By Rowan Gavin
Scions of the much-lauded South London guitar band scene Shame made their Norwich gig debut on Monday, captivating a packed-out Waterfront with their riotous stage presence and uniquely mesmerising sound. At times unsettling, at times brutalist, always evocative – if you’re into your post-punk, past or present, you’ll have heard something like Shame, but nothing quite like the orchestrated noise of their live show.
by Lewis Martin
CW: contains strong imagery of graphic and horrorific nature
Children have always had a pivotal role in the Horror genre. Often presented as the reason for the eventual defeat of the monster or villain, they demonstrate something we can physically see in our day to day lives and, for the most part, wholeheartedly love. However, children are not always the point of redemption in Horror. There have been a number of movies which juxtapose the role of the child against the norm, and present the child as the very reason that the horror exists. this paradoxical use of the child, I’d argue, is in fact even more frightening than usual because of the breaking of the naturally presumed innocence of child that is usually presented to us.Continue Reading
by Lewis Martin
Video media have always had a way of tapping into the current fears of the watcher. Be it in horror movies or films aimed at children, they show us topical fears in either exaggerated gory fashion or in subtle ways that stay with you well past the end of the credits. This has never been more true of the fear of screens. Over the decades, the screen has often been used on screen as a device that either projects our worst fears or captivates us and holds us against our will. The fear of screens warping our minds is a form of mild technophobia, an attitude dismissed by many as socially conservative. Nonetheless, many filmmakers have used it to their advantage to create horror and thrills, as well as using it as a form of social commentary.
by Richard Worth
The latest incarnation of Star Trek hit our screens last week and there is so much we could unpack. I could address the online reaction to the show’s diverse casting controversy, the unusual production decision or I could analyse it critically; divorced from its Trekkie fandom and heritage.
But the truth is I don’t want to do any of that. It’s clear that Star Trek has always been on the left of the political spectrum. People who get paid way more than I do have already looked at every aspect of the production and decided what they want to do with their show. And it’s impossible to divorce Discovery from all the Trek that came before it. As a liberal snowflake, what I really want to write about is how the show made me feel.
by Eli Lambe
CW: victim blaming, transphobia, homophobia, rape
Sitting in my mum’s living room, vaguely paying attention to what she had loaded up ‘on-demand’, I started to get antsy and agitated. The programme, a gritty ITV crime-drama called “Cold Blood” kept jumping out at me with its thinly veiled victim blaming, transphobia and homophobia. Because it was being played ‘on-demand’, the same few ads kept popping up. This, along with a summer of conversations that continually went nowhere, prompted the following rant/doodle/mess…
by Zoe Harding
On the same night Transgender Kids: Who Knows Best? aired (Thursday 12th), an apparently rather excellent documentary named Hospital exposed the difficult conditions under which the modern NHS works, bringing it to the attention of the nation that if you get sick and go to an NHS hospital, you’ll be treated by a doctor who’s working shifts more commonly seen in 19th-century coal mines while the Prime Minister calls them lazy. It was quite good. The subjects of Hospital (doctors) seem to have loved it. No such luck for the subjects of BBC2’s other documentary that night, however. Continue Reading