather.

To bag a slot, book your ice skating tickets here.

Get crafty – The Nest

Location: UoM Students’ Union, Oxford Rd, Manchester M13 9PR

An arts and crafts afternoon is certainly a relaxing way to take a break from the University workload. The University of Manchester’s Students’ Union will be hosting festive craft sessions in The Nest throughout November and December (details are available online). The sessions are free and you can come along whenever suits you. You’ll get the chance to design a decoration to spruce up your room and spend the afternoon being creative!

HOME cinema

Location: HOME, 2 Tony Wilson Pl, Manchester M15 4FN.

The HOME Arts Centre is undoubtedly one of the best cultural hotspots in Manchester, and if you have a couple of free hours then look no further. HOME will give you the chance to discover something new, with an incredible array of independent films which you won’t catch in commercial cinemas. They even have a Christmas film season taking place at the moment if you want to get into the Christmas spirit. Make sure to bring along your student I.D. to obtain a discount and enjoy delving into all HOME has to offer.

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An evening with UoM Film Society and Chungking Express

Taskmaster: Why it’s so good and where to begin

The fourth season curse: Why do TV shows get worse af...

Drive to Survive season 6: Get strapped in for more F...

So, uh, who exactly is the Borderlands film for?

Celebrities just can’t rescue bad games

Are we finally in the age of the video game ‘au...

SCALA!!! co-director Jane Giles on audiences, programming and being a first-time filmmaker: “There has to be room in the film world for all tastes”