Whitney Hubbell | July 3, 2018
Ocean’s 8 has just hit theaters and so far has unsurprisingly received mixed reviews. The film definitely has appeal: it boasts an undeniably great cast – Cate Blanchett, Helena Bonham Carter, Sandra Bullock, Mindy Kaling, Anne Hathaway, even Rihanna – and an intriguing concept, being an all-woman heist film. However, the film’s title and the name of Sandra Bullock’s character (Debbie Ocean) reveals that it’s basically just a rehashing of the earlier Ocean’s films starring George Clooney as Danny Ocean. But Ocean’s 8 is just the latest in a growing trend of Hollywood remakes in which the formerly male cast is replaced with women.
Whitney Hubbell | July 3, 2018
Penny Wang | June 11, 2018
Stories about the miseries of Chinese factory workers have been regarded in the West as welcome gestures against the dehumanising globalised market economy to which China has submitted itself. These expository accounts have been applauded as signs of critical reflections against the silence imposed by the Chinese government—a government the Western media label as authoritarian and indifferent to the lower-income populations victimised by its profit-oriented policies. Much as I appreciate the necessity of such exposés, either through reports or slightly fictionalised accounts, I usually find these narratives deeply problematic. Taking an event I recently attended as an example—a screening of the short film Before Christmas directed by Chuyao He on 11 May at Edinburgh Printmakers (part of the Edinburgh Short Film Festival), I would like to examine exactly what is wrong with these representations.
Sini Eikonsalo | May 31, 2018
Philip Roth, a canonical American writer, died recently at the age of 85, leaving behind a vast array of novels, the most popular probably being his Pulitzer-winning American Pastoral (1997). However, it is The Plot Against America (2004) that has been in the public interest for the past couple of years and now with the news of Roth’s death.
Anna Kemball | April 30, 2018
A picture says a thousand words, they say. When it comes to how we take collective action, how much can be said through pictures and words, hastily scribbled on a scrap of cardboard? What impact do these transitory collections of text, image and object have in relation to more permanent messages associated with our universities?
Vivek Santayana | March 30, 2018
A few weeks ago, the philosopher and literary critic Timothy Morton took a dig at his late colleague Mark Fisher, who committed suicide last year after a lifelong struggle with depression. Morton claimed the one big difference between himself and Fisher was that he took antidepressants, and so is still alive to write his new book. He was commenting on Fisher’s critique of neoliberal ideologies that shape discourses around mental health and pharmacological treatment. Morton’s tweet read like an insensitive gloat at his outliving his colleague whose opinion he disagrees with. At best, it was an ad hominem attack dismissing Fisher through a crude, mischaracterised version of his argument.
Julian Menjivar | February 26, 2018
Once upon a time, there was an age of innocence, when beautiful fantasies of love and adoration blossomed. And love was everywhere–from displays of affection by our primary caregivers and friends to the billboard signs announcing the romantic comedy/drama of the year. Love was in the air, and all around us. As we grew older, the meaning of love got complicated. Then, in a beautiful chaotic motion, so too did our understanding of the concept.
Dhanya Baird | February 21, 2018
Picture in your mind’s eye the world that lies below a humble city-bee, an explorer striving to acquire food for the hive. In many places, this view would be made up of houses, large lengths of concrete, and, in my Canadian homeland and many other nations, millions upon millions of shining green patches of death – the modern lawn. For lawns, manicured, overly-watered, frequently coated with pesticides and herbicides, frequently lacking in flowers, must be as deserts to the bee, and flower beds as tiny oases.
Kiefer Holland | February 12, 2018
This rather bizarre article is, I suppose, what you’d call a “thought experiment,” the origins of which would, I’m sure, be of limited interest to the reader, and would certainly take too long to explain. All I believe it is necessary to know, is that the article is driven by the question “if Donald Trump was a fictional character in a Great American Novel, how would he be analysed?” To answer this question, I thought it would be interesting to do a piece of fictional literary analysis from the perspective of a critic fifteen years in the future, considering a book published around now, in which Donald Trump is the protagonist. The book is titled Egregious, the author’s name is, of course, A. Author.
Christa M. Burgin | January 15, 2018
Empowerment can be conveyed in several forms. For many individuals, it thrusts and swings in the dance of music. For others, it cuts across paper in the rhythm of words. And for some, it ripples, and builds, and shakes through laughter. That is the calling of our comedians, for they have the ability to influence a vast number of people through media outlets, including Netflix specials, late-night television, and YouTube.
Anahit Behrouz | January 10, 2018
In an article for The Pool published the week before the 2018 Golden Globes ceremony, film critic Helen O’Hara questioned what a Hollywood awards ceremony would look like in a post-Weinstein world. O’Hara argued that although women only get 27% of the lines in the average Oscar-winning film, this year’s Golden Globes nominee list showed a progression towards a more equal awards ceremony, with numerous women and female-focused films up for consideration. As heartening as this may be, O’Hara did not delve into the question of how the mechanics of an awards ceremony in a post-Weinstein world would work, and what the optics would look like in an industry spending millions of dollars in self-congratulation during the same year that its ugly underbelly has been exposed.