Pandora's Looking-Glass – Page 5 – Cultural reflections at the University of Kent

Laughing at Lembit

So who’d have guessed that an ex Lib Dem MP who writes a column for the Daily Sport and once dated a Cheeky Girl would decide to become a comedian?

Having lost his seat in the recent general election, Lembit Opik, the former Member for Montgomeryshire, made his stand-up debut earlier this week at London’s Backstage Comedy Club. According to reports, his performance was underwhelming, which is perhaps unsurprising. It’s rare for a first open spot to hit the comedy stratosphere, and it’s mildly unfair to have to lose your comic virginity in the glare of the media spotlight. On the other hand, only someone with a pre-existing media rep could secure an open spot at such an established club at such short notice if they had no previous experience – so it swings both ways.

Lembit’s not the first to try and carve a career as a comedian having acquired fame – or infamy – through some other reason. In the early 1990s, for example, John Wayne Bobbit famously had the end of his penis cut off by his wife, and was well known enough to secure a few bookings as a stand-up (as well as pursuing an equally unlikely career in porn).

But the tradition is much older than that. In the late 19th century, Arthur Orton became infamous as ‘the Tichbourne Claimant’, after he had fraudulently claimed to be the long lost heir to a fortune – in spite of bearing no real physical resemblance to the actual heir, Sir Roger Tichbourne, who had been lost a sea some years earlier. Having been released on bail, Orton started making personal appearances in music halls, apparently without much success. In spite of that, he was so well known that he indirectly provided one of the great music hall comedians with his stage name. Kent’s own Harry Relph was only 4’6” tall, and early in his career he thought it would be funny to name himself after the physically huge Arthur Orton. He started calling himself Little Tich, and became internationally famous. So much so, that he gave the world the word ‘titch’, meaning a small person – ironic given Orton’s legendary girth.

So if Lembit sticks with the stand-up, how far is he likely to get? In his favour, he’s always come across rather well on Have I Got News For You, with a nice line in self-deprecating gags. He’s an eccentric, which is normally a good quality for a comedian. Also, political oratory has much in common with stand-up. In both, a single performer directly addresses an audience in the first person (without the mask of character), potentially has to deal with heckles, and seeks to provoke a particular effect. As Max Atkinson pointed out in his magnificent book Our Masters’ Voices, political speeches have little devices (known as ‘claptraps’) built in to elicit applause, the most obvious being a three-part list. Think ‘I came, I saw, I conquered’ or ‘Education, education, education’. Many jokes work on a similar principle, being structured into a list of three, which Tony Allen has defined as ‘Establish, reinforce, surprise’. Here, the third item of the list cues laughter instead of applause – if you do it right.

Successful comedians project an aspect of their personality when they perform, and it’s the interrelationship of stage persona, audience and material which makes the act work. It can take years to create a stage persona – or to ‘find your voice’ as most comedians would put it – but Lembit’s got a readymade persona. He’s the nutty, Cheeky-Girl-dating ex-MP with the crazy name.

On the tiny snippet of his act that I heard on the Today programme, he didn’t sound nearly as assured as he does on Newsnight or Have I Got News For You. He lacked the quality of ease – or ‘stage repose’, to use the old-fashioned term – which is so charming to watch. What this reveals is how bloody difficult stand-up comedy is. It all looks natural and spontaneous, but there’s a huge amount of skill, artifice and experience that goes into making it look so effortless.

Still, if Lembit sticks with it, he could get to the point where he comes across as his usual affable self whilst in the high pressure situation of a comedy gig. The problem is, what’s he going to talk about when people have got fed up of hearing about being a Lib Dem MP and dating a Cheeky Girl? Do we really want to hear Lembit Opik’s opinion on cats and dogs or the differences between men and women? Perhaps more importantly, will audiences ever let him talk about anything other than being a Lib Dem MP and dating a Cheeky Girl? I can’t imagine audiences would have wanted to hear John Wayne Bobbit talk about anything other than having the tip of his manhood severed by his wife and thrown out of the window of her car (although the are questions they could have asked him, like, ‘Did you really abuse your wife to the point where she would do something like that?’).

There’s a comedy album by Robin Williams, released in the late 1970s, in which somebody heckles him: ‘Do Mork!’ The rest of the audience join in, and he’s left saying something along the lines of, ‘No, I don’t want to do that here’ in a horribly plaintive voice. The fame built by starring in Mork and Mindy must have boosted his stand-up career, but the price he paid was to have idiots shouting that at him.

To his credit, Lembit went beyond the funny name/ ex-MP/ Cheeky Girl dating angles in his first gig. He also did a cod ventriloquism act with someone’s shoe. Maybe that’s the stuff to build a comedy career on and maybe not, but there can’t be too many ex-politicians who have made it to the top as a stand-up.

I certainly can’t imagine him touring thousand-seater venues, putting out a best-selling DVD every Christmas, or even appearing on Live at the Apollo.

Playing with time: Because I Could Not Stop For Death

Published only after her death in 1886, Because I Could Not Stop for Death is a tiny masterpiece by the American poet Emily Dickinson. Its effect is completely disproportionate to the scale and manner of the poem itself, as is the concept with which an apparently disarming rhyming-scheme is dealing.

The poem plays with time, or the perception of it: the narrator is far too busy for her activities to be halted even by Death, although it appears Death stops to collect her.

Because I could not stop for Death,/ He kindly stopped for me;/ The carriage held but just ourselves/ And Immortality.

The second verse then settles and creates a sense of calm, as the narrator escapes from the hectic passage of everyday time :

We slowly drove, he knew no haste, / And I had put away / My labour, and my leisure too, / For his civility.

The next verse continues the idea of time slowing and stretching, as well as portraying different times of the day: the morning of school, the lazy haze of a field of wheat as the afternoon and the setting sun of the evening creating a warm, pastoral image

We passed the school where children played,/ Their lessons scarcely done;/ We passed the fields of gazing grain,/ We passed the setting sun.

The carriage stops beside her grave, which she calmly seems not to recognise:

We paused before a house that seemed/ A swelling of the ground;/ The roof was scarcely visible,/ The cornice but a mound.

But it’s the final verse that really takes your breath away. Time suddenly contracts: there’s almost a sense of pausing, of suddenly becoming still as the narrator realises that she is dead, and the journey in the carriage is without end.

Since then ’tis centuries; but each/ Feels shorter than the day / I first surmised the horses’ heads/ Were toward eternity.

The same sense of dawning realisation which is striking the narrator is also striking you as the reader. It really is like being dashed in the face by cold water. The first time I read the poem, I felt slapped in the face: the implications of that last verse absolutely brought me up short.

For me, this is akin to walking through a room and out onto a balcony: suddenly the view before you unfolds across a wider plane, and you realise the context in which you had been reading before is operating at a much larger scale than you could have previously imagined. As great poetry can, from Shakespeare’s sonnets to Larkin’s musings on misery, the focus of the poem shifts in a flash from the specific to the universal in a way that pulls you up short and makes you reconsider.

(There’s a setting by composer John Adams of the poem, as part of his piece Harmonium, which you can preview on his MySpace page here: click to open in pop-out player).

Short, deft but astonishing: Dickinson’s poetic strengths in a nutshell.

Posted by Daniel Harding, Deputy Director of Music at the University of Kent. Click here to view his Music Matters blog.

Infinite Space, Infinite Terror: a contradiction

The catchphrase used in Event Horizon‘s marketing, the title of this section, is remarkable for the fact that the film itself endeavours to run contrary to this idea.

Normally, most science fiction highlights the intense isolation of being lost in the limitless reaches of space, by means of a space-walk episode to re-enforce the scale of endless emptiness dwarfing the human figure, or panning back from an apparently large spaceship to reveal the vast depths of space surrounding it.

Much of the intensity of the first third of the film is generated by the fact that it is not the boundless reaches of space which inspires fear, but the claustrophobia of enclosed areas. Although the film contains numerous instances of both devices – pulling back from Weir’s cabin to emphasise the epic scale of the space-station at the beginning, or moving around the outside of the ‘Event Horizon’ itself before the two ships dock – there is primarily an emphasis on claustrophobia, on characters caught in oppressively confined spaces. The same sequence which pulls back from Weir’s cabin to illustrate the overwhelming size of the space station also re-enforces the small size of the cabin he occupies.

The gravity tanks are also extremely constricting, triggering Weir’s first hallucination aboard the ‘Lewis & Clark.’ When he first enters the stasis tank, Weir reveals that he suffers from acute claustrophobia, a condition which induces the episode that follows. His fear is brought about not by being dwarfed by boundless surroundings, but by being confined.

As the camera tracks around the empty tunnels of the ‘Event Horizon’ when first entry into the ship is made, again it is the oppressive atmosphere of enclosure which pervades the film, enhanced by the effect of echoing corridors. Blobs of escaped coolant fluid and forgotten tools float haphazardly around these empty tunnels, illustrating the lack of human control exerted in this environment.

The terror of the film, the second element referred to by the film’s catchphrase, whilst in part emanating from the surroundingly desolate universe (the crew make repeated references to how far from home they are, interrupting their leave in order to undertake the rescue mission, of which details are initially withheld from them) is also brought with the crew themselves – possibly brought aboard directly in the soul of Dr. Weir himself. As Conrad referred to it at the end of Heart of Darkness, the greatest horror lies not without the human mind, but within it. The evil brought back into our own dimension by the creation of the gravity-drive feeds upon the secrets and paranoid fears which each crewmember carries within themselves. When this element really begins to dominate in the latter part of the film, the narrative moves from its science fiction concerns to the genre of horror, effortlessly and efficiently blending the two.

Next week: more on the combination of genres.

Posted by Daniel Harding, Deputy Director of Music at the University of Kent. Click here to read his Music Matters blog.

The Food Machine

Since April, the Matt Smith incarnation of the Doctor has been enjoying the benefits of a new Tardis. It’s not a new vehicle as such, more of a reconditioned one. His ride has been pimped.

However, since the very beginning it’s always been a rather pimptastic craft. When Xzibit and his streetwise crew of funky mechanics get down to a serious bit of ride-pimping in their MTV show, they often fit a fridge into the clapped out old banger that they’re doing up, in which the owner can put cans of beer or tubs of ice cream or, er, whole sides of beef.

Back in the William Hartnell days, the Tardis went one better than this – it contained a food machine. In one of the first episodes, dating right back to 1963, the Tardis crew are hungry, and one of them says they fancy bacon and eggs. We see the Doctor fiddling with some slightly improbable dials on a big metal thing, and out comes what looks like a chocolate Club biscuit. His earthly companions, Barbara and Ian, have a taste and – would you believe it? – it tastes just like bacon and eggs. In fact, one of them says that it’s as if one mouthful is bacon and the next is egg. The obvious comparison is the chewing gum meal in Charlie and the Chocolate Factory, but luckily in this case nobody ends up turning into a giant blueberry.

What’s interesting to me is that this relates to a popular idea in twentieth century science fiction – the idea that one day we’ll be able to dispense with all that food nonsense, and instead take our meals in the form of a convenient pill. In some cases, the idea of synthetic food is shown as being something scary. In the dystopian future of Soylent Green, for example, only the super rich can afford to eat actual food, whereas the rest of us have to eat weird little nutrient biscuit things made out of something unpleasant (which I won’t reveal here in case I spoil the ending). In many cases though, synthetic food is shown as something to look forward to. Ian and Barbara certainly seem to find their egg-and-bacon Club biscuit pretty yummy.

This made me start to think about what food was like when I was growing up in the 1970s. Current ideas about food being fresh, organic and natural were nowhere to be seen. The more unnatural the better. This was an age where powdered fruit juice, called Rise and Shine, was made out to be a convenient luxury, and where metallic aliens laughed at any sucker who bothered to peel and cut up actual potatoes when they wanted to make mash. Why bother, when you can pour a kettleful of boiling water on some beige granules and get a dish of vaguely potato-tasting crap in around ten seconds? Real ale was the preserve of bearded, folk-singing nutcases. Adverts showed us what modern, futuristic beer looked like: sterile lager, in a gleaming steel can, encased in a block of ice. Vimto, Tizer and Irn Bru – a soft drink that actually purported to be made out of metal – were far preferable to anything that actually tasted like fruit. Instant soup came in little cubes that you added to water and brought to the boil. It was advertised as ‘square shaped soup’ because, supposedly, it made a square meal. Then there was Angel Delight, a strange pudding made of milk and coloured powder, which wasn’t truly delightful and didn’t actually contain angels. The ads showed it served up in a kind of fat wine glass, which had to be moored with a piece of string to stop it floating away, so light and fluffy was the pudding it contained. I always used the think to myself that if Angel Delight really was lighter than air, surely it would squelch out of the chubby wine glass and float away in an unappetising gobbet, possibly ending up on the windscreen of a passenger jet and causing a terrible crash.

The excesses of the 1970s have largely disappeared, but some fake food still survives, and there’s a popular markets for things like Jammy Dodgers, Golden Nuggets and Pot Noodle. The hard truth is that the food industry will always want to make products like this, because they’ll always be more profitable than, say, an apple. The more ‘added value’ there is in a foodstuff (i.e. the more that’s been done to it), the more profit there is in it. There’s practically no added value in an apple, whereas there’s an absolute ton in, say, Dairylea Lunchables. Of course, the supermarkets try to get added value into apples by slicing them up and putting them in a plastic bag to go in our kids’ lunch boxes, but there’s not a lot more added value potential than that. That’s why there’ll always be more adverts on TV for processed crap than for fruit.

The problem is that the food industry’s interests are pretty much the exact opposite of ours. Generally speaking, the less that’s been done to a foodstuff, the greater its nutritional value. The healthiest way to eat an apple is straight from the tree. Even cutting it up and putting it in a plastic bag will deplete the vitamins and minerals it contains. Besides which, simple fresh food is usually delicious. A really fresh, tangy Cox’s Orange Pippin will always be nicer to eat than an apple-flavoured chew.

All of this means that the idea of aspiring to replace food with pills is appalling. It’s anti-life and it’s anti-pleasure. The Doctor should get rid of his food machine and replace it with a highly skilled robot chef that can makes actual meals from fresh ingredients.

Not another elf! The status of fantasy literature

It’s very fashionable these days to deride fantasy fiction. Tolkien’s Lord of the Rings has spawned thousands of derivatives, everyone is fed up with trolls and orcs: the apocryphal comment “Not another bloody elf!” uttered at one of the meetings of The Inklings, where Tolkien, Lewis and others read extracts from their books to each other, has become legendary, taken up by many.

Fantasy literature is often viewed with suspicion as much as anything: professing a liking for it is tantamount to admitting that your reading tastes have never matured, and you’re still reading what is often regarded as children’s fiction. It’s not Proper or Serious Fiction.

This is a shame, because fantasy literature is quite capable, when done well, with intelligence, of grappling with all the issues that supposedly only serious fiction can take on. Scratch the surface of a fantasy novel, and underneath the same set of values can be found operating: moral issues, ideas about knowledge and learning, or politics. And it has been around for centuries: the gripping drama of Beowulf could have been written as far back as the eighth century.

For Tolkien in particular, magic is inextricably interwoven with knowledge. Unlike pulp fantasy fiction by writers such as James Barclay, where magic is simply employed as a tool with no regard for cause and effect, for learning and wisdom, for Tolkien, this is exactly what magic is. Tolkien also claimed that the original impetus behind the writing of the Lord of the Rings was purely linguistic: he was interested in exploring language, and playing with back-formation to create a hypothetical ancestral language. Tolkien was an expert on Beowulf, and had delivered a seminal lecture on it, The Monsters and the Critics, that is often credited as being the most important piece of scholarship on the poem . He was also interested in creating a mythology for England, something which he felt it culturally lacked.

And fantasy literature is often pastoral in its imagery, which, in an urban age increasingly saturated by technology, reminds readers that there is landscape and nature around them.

Fantasy literature, it is true, is full of derivative pulp novels. But in the hands of someone like George R R Martin, whose A Song of Ice and Fire sequence of novels has stretched so far across five mammoth books and shows no sign of ending, it can become an engrossing study of the dynamics of political power, and an exploration of moral codes; it’s almost turning into the fantasy equivalent of Anthony Powell’s Dance to the Music of Time. Or Stephen Donaldson’s Chronicles of Thomas Covenant, where the anti-heroic figure of Covenant rejects the fantasy world into which he is plunged and spends the novels fighting against it, a theme fueling the whole series.

Myth-making, linguistic invention, morality, an exploration of the implications of knowledge, political machinations: fantasy literature has the capacity to illuminate the same ideas as other fiction genres. It’s not just swords and sorcery: thankfully.

Posted by Daniel Harding, Deputy Director of Music at the University of Kent. Click here to view his Music Matters blog.

Reading ‘Event Horizon:’ an introduction

Released in 1997, Event Horizon represents a collision of genres derived from other film styles: from science fiction, horror, the action movie and war films. The otherwise predictable story – a rescue mission ship sent to recover a deep-space exploration vehicle that has reappeared after mysteriously disappearing seven years previously, and the anticipation of the various horrors that the crew will doubtless encounter aboard the stricken craft – is rescued from tired repetition precisely because it combines these genres: elements from each blending into a more engaging film.

Most science fiction films require little cerebral engagement from the audience, except perhaps an ability to marvel at the conjectured technological innovations, or at the film’s special effects. The better films, as indeed arguably all good science fiction should, set up their own world, along with its machinery, its social hierarchies and its technological evolutions, its own races and their cultures, and present it as a given, entirely credible, premise from which the film will depart. In fact, the most successful science fiction perhaps does not even attempt to amaze the viewer, or the reader, with its dazzling array of inventions: it simply gets to grips with the plot immediately, and by and large will ignore its own technology, or at least take it for granted. This makes the audience do so as well – only gradually as the film unfolds is the scale of the technological universe presented, unfolding through the demands of the narrative, and not governing it.

In this manner, the viewer accepts without consideration the premise set up by the narrative, and only marvels at it afterwards. Of course, some films demand the opposite reaction: the tired and frustratingly incompetent technology that is a feature of the first Star Wars trilogy, or the murky android flesh parlours in Blade Runner, complete with almost ever-present rain-soaked streets and citizens alike.

The structure of Event Horizon is also not presented as a straightforward sequence of events: a mysterious beginning, unexplained flashbacks, ambiguous characters towards whom the viewer’s attitudes will slowly change over the course of the film; all endeavour to subvert a traditional, organic sense of narrative progression. Total Recall also plays with the audience perception of characters and events successfully; perhaps because it is based, like Blade Runner, on a short story by the master of science-fiction, Philip K. Dick. Some elements of Event Horizon are clearly derived from the Alien series, inaugurated by Ridley Scott, later also the director of Blade Runner. The camaraderie shared by the crew of the ‘Lewis & Clark’ owes a great deal to the character-bonding in war films, while the tense build-up of expectation leading towards an unknown denouement is inherited from the horror genre.

Over the next few weeks, we’ll be exploring various themes and devices employed in the film. Next week: ‘Infinite Space, Infinite Terror: a contradiction.’

Posted by Daniel Harding, Deputy Director of Music at the University of Kent. Click here to read his Music Matters blog.

Nostalgia for an age yet to come

While enjoying the whizzy new Matt Smith led series of Dr Who with the kids, I’ve also been watching some very old William Hartnell episodes that I got in a box set for my birthday. The footage, dating back to 1963, looks as alien to me in 2010 as the Daleks must have looked to the Doctor’s earthly companions. It’s black and white of course (colour not being adopted until the Jon Pertwee era), and with the kind of graininess that makes you think they must have carved every frame out of wood.

I’ve heard it said that early Dr Who footage looks as old as a Chaplin film. With magnificent pretentiousness, I’m going to admit that it reminds me of footage of the theatre of Jerzy Grotowski, films of which I saw as an undergraduate. Scoff if you will – I would, if someone else said the same – but they’re both grainy, black and white, and teetering between being spooky and plain ridiculous. And if that isn’t enough, Carole Ann Ford (who plays the Doctor’s granddaughter, Susan) bears a striking resemblance to Grotowski’s lead actress, Rena Mirecka. Check out the photos below.

The pace of Harnell-era Who is positively leisurely. Episodes dawdle along like a tortoise laden down with heavy luggage. The Matt Smith Who would fit the events of a William Hartnell episode into the pre-title sequence. Nonetheless, there’s still plenty to like.

For one thing, Hartnell’s Doctor is a really interesting character. The modern Doc strives with every fibre of his being to protect not just the whole of humanity but also all those who are inhuman. Hartnell’s Doc gambles (for the Tardis in a game of backgammon) and smokes a pipe (thus being enlisted by cavemen to show them the secret of fire). He’s even a tiny bit evil. At one point, he contemplates sticking a sharp flint into a caveman’s skull. On another occasion, he endangers his companions’ lives by pretending he needs some mercury for a broken fluid link, and later plans on leaving them behind to die of radiation sickness. What an excellent role model for the kids of the early 1960s!

Something else I like about Harnell-era Who is that it’s beautifully composed. The stark contrasts in the black and white tones are bold and exciting – far less bland than the dull washes of the early colour years. The designs of the costumes and sets feel utterly classic. I challenge you to look at shots of the original Tardis interior and not to want to go in and have a nose around. There’s a stylishness about British television set design in the black and white era that’s rarely achieved today.

In the early 1960s, British TV drama was produced more like theatre than film, but the composition of shots and edits is simple and elegant. The episode title is often overlaid on a still image, perhaps a character staring at something, but it’s not a still as such – the actor is actively staring, and you can see them breathing. There’s something oddly enjoyable about that.

Then there’s the music. The sounds produced by the BBC Radiophonic Workshop are extraordinary, and really manage to put the appropriate eeriness in there. It’s extraordinary to think that people like Delia Derbyshire were making sounds which two decades later would send bands like the Human League into the charts, given that she was doing this before the synthesizer was commercially available – and certainly unavailable to her. The original version of the Dr Who theme was made with improbably-named gadgets like wave modulators and far from being played on a keyboard, it was assembled, note by note, on reel-to-reel tape.

To sum it up, there’s something tremendously appealing about seeing what the future looked like to those who lived in the past.

Neuromancer: filming the un-filmable

There’s a move afoot to film William Gibson’s ground-breaking cyber-punk novel, Neuromancer. Director Vincenzo Natali is eager to realise the supposedly un-filmable novel, the papers have reported.

An earlier attempt to make Gibson’s techno-filled prose into a film resulted in Johnny Mnemonic, which has a brilliant idea at its heart – people who smuggle data in chips inside their head, jacking in to servers to download information into a storage device ‘wet-wired’ into the brain. But the film didn’t manage visually to live up to the potential of Gibson’s vibrant literary imaginings, and one wonders whether the techno-ridden crackle of Neuromancer can similarly be translated onto the screen, with better results.

Published in 1984 (Orwell would have approved), Neuromancer’s influence on science-fiction literature and film has been immense, most noticeably in The Matrix and its sequels (although, to my mind, The Matrix is more derivative of Philip Jose Farmer’s fantastic Riverworld sequence, but that’s for another article).

If it’s to be realised in a manner which captures the energy of the prose, the boundary-pushing imaginings and the idea of a world morphed by technology to such an extent as Gibson uses time and again in his writing, it will need to do so in a way that doesn’t make it seem itself a descendant of The Matrix and its children – Equilibrium springs to mind.

Should Neuromancer come off the page, or should it be left up to the reader to realise Gibson’s amazing vision ?

Posted by Daniel Harding, Deputy Director of Music at the University of Kent. Click here to read his Music Matters blog.

Bad, bad science

I half heard a report on Radio 4’s Today programme this morning, in which some goofy scientist claimed to have demonstrated that there’s no such thing as altruism in human beings. What we interpret as altruism, this erudite chap argued, is actually mistaken selfishness. Unfortunately I didn’t hear how he’d proved this in his lab test, as I had to unselfishly go and do something for my younger son, who’s currently suffering from a stomach bug. Oh, the irony!

After the report, I was left hoping that this so-called experiment will be debunked by Ben Goldacre in his excellent ‘Bad Science’ column in The Guardian.

Why did it annoy me so much? Well, for starters, the basic premise of the research is about on the level of that perennial favourite of 6th form philosophy debates. You know the sort of thing – ‘There’s no such thing as an unselfish act’ ‘What about charity donations?’ ‘That’s still selfish, because you give in order to make yourself feel better’ etc., etc.

Secondly, true altruism demonstrably exists in the real world. People dedicate their lives to finding cures for diseases, freeing political prisoners or eliminating Third World poverty. Before anyone tries to wheel out the you-give-in-order-to-make-yourself-feel-better argument, the real acid test of altruism is a situation in which somebody gives up their life for what they perceive to be the greater good. How can you selfishly die for a cause?

It seems to me that the problem of trying to test altruism in a laboratory setting is: how can you reproduce the circumstances in which people behave altruistically? You can’t exactly create a mini Chernobyl to melt down in your lab, to see whether firemen will tunnel underneath to stop the contamination getting into the water table even though they know that the radiation will certainly give them cancer. Call me old-fashioned, but I’d say that accusing the real life Russian firemen who did that of mistaken selfishness is bloody insulting.

The fact is that while science is brilliant for certain kinds of enquiries, it’s a bit inadequate for others. I learned this when I was doing my PhD on stand-up comedy, and I read a ton of experimental psychology papers, in which they’d tried to examine the phenomenon of joking by doing lab tests. Perhaps unsurprisingly, they tended to find that if you take people into a cold, sterile lab, inject them with substances, wire them up to electrodes to test their galvanic skin responses, and show them bits of old Laurel & Hardy movies that you’ve hamfistedly edited together yourself, they don’t laugh much. You don’t say?

The problem is that scientific testing means eliminating extraneous variables. The problem is that in something as complex as humour, who’s to say what’s extraneous and what’s not? When I worked as a stand-up comedian, I found that anything from the time the show started to the layout of the room to the amount of alcohol the audience had consumed all made a fundamental difference to how easy it was to get a laugh. And strangely enough, I never thought of a psychology lab as being a particularly conducive place for setting up a comedy club.

The point of the arts is to go into the areas that science struggles with. If you’re wanting to understand the soul of humanity, you’re better off asking an artist than a scientist. Or you could even try a comedian.

Tarantino and timelines: David Lean got there first.

Reservoir Dogs is a great film: it plays with time, chops up narrative and presents episodes in non-chronological order, and oozes cool. The first scene after the opening credits slam-dunks the viewer immediately into a deliberately confusing moment: we are unaware of the events leading up to the blood-soaked situation we’re in, or who Tim Roth’s character really is.

But David Lean’s Brief Encounter did the same thing nearly fifty years earlier; it also opens with a scene about which the viewer knows nothing: it moves backwards to tell the story leading up to it, and then presents the same scene again towards the end.

The second time the scene appears, it now occupies its logical place in the narrative: and its impact is enhanced – pauses are significant, silences are deafening, you know what is not being said as much as what is. Informed by the sequence of events leading up to it, your understanding of the dynamics between the two characters is now completely different.

Reservoir Dogs is an influential film: it established Tarantino’s reputation and made black suits and skinny ties cool again. But David Lean got there first.

Posted by Daniel Harding, Deputy Director of Music at the University of Kent. Click here to view his Music Matters blog.