Comments Off on How to give your videos that sweet sweet cinematic look
A few weeks ago, I said to a friend: “I haven’t had a single coherent thought in years.”
When I said it, I meant the comment as ironic and self-deprecating, not to be taken seriously or to linger in the conversation for more than a few seconds. But for some reason, it’s stuck in my mind, and the more I think about it, the more I worry I might have been right. I say that I write (and occasionally, if I am feeling bold, I say that I am a writer), but really, most of the time I spend ‘writing’ is time spent fiddling with existing work, shifting things around, trying a new word here or there, but never really making something new. Whenever I discuss writing with others, I feel like I’m describing a process in the past tense: ‘I used to do this,’ or ‘I would always try to make it feel this way.’
When I’m procrastinating or bored, I watch a lot of short films, especially student short films. Apart from being helpful instruction for future personal projects and often very entertaining in their own right, there’s a particular kind of janky sincerity about student filmmaking that’s uniquely appealing. These shorts are often the first tentative gestures of creative expression, swirling thoughts and ideas being pulled into a sort of order, unsteady, speaking with a voice struggling to be heard through the cliches that need to be sorted out organically with time. Often, when watching the shorts that now-successful filmmakers made at school or with a few friends over a weekend, you can see glimmers of what they would go on to create.
One of Martin Scorsese’s first films (not to set the bar too high off the bat) was just him sitting down and interviewing his parents for 40 minutes. Right there, in the gritty footage of a pokey New York City apartment, is the blueprint for the paradoxical blunt sensitivity that Scorsese paints like no one else. Watching amateur short films feels like brushing dirt from a historical artefact; they allow you to discover stories and context beyond what the object itself tells.
Not that every short film is good, or even competent. For every short film made by one of the most talented directors in the history of cinema, there are an uncountable number of films that are instantly forgettable, trite, and even annoying. But even atrocious shorts can recommend themselves on the basis that they made it out of the filmmaker’s head and onto the screen. For every one of those films, there are probably a thousand more that never made it that far.
What I’m getting at by all this is that I think there’s a lot of value to be found in amateur art, not just as the person making the art but as a viewer. They recommend a method of creative engagement that is more compassionate to the one we instinctively extend towards movies we see at the cinema, one that examines potential and not failure. It encourages me to push back against my instincts that everything I make has to be profound and perfect. It is enough to have made something that didn’t exist in the world beforehand. When I watch a film made with access to the same resources I do, their various amateurisms reassure instead of discourage.
Here’s another thing I watch a lot, and of which I carry a much less favourable opinion: filmmaking tutorials on YouTube. A necessary evil if I want to learn how to use DaVinci Resolve, but one that always leaves an unpleasant aftertaste. All these videos teach is how to emulate and reproduce. A video titled ‘How to make your shots look cinematic’ can’t possibly do what it says, because ‘cinematic’ isn’t really a specific visual style.
But worse, it actively misleads us about where art’s real pleasure and importance come from. Teal/orange colour grading and camera lens recommendations can only get you so far. What gets me about these videos is how cynical they are about why people might want to be creative. Or rather, that they reflect a broader trend towards artistic commodification that makes me deeply uncomfortable. These videos don’t help people to tell stories; they teach them how to make content. (Content, that awful, awful word I have started to hate more than is perhaps reasonable. It is simultaneously meaningless and yet all-encompassing, a tool of destructive generalisation that reduces all the work to which it subjects itself down to something with the sole purpose of filling a gap where profit can be made. The phrase ‘content creation’ is a bitter oxymoron. If your goal is to make content, chances are you won’t end up with anything new.) When it comes to filmmaking, as with writing, there’s absolutely value in attempting to mimic a certain style. The problems start when that emulation is framed as the end of the road. Once you have achieved the elusive ‘cinematic look’ (once you have bought the expensive camera lens and lighting setup), what happens next? A film can be composed of a hundred beautifully considered images that are completely empty and which mean nothing.
That, I think, must be the reason why I’ve started to become hesitant to make anything new. It’s every creative’s nightmare to earnestly pour your whole self into a piece of art, only to find that it’s instantly forgotten, or worse, reviled. How to cope? Films, books, and music are churned out, then chewed and spat out within weeks or months. It’s hard to attempt originality in good faith when the only things we see that gain any traction are recycled pictures of the same old; it’s even more difficult to see the things you create as having any sort of impact when it feels like it’s impossible for cultural longevity to attach itself to anything. Part of the answer is probably spending less time on YouTube, but I think I also need to think about the end goal of creative endeavour through a more charitable lens. I want to be able to make crappy writing and film without being self-conscious. We are all under the same stifling pressure to turn any inkling of creative energy into a product that can support our careers, or change the world. I don’t want to make bad art, but I’ve got to stop being afraid of the growing pains.
Comments Off on Static Horror: A Review of I Saw the TV Glow
The sensation of being at the edge of a personal revelation can be at once terrifying and beautiful. Words, heavy with possibility, are placed at the tip of your tongue. Once they escape, they can never be put back.
This is the line that Jane Schoenbrun’s toes in her second feature I Saw The TV Glow, where the psychological horror doesn’t come from autonomy that is stripped away, but rather from the weight of having full responsibility and control over your life, and the fear of having wasted that autonomy by lying to yourself. The specific type of dread that comes from the possibility of self-destruction doesn’t need to be communicated by gore or jumpscares—in this space, static suburbia can be made threatening by its own ambiguous familiarity. A father staring, blank faced, while canned laughter spills from the TV set. A fallen powerline slithers and sparks across the road, spewing pages from a half-remembered book. An ice-cream truck watches from the sidelines. You don’t have to go far.
Owen, played by Ian Foreman and then Justice Smith, is a painfully reclusive and sheltered teenager. His sickly and quiet mother is constantly frustrated in her attempts to connect with her son, and Owen’s looming and mostly silent father (Fred Durst) furthers his isolation by belittling his ‘girly’ interests. Owen’s interactions are halting, uncomfortable, and laden with a kind of resigned despair, as though he’s already accepted that it is easier, with the rough hand he has been dealt, to navigate the world as a non-person than to experience the pain of being trapped. He bonds with Maddy (Brigette Lundy-Paine), an equally ostracised peer a few years older, over their love of the TV show The Pink Opaque. There’s a specific type of obsession unique to adolescence that Lundy-Paine communicates with raw, clumsy intensity — that feeling of trying to show someone how a piece of media you love has changed your life, the awkwardness in the gap between wanting to be understood, and the limitations of putting feelings into words. To Maddy and Owen, The Pink Opaque is a lifeline — from their alienated, pre-internet suburbia, on the other side of the screen, suspiciously relatable, overpowered heroines fight the same monsters of the week portrayed the way you remember them being when you were a kid: unintentionally terrifying on first impression; innocuous when revisited in adulthood.
I Saw the TV Glow is refreshingly explicit about its connection to trans experience and dysphoria, but it conveys this in a broad, metaphorical sense in such a unique way that seems like something of a formal miracle. The word ‘trans’ is never said, but the pervading sense of wrongness that Maddy and Owen feel is overwhelming in its intensity, conveyed by a grainy, analogue frame of neon light and a soft shoegaze soundtrack that imbues each moment with nostalgia, regret, and unease. Scribbled pink time cards and Owen’s matter of fact fourth wall breaking often abruptly adopt the tone and pace of kitschy millennial coming-of-age stories. But the school corridors are dark and vacant, and the arcade and movie theatre are silent. Owen’s addresses to the camera don’t create a sense of intimacy or triviality so much as they feel controlling, false, and disturbingly out of place. Instead of subverting genre tropes, Schoenbrun lets them function as a trapping of their own, an empty nostalgia prison that Owen has chosen to embrace. Though the film provides the setup and texture of a much happier story, Schoenbrun takes a calculated step back by portraying a protagonist whose story is unambiguously self-destructive, refusing the call up to the last frame.
Time moves differently in the suburbs, certain images moving slowly, ingraining themselves into the fabric of the film, others skipped entirely or only present for a moment, making it feel like you are constantly missing something. In Schoenbrun’s suburban nightmare, years don’t pass in seconds; they have already passed, unseen, by the time Owen takes the time to look back. His story is always in the rear view, always, in his mind, observed too late to change anything. The true devastation comes from our experience as the helpless viewer on the other side of the screen, who knows that Owen is wrong. There is still time, a chalk mural proclaims before the film moves towards the final act, a statement that seems more directed at the audience than at Owen, whose back is turned to the words and who certainly does not take them to heart. There is still time for us, the film warns, but here is what can and will happen if you choose to let time run away. It might not be too late now, but life is not endless. One day, the chalk words on the road will be wrong.
To me, what makes Schoenbrun’s film truly singular is its refusal to shy away from the true consequences of self-repression. No Hero’s Journey does passive participation in real life make — not everything will be okay, unless you work to make it so. Here is a film so intimate and specific that it will make some people cry in the cinema and stare blankly out the window on the drive home; here is also a film that humanises the still deeply taboo topic of dysphoria by pointing out the simple truth: if you want to change who you are, you can. There is still time.
Within Schoenbrun’s precise, familiar imagining of queer possibility, there is hope, and there is despair, dancing around each other, creating a picture that is at once horrifying and beautiful. Go see their film, if you can, in an empty cinema, where the light from the screen can set your face aglow.
Hater pants on, popcorn in hand, and my lip-gloss flawlessly intact, I had made up my mind: when I came out of Palace Cinema’s screening of the highly anticipated Monkey Man, I must and would most definitely be profoundly offended. And not just because I’m a self-proclaimed saffron-loving religious bigot of a “patriot” (note: sarcasm) who couldn’t tolerate the film’s unflinching description of how Hindu nationalism has blighted the Indian polity and society but also because I’m sick of the fanciful Western notion of “India: Where poverty shines and hope declines!”
I wasn’t super excited for a new rendition of the same old saga: immense suffering and poverty in India, the daunting, ubiquitous corruption, and most excruciatingly, the repetitive strains of the only Indian music that the myopic Western media recognises (cue the tabla and intro tune to “Mundian To Bach Ke (Beware of the Boys)”). The West’s perpetual fixation on Third World poverty and class division has become exasperating. Yes! It exists — I can vouch for it — but no, that’s not all there is.
But alas! Dev Patel, the man that you are, you completely disarmed me. I absolutely most definitely loved the movie (and Dev Patel himself). And trust me, it boils my “nationalist” blood to say this. Because honestly, how dare this British-Indian guy craft an astoundingly sly satire on Indian politics and societal conditions? How dare he do such a bloody fantastic job at it?
‘You know it’s the ultimate underdog action film, I’m a huge fan of the genre… (but) I never had access to it, looking like this gangly Indian dude. The only kind of roles I was getting offered were the funny sidekick or the guy that hacks the mainframe for the lead dude. So, I was like I got to write this thing for myself.’
— Patel on The Tonight Show Starring Jimmy Fallon
With Monkey Man’s stunning cinematography and the actors’ captivating on-screen presence, there is no way the audience could guess that this is, in fact, Patel’s directorial debut. The movie gracefully pirouettes amidst alluring visuals, each frame and sequence, a stroke of such magnificent artistry that it’d easily put some of the most renowned directors to shame. Minutes into the film, you can tell that this is a labour of love, blood, and broken bones.
Sure, the plot is predictable at first glance (I wouldn’t have watched it if I weren’t engulfed by this all-consuming creative void looming over my next piece) — there’s this kid leading a life of serenity with his mother until one devastating day when the bad guys show up and kill her, the kid grows up traumatised, then there’s some grandiose “remember who you are” journey to self-storyline in between, he seeks revenge and triumphs over evil, and yay! world order is restored. It’s a story we’ve heard one too many times before. But at no point does the film feel stale. Patel hits you with a rich tapestry of religion, mythology, politics, class divide, and gender among other complex societal issues that one would ordinarily keep mum about. My naive assumption that this would just be some Slumdog Millionaire x John Wick parody went flying out the window.
The movie draws extensively from the Hindu mythology of Ramayana, which, as Patel shares in several interviews, is also his loving way of paying homage to cherished memories of his father recounting stories of the half-man half-monkey Hindu deity: Hanuman, during his childhood. This is a British kid who grew up in the diaspora, ashamed of his Indian roots, finally embracing his heritage and (literally) taking control of the narrative.
For those who may not be familiar, in Hindu households mothers often tend to affectionately address their sons with names derived from the names of Hindu gods. Well, in the case of Patel’s character, he takes his mother’s endearing reference to Hanuman a little too devoutly. But then, he wouldn’t be the ever-doting Indian son if he didn’t go around in a low-budget rubber monkey mask, valiantly fighting the bad guys to seek revenge for his beloved mother’s gruesome death. Trust me, becoming an embodiment of an actual deity for your dead mother isn’t very extravagant as per Indian film standards.
An intriguing observation that even those with passing knowledge of Ramayana would’ve made is the absence of a character symbolising Lord Ram. Unlike the mythology, where Ram is the central figure and Hanuman is his devoted helper, a side character so to say, who supports Ram in his journey to rescue his wife from a demon king, the movie instead places Hanuman at the forefront, with no Ram in sight. Esteemed analysts (me) interpret this absence as a conscious critique of India’s ruling party. The Bharatiya Janata Party, which is currently in power, is notorious for utilising Lord Ram as a formidable political symbol and has been associated with heightening religion-based politics and pushing for Hindu supremacy in the country. Patel, very intelligently and insidiously (given the uphill battle that he now faces with India’s censor board), uses the tools that Indian politicians adore against them. The movie is his own modest revolution.
Another impressive aspect of the movie is the remarkable portrayal of the hijras, India’s third-gender community. While the society has always been judgemental of them and still looks down upon the community with disdain, defying all convention, the movie wondrously showcases them as nurturing and stalwart protectors; everything you’d never expect to see. In the film, they assume the role of temple keepers and assist Patel’s character in his journey of rebirth and transformation. This also draws parallels to Hindu mythology, as they are symbolic of the Vanar Sena (army of monkeys) who aided Lord Ram in his conquest. The scene where they show up to the final fight, in all their glory — donning extravagant masks and costumes — was beautiful and undeniably chilling. These characters are, surprisingly enough, not some forced plot device to help the movie pass a superficial “woke” criteria. Patel doesn’t try to beat the audience with overburdening messages of social consciousness. Instead, he simply elevates them to fully-realised human beings with rich, complex and mundane lives just like any other. They dance and sing and cook and care and love like all humans do. They are nuanced and well-developed characters with actual significance in the movie, which is truly revolutionary! The sheer brilliance with which the actors execute these well-written roles is commendable. In light of the discrimination and mockery that this community is still subjected to in Indian society, this was a much-needed treat. This is Patel’s “How to Ace Marginalised Representation 101”, and the entire industry needs to be schooled.
However, all that being said, I do have one qualm: the limited screen time with the female lead. For those who are not aware, the female lead, who in the movie portrays the role of a sex worker working for the fancy brothel run by Patel’s evil nemesis, Sobhita Dhulipala is the Indian film industry’s latest obsession having come out of the online streaming landscape. Those who’ve seen her previous works will agree that her character was grossly underutilised. With all the potential she has, there was so much scope to develop her character beautifully without it having to interfere with the main character and his vengeance arc. While I still appreciate her presence and do realise that this was her big global break, which of course holds great pertinence to her career, I also do not think we’d be robbed of any substantial element if they’d killed her character in the first half.
Alright, final remarks? If you’ve been blissfully living under some rock and still haven’t watched the movie, I cannot stress enough how fundamental it is for you to drop every other thing and go see it as soon as possible. Remember, life was never about the grind or the tears we shed over unending uni-work, it’s always been the controversial political commentaries we watched. It’d be criminal to not watch it and it’d be criminal to not start a Dev Patel appreciation society on campus so we can worship the ground he walks on and the air he breathes.
I downloaded Letterboxd in November. For the uninitiated, Letterboxd is an app where you can rate and review and add new movies that you watch to your watched list. I wasn’t bothered with the rate or review function, to date I’ve only reviewed two movies. No, the downloading of this app precipitated the awakening of something much worse: a deeply competitive streak centred around beating everyone in my life in one category: number of movies watched.
Many late nights followed as I tried to remember obscure childhood movies to add to my watched list, and a burning desire was born to watch every new film released in cinema. A desire that I indulged as much as I could. I haven’t reviewed these films on Letterboxd, so what follows is a Woroni Exclusive (that no one asked for).
Here is my review of every movie I watched in cinema this summer, in the order that I watched them.
BIG SPOILERS AHEAD
__
The Boy and the Heron
This didn’t have the same magic as the rest of Haiyo Miyazaki’s filmography. But the five minutes of screen time Florence Pugh’s character had made me very happy.
The Ballad of Songbirds and Snakes
As someone who read the book… boy am I glad they didn’t include Snow’s internal monologue in this movie. It allowed me to focus on what’s really important: the #slay of his silly little outfits.
Saltburn
I watched this sitting in between my parents. Still loved it. I honestly can’t articulate why I love this film except to say, visually, intellectually, spiritually, conceptually, hornily, I loved it. I have a crush on every single person involved in the making of this film. I want to kiss them all directly on the brain.
Poor Things
I also watched this sitting in between my parents. This was worse. However, Emma Stone was incredible. The sets, costumes, world building and cinematography were similarly inspired. What I can’t get past is that they showed us a woman who had had her unborn child’s brain transplanted into her head and then we were expected to find it attractive when we saw her masturbate and have copious amounts of sex (with the brain, mannerisms and speech of a toddler). It’s important to note that the narrative does not condemn these men for finding her childlike personality attractive. I’m all for celebrating womens’ sexuality and sexual liberation, just maybe not when their vocabulary still includes the words “goo goo” and “gaa gaa.” The second half when her brain matures was great!! I’m just side eyeing the baby sex part.
Trolls
This was not released in cinemas this summer. In fact, it was released in 2016. I just felt it needed to be included in this list. Me and my Dad watched it the day after we saw Poor Things, in an attempt to heal from the trauma. It did not work. In fact it nearly made me delete Letterboxd and swear off movies altogether. I rate this movie negative 5. Do not interact.
Next Goal Wins
So cute! Truly a Taika Watiti film. While it didn’t hit like Boy or Hunt for the Wilderpeople, it more successfully healed the Poor Things trauma than Trolls did (this wasn’t hard).
Dream Scenario
I didn’t expect watching Nicolas Cage cum untouched as a girl takes his belt off during an ill-advised failed affair then farting loudly and running away to be as funny as it was. Say that sentence twice, my GOD. I enjoyed this film. The tram ride home (again with my parents, yikes) was silent but in a vaguely good way?
Bottoms
I wanted to love this movie but just… didn’t. I think it was a me problem? This film was like a cake which had all the right ingredients and followed the correct method but then the oven was a bitch and didn’t like it. I’m the oven.
Anyone But You
Such a cute romcom, truly one of the better of its genre to come out in a while. And may I say, a Shakespeare retelling to rival 10 Things I Hate About You. The lines that came directly from the play made me happy, but it was also equally as enjoyable for people who were unfamiliar with the play. Really fun. I loved that it was set in Australia. Added a certain ‘je ne sais quoi’.
Napoleon
JOKES I did not watch this movie. A 3 hour long, historically inaccurate Ridley Scott film? Not even adding another notch to my Letterboxd bed post could entice me.
Wonka
As soon as the film finished the girl behind me said, “thank GOD that’s over”. I did not agree with her. I thought it had the perfect amount of whimsy and fun. My mother, who is the biggest Timothee Chalamet fan in the world, gives it 5 stars.
Mean Girls
This was… boring and unnecessary. Auliʻi Cravalho as Janice was a standout performance though.
The Holdovers
For all sad nerds, this movie is like Dead Poets Society but if all the characters were cantankerous assholes (affectionate). I was hungry when I arrived at the cinema so I spent a lot of the movie thinking about the sausages they showed in the establishing shot of the kitchen. On the way home (via Coles to buy sausages) I figured out what I thought of the film: it had a beautiful soul. You could tell a lot of heart went into making it, the use of film rather than digital, the editing, the soundtrack, the performances. I forgot I was watching a film made in this millennium and not an actual film from 1970. Super lovely.
Priscilla
Like Mean Girls, this movie was boring and unnecessary. It tried to say something new about Priscilla and Elvis’ combined legacy but failed. It meandered.
All of Us Strangers
This movie made me grin from ear to ear and also clutch my chest like I was dying of heartbreak. It was filmed so beautifully. It looked warm, and felt like a hug goodbye. Every performance was intentional and masterful and the result was truly breathtaking. But for my own mental health, I will never ever rewatch it.
May December
I had a really embarrassing asthma attack in the middle of this movie (ironic since the main character suffers from chronic asthma herself) and had to leave. I never saw the ending and can’t bring myself to stream it and find out. It was well acted but didn’t compel me.
Anatomy of a Fall
Holy shit. When I wasn’t distracted by how beautiful Vincent, played by Swann Aulaud, was (seriously, he is stunning, and what nice hair), I was jaw-open marvelling at what a great film this was. The pacing especially was perfect. It managed to be interesting and compelling as well as thoughtful and picturesque. Highly recommend it.
__
Honourable mentions go to two of the ads I had to see at every single one of these screenings:
The confusing Budget Direct ad which featured an evil sentient pool cleaner (?). Stay weird Budget Direct.
The Toyota Hilux ad about a divorced couple refinding their love for one another through sharing joint custody of their car. This ad made me tear up.
__
Is there a single thematic takeaway from this experience? Any additional wisdom I have gained by conquering these 15 films? Not really. But it was a fun way to while away the summer.
Jonathan Glazer’s recent The Zone of Interest (now showing at Palace and Dendy) is a Holocaust film without a Holocaust.
Ostensibly, the film is a snapshot of the family life of Auschwitz commandant Rudolf Höss in late 1943. Höss reads bedtime stories to his daughter, is given a canoe for his birthday, and teases his wife, Hedwig, about her laugh. She catches up with her mother, gossips with other Nazi wives, and teaches her sons the art of gardening.
But the Höss home is adjacent to the death camp; their garden shares an adjoining wall with Auschwitz I. Like the family, we are blind to the Holocaust next door. But we are not deaf to it. The sounds of industrial slaughter — screams, gunshots, trains hissing, crematorium crunching, and less identifiable noises — are played, ceaselessly, throughout the film. They are ambient.
Against the visuals of idyllic domesticity, this brutal soundscape has a jarring, alienating effect. You almost wonder whether you’re overhearing Dune 2 next door, or if Palace is undergoing particularly quarrelsome renovations. When the film arrives on HBO Max next month, I’m sure some laptop viewers will assume a long-forgotten YouTube tab is piping up.
It has been said of Holocaust literature that ‘one does not look directly at the sun’. So Glazer listens. (The quote is attributed to Aharon Appelfeld. Unfortunately, there’s no record of him saying it.) But the sensory element — the abbreviation of the Shoah to the sound of the Shoah — is not the director’s only trick. He also steals glimpses; at the risk of extending the metaphor ad nauseam, he uses sunglasses. These are irony, microcosm, and childhood.
The original Zone of Interest (2014), by Martin Amis, is a vicious, obscene, absurd satire of the Holocaust. Its only major similarity with our film is that it stars Höss (or a thinly fictionalised version of him). Other than this, it’s a completely different story. So why does Glazer present his film as an adaptation?
I think the film preserves, in ice, the satirical quality of the book. It is not a funny film, of course — you should walk home silent and horrified — but I hope I’m not splitting hairs too finely when I say that it is ironic, or comic in form. When Rudolf (only this film can make you first-name a Nuremberg defendant) is transferred to Berlin, his wife throws a fit and begs to stay at Auschwitz:
“This is our home. We’re living how we dreamed we would…out of the city finally, and our children strong and healthy and happy.”
I thought Rudolf would ignore this odious appeal. But he makes an arrangement. The family will remain at Auschwitz, as knowing and profiting neighbours of genocide, while Rudolf lives and works in the capital. There is something very blackly comic about a family choosing to live at Auschwitz because they really like the property.
Later, as Hedwig is giving her mother a tour of the garden, the familiar gunshots suddenly crescendo. Both women notice. Trying in vain to return her mother’s attention to the pot plants, Hedwig speaks louder and gestures desperately.
The old lady wonders aloud:
‘Maybe Esther Silberman is over there. The one I used to clean for. She was the one who had the book readings…Bolshevik stuff. Jewish stuff.
And I got outbid on her curtains at the street auction.’
Another time, we hear a story about the same sordid appropriations. A Nazi wife was given a choice of Jewish-owned dresses, but ‘chose one that belonged to some little Jewess half her size’. She said it’d make her lose weight.
These stories aren’t funny; but they have a comic structure and pacing to them. They are almost-jokes, with almost-punchlines.
While Rudolf is on assignment in Berlin, he phones home to tell Hedwig about a high-society Nazi party he attended:
‘I was too busy thinking how I’d gas everyone in the room. Very difficult, logistically, because of its high ceiling.’
I venture that this is a distinctly Jewish irony. The pogrom punchline, the ghetto guffaw, the work-camp wise-crack. The whole absurd situation of the film — the distasteful, oblivious indulgence of the Hösses — satirises the wilful, terrible ignorance of the German people; and, finally, the satire and the irony become indistinguishable from the horror.
In the fifth season of Seinfeld, Jerry famously makes out in the theatre during Schindler’s List. Coincidentally, I’m sure, the irony is impressed on the audience in a manner peculiarly reminiscent of The Zone of Interest. We see Jerry French kissing (or “necking”, as his mother later says with a shudder), but hear woeful music and barked German. These are the same sounds which are keeping Rudolf Höss’ daughter awake at night. Both Glazer and Seinfeld embody the Jewish tradition of Holocaust satire which softens, but never sanitises, the tragedy.
(Not even Spielberg could look directly at the sun. Between shoots of Schindler’s List, he would watch Seinfeld reruns to cheer himself up.)
Glazer’s second pair of sunglasses is microcosm. Pay close enough attention to the Höss garden, and you begin to make out a Holocaust in miniature. There is a train set in the garden; we see train smoke over the walls. There is an outdoor shower. Burnt human remains from next door are used to fertilise the soil. On his 41st birthday, Rudolf is walked out blindfolded onto the lawn — only to be shown his present, a canoe. That afternoon, Rudolf has meetings with engineers about the design of the furnaces; Hedwig boasts about the garden being ‘all [her] design’. She calls her husband a ‘busy bee at work’ while we watch bees among the flowers. She educates her son in the proper identification of weeds. Later, he locks his brother in the greenhouse. In one particularly memorable scene, swelling death screams accompany closeup stills of chrysanthemums and white and purple dahlias — Jewish lives. Later, Rudolf sends a memo to his SS subordinates restricting the picking of flowers. It is dreadfully suggestive of arguments between Nazi departments over access to prisoner labour. This is a horticultural Holocaust: a tinted mirror which helps Glazer safely observe the “sun” and its squalid details.
Glazer’s last trick is childhood. There are four children in the film, and their reactions to the adult horrors around them epitomise the reactions to the Nazi regime.
The first is the fantasy of rebellion. In haunting thermal-image scenes, a young Polish girl sneaks, incredibly, into the camp work area. She leaves a trail of half-buried apples for the prisoners. As a voice-over, Rudolf Höss reads the bedtime story of Hansel and Gretel to his daughter. The girl’s quest culminates in the discovery of a sequestered poem, which is duly and movingly recited. The hopeful fantasy of this sequence is annihilated when one of the Höss boys (onscreen) hears a soldier (offscreen) explaining why he shot someone:
‘Fighting over an apple, Commandant.’
In the Ost, in the Bloodlands, native (especially Polish) resistance was daring but always viciously punished. In a way, the story of the little Polish girl is a fairytale version of the Warsaw Uprising, and the subsequent retaliatory obliteration of the city. As Rudolf recites in the voice-over: ‘The witch got cooked alive as a punishment for her horrible deeds.’
Rudolf’s children are analogues for the German people: they are emotionally stunted, traumatised young Nazis. (There is no Boy-in-the-Striped-Pyjamas fantasy of young German innocence. A wise choice, given the historical controversy that book provoked.)
After one boy hears the apple-fighter being killed, he mutters to himself ‘Don’t do that again.’ Who is he talking to? Is he telling himself not to pay attention again to the happenings next door? Or is he mimicking the commands of the guards? Later, we see him sitting on his bed, hissing the sounds of the gas chambers.
Another time, he is woken up by his brother’s bedside lamp.
‘I’m looking.’
‘At what?’
‘Teeth.’
In the next scene, the boy’s phrase is tellingly echoed by his sister, clearly also traumatised, who has a habit of sleepwalking. Rudolf discovers her in the middle of the night in a trance.
‘What are you doing there?’
‘I’m passing out sugars.’
‘To who?’
‘I’m looking.’
Like the Polish girl, Rudolf’s daughter sees (or rather, hears) the humanity of the internees. But her insomniac mourning, and her charity, are undirected. Perhaps Glazer is talking about the Germans who suspected something rotten in the East but never did anything substantial about it.
When asked in an interview why he called his book The Zone of Interest, Amis explained that it had a threefold meaning. The name refers to the Nazi administrative term (Interessengebiet) for the depopulated and patrolled area around Auschwitz; to the zone of fascination, both for Amis himself and our culture at large; to the revealing moral zone where people discover themselves. In his own Zone of Interest, Glazer uses children to populate this last zone.
So Glazer listens and dons sunglasses. Somehow, though, he finds hope at the end of all this oblique appraisal. Rudolf, stuck in Berlin, is descending stairs when something catches his eye. We cut to the present: cleaners in jeans wiping the floors of the Auschwitz-Birkenau State Museum. We see the suitcases and pyjamas and crutches and shoes and portraits of the prisoners. The cleaners mop away. It’s a long scene. One reviewer put it perfectly: ‘the banality of good’ to challenge Arendt’s ‘banality of evil’.
And when the camera returns to Rudolf, the sounds of cleaning — of expiation — seem to stay with him. Just as we could not shake the sounds of evil, Rudolf Höss cannot shake the sounds of good. Just as our culture cannot shake the memory of the Holocaust, Höss could not, in Glazer’s telling, shake the premonitions of liberation.
This attitude of hope has its source in the production of the film, I suspect. Alexandria Bystroń-Kołodziejczyk (a gloriously, proudly unpronounceable Polish name) was the real Polish resistance fighter who snuck apples into Auschwitz and saved the poem of Joseph Wulf. Glazer met her weeks before she died — enough time to arrange shooting in the house she lived in, and to use her dress and bike as props in the movie. He told the Guardian that, without her, he could not have made the film. It would have been ‘utter darkness’.
In his Oscars acceptance speech, his hands trembled, but Glazer didn’t stutter.
‘Alexandria Bystroń-Kołodziejczyk, the girl who glows in the film as she did in life, chose to [resist]. I dedicate this to her memory and her resistance.’
Comments Off on Woroni is Hiring for Semester 1 2024!
Woroni is hiring for Semester 1 2024! Positions are available across our Art, Management, News, Radio and TV portfolios.
At Woroni we are committed to:
producing interesting, entertaining, informative and regular content across our print, multimedia, radio and online media platforms;
contributing to a sense of university identity and reflecting the scholarly and cultural diversity of the ANU community;
promoting open public dialogue and debate in the ANU community;
promoting awareness of the variety of curricular and extra-curricular activities undertaken by students at ANU;
discovering and developing the creative talents of students at ANU in journalism and the media arts;
promoting the best practice in professional journalism; and
being innovative and exploring new media forms.
A great student media organisation is for everyone. Student media should promote conversations, and provide a platform for people with different views, identities and lived experiences. Our ultimate aim is to build a culture of inclusivity and diversity across our platforms. A large portion of ANU’s students relocate to Canberra to study, which means our community is extremely diverse. Woroni is funded by, created by and consumed by ANU students, and our mission is to produce print, radio and television content that truly reflects this community.
Woroni is committed to diversity in hiring and encourages applications from ANU students of all backgrounds. These are volunteer positions, however individuals may receive an honorarium based on their commitment to the role. If you have questions or concerns, please do not hesitate to contact woronieic@gmail.com. If you would like to contribute to our mission, see below for how you can get involved with student media!
Applications will close at midnight on Sunday the 18th of February 2024. Interviews may be conducted at any time throughout or after the application period.
ART
The Woroni Art team has many exciting opportunities available for ANU students interested in all aspects of art and graphic design. We encourage absolute creative freedom in your artistry. Becoming a part of the team is a great way for you to get experience in having your work published (and looks great on any resume or in any portfolio). It can also help with giving you as an artist an extra boost in confidence in your own skills and ability by providing you with a platform to show off your skills. The actual workload is bent to accommodate each individual’s other commitments. There will be three different Sub-Editor roles available within the Art portfolio and all Sub-Editor will be responsible for creating a number of pages for each Woroni print edition. Each role will then have additional duties, as detailed below. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniart@gmail.com.
Artist:
Artists are responsible for creating consistently high quality art for Woroni and must be able to stick to strict deadlines. Usually, this is three to six pieces of art per print cycle, to be published either online or in print. Additionally, the work requires proficiency in producing art of specific structural qualities (PPI, sizing, CMYK colour palette etc.). Artists must be responsive to the Art Editor and are expected to attend meetings, Woroni events and social activities. Artists are also expected to contribute to the marketing and promoting of content. Some experience in producing art and/or designs under instruction is preferred but not required. Ideally, Artists would work well within a team, are approachable, and want to bring their own ideas to the team!
Apply to join the Art Team here
MANAGEMENT
If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woronieic@gmail.com.
Social Media Sub-Editor:
Social Media Sub-Editors work with the Woroni board and other sub-editors to manage our online platforms and overall image. This includes scheduling posts across platforms for teams, creating and designing infographics, and pitching and making independent posts.
Social Media sub-editors are expected to work 5-10 hours per week, including attending a fortnightly meeting. We’re looking for someone who is enthusiastic, skilled with social media, and wants to get involved in student media.
Apply to join the Social Media Team here
Senior Events Officer:
The Senior Events Officer will work alongside the rest of the management team, including two events officers, to organise, coordinate and manage events run and funded by Woroni. The individual will work closely with the Executive and the rest of the Board to plan events and ensure the administration work of organising events is completed effectively and in a timely manner. The ideal candidate will have significant experience in organising events, will be effective in both written and verbal communication and will be able to help manage a small team. The successful individual will be expected to commit an average of 7-10 hours a week across the semester.
Events Officer:
Woroni is looking for an Events Officer to help us run and manage a variety of events throughout the semester. With a large budget and organisational support, this is a great chance to get involved in event planning and understand the administration of Woroni. Experience organising events in and outside ANU is preferable but not required. Required work includes planning events, contacting suppliers, booking venues, MCing and helping to support our Board as they run events. Events Officers are expected to dedicate an average 5-8 hours per week and attend fortnightly meetings.
Apply to join the Events Team here
NEWS
Woroni’s News Team reports on the current affairs impacting the ANU community and students in particular. It is a fast-paced work environment where members of the team report on a variety of topics, ranging from student politics, changes to the University’s policies, to the Federal Budget. The News Team meets each week and everyone meets tight deadlines. It is a fun, closely-knit team that helps create excellent writers who work well under pressure. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroninewseditor@gmail.com.
Senior News Reporter:
Senior News Reporters are responsible for the coverage of news stories and relevant information, while also sourcing news leads, researching and investigating stories, writing drafts and also editing the drafts of news reporters. They must be highly active in their communication, with the role requiring a commitment of 10-15 hours per week. Senior reporters should be confident writers, able to give clear, constructive feedback, work to tight deadlines, competent in pitching articles and capable of instructing news reporters. Prior experience in student journalism is a strength.
News Reporter:
News Reporters regularly write articles for Woroni News on events and issues that impact ANU students. They are expected to engage with campus life, write, on average, an article a week, and attend weekly team meetings. The role will also involve attending various events throughout the semester, like festivals, non-autonomous collective meetings, protests etc. News Reporters must be able to: write concisely and accurately; meet deadlines at short notice; pitch story ideas; work well in a team environment; and be confident in independently investigating issues further. A Woroni News Reporter is required to dedicate 5-10 hours per week to their role, and must write one article per week.
News Columnist:
News Columnists write articles that include the usual reporting with some additional commentary and analysis. They will primarily be tasked with news topics which require more contextualisation than a regular news article can provide. A columnist should show an appetite for complex topics and should demonstrate an ability to create comprehensive and sophisticated analysis. A Woroni News Columnist is required to dedicate 5-10 hours per week to their role, and must write one-two articles per fortnight.
Apply to join the News Team here
RADIO
The Radio team runs Woroni Radio; ANU’s student radio. From scheduled broadcasts to one-off specials, there is a kaleidoscope of content produced by Woroni Radio. We are seeking passionate and energetic individuals for the role of Producer. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniradioeditor@gmail.com.
Producer:
A Producer provides both technical and moral support to presenters throughout the semester. Producers and presenters will work together to create engaging radio shows that air on a weekly basis. They will also assist their Executive Producer with either Creative or Features content production. This role is approximately 5-7 hours per week and no past experience is necessary as long as you are keen to learn and passionate about helping our presenters create quality radio content! The ideal candidate will be approachable, organised, responsible, reliable, a good communicator, a team player and a critical thinker.
Apply to join the Radio Team here
TV
The TV team at Woroni produces video content ranging from campus life to news reporting. We’re looking for fun, creative, and passionate sub-editors and senior sub-editors to join the team!
Production Assistant:
The Production Assistant role is a versatile, entry-level position crucial to the video content production process within a team. Key duties include developing video concepts, filming with audio and camera equipment, and video editing using Adobe Premiere Pro. This position offers an opportunity for skill development in various media production areas. Although prior experience in media production is advantageous, it is not mandatory. The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Producer:
The TV Producer role is essential for facilitating video production in small teams, focusing on all production stages for quality delivery. This position, which reports directly to the Executive Producer, involves scheduling, creative direction, and collaboration with Production Assistants. Candidates should have basic to intermediate production skills (camera, editing, production). This position is ideal for individuals familiar with media production looking to leverage their creative skills in a team environment. The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Executive Producer:
The Executive Producer role is a leadership position within the video production team, requiring close collaboration with the TV Editor for effective management. Responsibilities include coordinating a production team and contributing to video development, as well as camera operation and video editing, and providing both assistance and troubleshooting in these areas. This position is ideal for someone with experience in film production and managing a team, who is able to manage a more significant time commitment. The role is expected to require approx. 10-15 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
TV-News Producer:
This position plays a crucial role in bridging the TV and News portfolios to produce multimedia style journalistic content. Working closely with the TV-News Executive Producer, this position requires attendance at weekly team meetings across both TV and News. Responsibilities include content development, camera operation, and video editing. This position is ideal for someone with some experience in media production who is passionate about multimedia journalism.The role is expected to require approx. 8-10 hours of work per week, including compulsory weekly team meetings that you must be available for. This is a volunteer position, with the possibility of honoraria.
Apply to join the TV Team here
Applications are open for Woroni – ANU’s student media organisation and the largest multimedia student organisation in Australia. Join a group of dedicated student volunteers, gain experience in your preferred media, from print, to news to radio, in a professional environment.
Applications are open for positions across our teams: Art, Content, Radio, TV, News, Photography, Events and Social Media.
Check out the roles and applications below.
All positions within Woroni are volunteer and while Woroni offers honoraria, the positions below are all unpaid.
Applicants who identify as Indigenous Australians are strongly encouraged to apply.
If you have any questions about the hiring process, or would like the hiring process to be more accessible for you, please contact the relevant Editor or the Editor-in-Chief at woronieic@gmail.com
Art Team
The Woroni Art team has many exciting opportunities available for ANU students interested in all aspects of art and graphic design. We encourage absolute creative freedom in your artistry. Becoming a part of the team is a great way for you to get experience in having your work published (and looks great on any resume or in any portfolio). It can also help with giving you as an artist an extra boost in confidence in your own skills and ability by providing you with a platform to show off your skills. The actual workload is bent to accommodate each individual’s other commitments. There will be three different Sub-Editor roles available within the Art portfolio and all Sub-Editor will be responsible for creating a number of pages for each Woroni print edition. Each role will then have additional duties, as detailed below.
For questions about the application process, email woroniarteditor@gmail.com
Artist
Art Sub-Editors are responsible for creating consistently high quality art for Woroni and must be able to stick to strict deadlines. Usually, this is three to six pieces of art per print cycle, to be published either online or in print. Additionally, the work requires proficiency in producing art of specific structural qualities (PPI, sizing, CMYK colour palette etc.). Artists must be responsive to the Art Editor and are expected to attend meetings, Woroni events and social activities. Artists are also expected to contribute to the marketing and promoting of content. Some experience in producing art and/or designs under instruction is preferred but not required. Ideally, Artists would work well within a team, are approachable, and want to bring their own ideas to the team!
Apply to be an artist here.
Senior Artists
Art Senior Sub-Editors carry the same duties as sub-editors with a few additional roles. Senior Artists are also expected to assist the Art Editor in some of their duties like taking team minutes, helping the other artists, as well as fostering teamwork. Senior Artists are also the first asked to contribute beyond the scope of the print magazine. This is mainly for Woroni’s other portfolios (Social Media, News, TV and Radio) when required. Senior Artists may also be asked to help the Art Editor run events, workshops or other social activities. Ideally, Senior Artists would work well within a team, are a great communicator, are innovative and enjoy leadership!
Apply to be a senior artist here.
Content Team
The Content Team oversees sourcing, editing and production of written content for our magazines and website. It’s a fantastic opportunity to work in print production, understanding the editing and sourcing process, or to get your hands dirty writing creative stories, poems or insightful essays.
Sub-editors focus on either the magazine or the website. Magazine work involves organising the sourcing and editing of student contributions of the magazine, while the website allows for longer form pieces that come from students.
Apply for the Content Team here.
News Team
Our News Team produces breaking news, investigative pieces and piercing analysis. Join a team of around a dozen students in a fun, fast-paced environment where you can delve into issues at the ANU, or report on changing education and national policy that impacts students. Want to understand student politics better, want to write about the housing crisis, annoyed at something on campus? This is the team for you.
Members of the news team receive training in journalism writing, media practices and can expect professional development sessions, all of which are fantastic for those looking for a career in journalism, or interested in the media.
For questions about the application process, email woroninewseditor@gmail.com
News Reporter
News Reporters are responsible for the coverage of news stories and relevant information, primarily through written form. This will include: sourcing news leads, researching and investigating those stories and writing drafts, including necessary revisions. News Reporters may also be tasked with helping to script TV news pieces, participating in the new podcast, and providing content for social media posts. Reporters will have to be receptive to feedback, able to work to strict and tight deadlines, and be interested in issues that are relevant to students. Above all, they should be enthusiastic for the position.
Prior experience in student journalism is not required.
Apply to be a news reporter here.
Senior reporter
Senior News Reporters are responsible for the coverage of news stories and relevant information, while also sourcing news leads, researching and investigating stories, writing drafts and also editing the drafts of news reporters. They must be highly active in their communication, with the role requiring a commitment of 10-15 hours per week. Senior reporters should be confident writers, able to give clear, constructive feedback, work to tight deadlines, competent in pitching articles and capable of instructing news reporters.
Prior experience in student journalism is a strength.
Apply to be a senior reporter here.
TV Team
Ever wondered what it’s like behind the scenes of video content? Ever wanted to learn how to operate a camera, edit together footage, and write scripts? Ever had an ingenious idea for a film or television series that you wanted to pitch and see greenlit? Are your courses just not scratching that creative itch of yours?
The answer is simple – apply for a position at Woroni TV!
Whether your end goal is some preparation for the media industry, looking for some fun, wanting to learn new skills, or just wanting to participate in the school community and/or Woroni, this is definitely an opportunity for you!
Each member of Woroni TV are exposed to hands-on experience with professional equipment and software to produce videos of various genres and styles, from short films to journalistic interviews! You don’t have to possess previous experience and/or technical skills in video-making. Our ideal candidate is one that is passionate about the creative process, is able to dedicate time and effort each week, are team-players, and is willing to learn if needed.
Production Assistant
The role of the production assistant may be entry-level but that does not mean it is any less important. They are responsible for assisting in the video creation process. This includes contributing creative ideas for videos, helping film content (e.g., camera operations), following directions of the producer with editing, and assisting with any other duties that may arise.
Production assistants do not need to have prior knowledge nor experience in media production. However, they are expected to develop a basic competency in all areas of production, including camera operation and editing with the Adobe Creative Suite.
The role will be 8-10 hours per week on average, depending on the project being planned for the week. Time will be split between pre-production/planning, filming and other production work, and editing. Workload for each component will vary based on specific requirements of each video.
Apply to be a Production Assistant here.
Producer
The role of the producers is to be second-in-command to the Executive Producer. That is, to assist their Executive Producer in overseeing the Production Assistants while also participating in pre-production, production and post-production efforts. Usually, producers oversee the editing process and are responsible for driving the creative aspect of a video. This may include generating ideas and writing scripts, storyboarding, organising shoot logistics, and doing a rough cut of editing.
There is also a general expectation of flexibility in the role, alongside a basic-intermediate level of competency in all areas of production, including camera operation and editing with the Adobe Creative Suite..
The role will be around 10 hours per week on average, depending on the project being planned for the week. Time will be split between pre-production/planning, filming and other production work, and editing.
Apply to be a Producer here.
Executive Producer
The role of the executive producers is to lead their respective team within Woroni TV. They report to the TV Editor on their team’s progress in weekly meetings and organise production schedules with the Editor based on their team’s capabilities. They are responsible for coordinating and directing pre-production, production and post-production efforts, providing technical and creative support when needed.
Executive producers should have an intermediate level of competency in all areas of production, including camera operation and editing with the Adobe Creative Suite. They may be required to informally train and support other team members in these areas. There is also a general expectation of flexibility in the role, particularly to fill in for team members’ absences and provide troubleshooting.
The role will be 10-15 hours per week on average. Time will be split between team coordination, production work, and editing.
Apply to be an Executive Producer here.
Radio Team
The Radio team runs Woroni Radio; ANU’s student radio. From scheduled broadcasts to one-off specials, there is a kaleidoscope of content produced by Woroni Radio. We are seeking passionate and energetic individuals for the roles of Executive Producer, Producer, Tech Officer, and Audio Editor.
If anything can be done to make the application process more accessible, or you have any questions about the application or positions below, do not hesitate to contact the Radio Editor at woroniradioeditor@gmail.com
Producer
A Producer provides both technical and moral support to presenters throughout the semester. Producers and presenters will work together to create engaging radio shows that air on a weekly basis. They will also assist their Executive Producer with either Creative or Features content production. This role is approximately 5-7 hours per week and no past experience is necessary as long as you are keen to learn and passionate about helping our presenters create quality radio content! The ideal candidate will be approachable, organised, responsible, reliable, a good communicator, a team player and a critical thinker.
Apply to be a producer here.
Executive Producer
An Executive Producer works alongside the Radio Editor to oversee the production of Woroni Radio. An Executive Producer will head one of two teams; Creative or Features, and work with their team to put out one major work per term. They will also assist the Radio Editor with ad-hoc duties. The role is 10-15 hours a week and applicants must be comfortable in a middle-management position, creatively proactive, organised, efficient and reliable.
Apply to be an Executive Producer here.
Tech Officer
The Tech Officer is responsible for the maintenance of the Radio studio’s hard and software. They will learn from the Radio Editor how to repair, update, and replace equipment being used. The role is 5-7 hours per week and no past experience, however a strong knowledge in computers or audio equipment is preferred. The ideal candidate will be knowledgeable, responsible, reliable, a good communicator, available and a problem solver.
Apply to be a Tech Officer here.
Audio sub-editor
The Audio sub-editor is responsible for the weekly editing and uploading of Woroni Radio’s podcasts. This role is approximately 5 hours per week and no past experience as you will be taught how to use the editing software. The ideal candidate will be organised, responsible and reliable.
Apply to be an Audio sub-editor here.
Management Team
Our Management Team works with Woroni’s Executive Editors to create content that supports other Teams’ work and to assist Editors in their own work. We’re hiring for Photographers, Events Officers and Social Media Creators.
Photographer
Our photographers produce content for our written content, especially for our news reporting. This often includes attending protests and public events to photograph speakers and turnout Alongside this, they photograph student events, giving them a frontrow view and experience in professional photography settings.
Additionally, photographers are expected to work on a creative project throughout the semester to add to their portfolio. Unfortunately, Woroni cannot provide photography equipment and applicants are expected to have their own?
Photographers are expected to work 5-10 hours a week, and the nature of the position means that work is sometimes delegated on short notice. We’re looking for enthusiastic, hardworking individuals interested in media photography.
Apply to be a Photographer here.
Social Media Creator
We’re seeking a student volunteer to create content for our social media platforms. This includes scheduling posts across platforms for teams, creating and designing infographics, and pitching and making independent posts.
Social Media sub-editors are expected to work 5-10 hours per week, including attending a fortnightly meeting. We’re looking for someone who is enthusiastic, skilled with social media, and wants to get involved in student media.
Apply to be an Social Media Creator here.
Events Officer
Woroni is looking for an Events Officer to help us run and manage a variety of events throughout the semester. With a large budget and organisational support, this is a great chance to get involved in event planning and understand the administration of Woroni. Experience organising events in and outside ANU is preferable but not required.
Events Officers are expected to work 5-8 hours per week and attend fortnightly meetings. Work includes planning events, contacting suppliers, booking venues, MCing and helping to support our Board as they run events.
Apply to be an Events Officer here.
Apply now to one of Australia’s largest multimedia student organisations.
This pride month we harnessed the collective magic of our massive little team to create this collection of media for queer people as chosen by queer people.
Celeste by Maddy Makes Games
Celeste is a fiendishly difficult indie adventure platformer that tells a tale of stubborn persistence, self acceptance and retrying the same screen for 20 minutes because you can’t time a jump right. Celeste has a vibrant and active community around it both for those with a casual love of the game and hardcore speedrunnners, and is one of the best $30 I have ever spent.
Nat, she/they
Dykes to Watch Out For by Alison Bechdel
Dykes to Watch Out For was a comic strip that ran from 1983 until 2008. It’s a ‘serialised Victorian novel’ kind of strip, with characters who are both frustrating and relatable, whose problems are strikingly similar to those of queer people today. I like it because it’s really funny, but also because there’s something comforting about that relatability. Even decades later, queer people are still arguing about a lot of the same stupid stuff.
Claudia, she/her
Girls Can Kiss Now by Jill Gutowitz
In Girls Can Kiss Now Jill Gutowitz delves into the intricacies of lesbian representation in the media, drawing from her own experiences growing up in the early 2000s and the impact it had on her identity and sexuality. With a blend of pop culture analysis and personal anecdotes, this timely collection of essays navigates the contemporary landscape of queer representation and personal exploration. I wish a book like this had been around when I was younger. Isolated by my own internalised homophobia, I longed for representation and understanding. These essays offer solace and validation to those who have walked similar paths.
Arabella, she/her
Good at Falling by The Japanese House
Behind the delicately layered soundscapes, there is an inherent intimacy in these songs as Amber Bain, the creative force behind The Japanese House, transforms her personal narrative into captivating lyrics. The lyricism in this album illuminates the complex landscape of queer love, identity, and the journey towards resilience. Each verse acts as a step forward as she navigates the intricacies of life after grief and paves the way towards healing and acceptance. Bain’s introspective writing, delving into the ebbs and flows of her personal growth, resonates deeply with her listeners, forging a powerful connection that lingers long after the music fades.
Arabella, she/her
Handsome Devil by dir. John Butler & Dating Amber by dir. David Freyne
These are two truly beautiful films, both starring the amazing Fionn O’Shea. Both films highlight important relationships for queer people which are often not displayed in general queer media, which has traditionally focused on romantic relationships (and often unhealthy ones). They focus on friendship between and for queer people and the power of this friendship for its encouragement and support. The stories portray love and betrayal between friends, and the mending of these friendships. These films move towards a normalisation of queer people in film free of fetishisation or tokenisation, by not relying on a love interest to explore identity.
Matthew, he/him
Mythic Meetup by Heartmoor Studios
Mythic Meetup is a messaging visual novel created for Otome Jam that features four love interests with nonbinary and asexual representation. The characters hail from different cultural backgrounds and each has their own realistic and grounded issues, which are explored amazingly even despite their fantastical and mythical nature!
Vera, she/her
Next Thing by Greta Kline
Next Thing is an album for delusional girls with big feelings. These dreamy tracks are a candid homage to the complexities of navigating identity and relationships. Frankie Cosmos (AKA Greta Kline) shows us that limerence transcends sexuality. This is an emotionally complex album offering frank discussions of self-doubt, existential longing and being in love with your best friend – echoing the queer experience in its rawest form.
Arabella, she/her
Of an Age dir. by Goran Stolevski
Of an Age perfectly encapsulates the pining, unknowing space that is a queer crush. It captures 24 hours between Kol, a young and closeted Serbian immigrant, and Adam, his best friend’s older brother (played by Thom Greene – AKA Sammy from Dance Academy – need I say more?). Nothing has come close to the way this film made me feel. It was an accurate representation of queer cultural norms as well as the realities of growing up poor in an unaccepting Australia. I know that feeling. I live and have lived varying degrees of being poor and lonely and queer, and this was a fantastic and heartbreaking representation.
Maya, she/they
Other Names for Love by Taymour Soomro
This beautiful story follows the upbringing of Fahad as his father forces him to come home to Pakistan for the summer, and details the way this summer impacts his life in consequent years. We get to uncover more about his relationship with his father, and watch him come to terms with how his upbringing and heritage shaped his perspective on what love looks like. A book that explores queer identity but doesn’t follow the same stereotypical coming of age arc – I couldn’t recommend anything more.
Charlie, he/him
Pride dir. by Matthew Warchus
I still rewatch the scene from Pride where the miners turn up to the march. Between Welsh accents and gay people, this film is the empowering and inspiring take needed amidst rising trans- and homophobia. For me, I loved seeing multiple queer people on screen, engaging in politics and forming friendships, without that focus on romance. A reminder as well of the queer community’s roots in activism, union solidarity and intersectionality.
Alexander, they/them
Revolutionary Girl Utena by Be-Papas
Revolutionary Girl Utena is a dark, surrealist, sapphic 90’s shoujo anime, and if that sounds like your vibe then you owe it to yourself to watch it. It’s foundational queer media history. The vibes are insane and the art and music are bizarre and enchanting. It’s barely literal and the best of times, and because it refuses to ever say what it means, it gets to talk earnestly about sexuality and gender (and lots else) in a media space that characteristically didn’t let that stuff onto screens. There is nothing like it!
Max, they/he
Rumours by Fleetwood Mac
Okay so hear me out: yes, this is a band of heterosexuals creating music about their heterosexual relationships. But is there anything more quintessentially queer than tumultuous romances between friends who become exes and exes who become friends? Everyone slept with everyone in Fleetwood Mac and Stevie Nicks spun her heartbreak into the gold that gilds this album, providing anthems for sad femmes and witchy wannabes (this venn diagram is a circle) everywhere.
Rose, she/her
Supernormal Step by M. Lee Lunsford & Bloom Into You by Nio Nakatani
As someone who would consider themselves somewhere on the aromantic spectrum it is incredibly difficult to find any representation. The ‘representation’ that is out there is usually never explicitly stated, just implied. Sometimes aromanticism is shown to be a character fault, portrayed as being unloving and abjectly against intimacy. So it’s always refreshing when I come across media that both explicitly says that a character is aromantic, and that that is not a bad thing. I would say Supernormal Step and Bloom Into You are pretty great examples of this.
Jasmin, she/her
The Sisters of Dorley by Alyson Greaves
The Sister of Dorley is a series that is both a love letter and homage to the terrible force femme webnovels of the 2000s and a fantastically well written and deep exploration of identity, how gender shapes existence and what it means to be a trans woman.
Nat, she/they
The Song of Achilles by Madeline Miller
The Song of Achilles is that stereotypical queer novel that deserves its fame. Fast-paced but with the most beautiful writing and scenes that alternate between gut-wrenching and uplifting, it produces a queer story that is not about homophobia or AIDS, but about love. Humanizing in a world of Gods and ancient Greek heroes, it’s a fantastic read for anyone, but it is just wonderful for queer people.
Alexander, they/them
Where’s Tess by Play Core
Where’s Tess is another dating sim with bisexual, pansexual and lesbian representation. The game centres around modern influencer culture, how it can make or break someone; the experience of being queer in a conservative environment; and how the corporatisation of the arts can create ethical or moral conflicts in your personal and professional life. Nevertheless, Where’s Tess is quite light hearted and the art is great.
Vera, she/her
Woroni is hiring for 2023! Positions are available in our art, management, news, radio and tv portfolios.
At Woroni we are committed to:
producing interesting, entertaining, informative and regular content across our print, multimedia, radio and online media platforms;
contributing to a sense of university identity and reflecting the scholarly and cultural diversity of the ANU community;
promoting open public dialogue and debate in the ANU community;
promoting awareness of the variety of curricular and extra-curricular activities undertaken by students at ANU;
discovering and developing the creative talents of students at ANU in journalism and the media arts;
promoting the best practice in professional journalism; and
being innovative and exploring new media forms.
A great student media organisation is for everyone. Student media should promote conversations, and provide a platform for people with different views, identities and lived experiences. Our ultimate aim is to build a culture of inclusivity and diversity across our platforms. A large portion of ANU’s students relocate to Canberra to study, which means our community is extremely diverse. Woroni is funded by, created by and consumed by ANU students, and our mission is to produce print, radio and television content that truly reflects this community.
Woroni is committed to diversity in hiring and encourages applications from ANU students of all backgrounds. These are volunteer positions, however individuals can expect to receive an honorarium based on their commitment to the role. If you have questions or concerns, please do not hesitate to contact woronieic@gmail.com. If you would like to contribute to our mission, see below for all the ways you can get involved with student media!
All applications will close at midnight on Friday the 17th of February 2023. Interviews may be conducted at any time through the hiring period.
ART
The Art team is responsible for all aspects of art and graphic design at Woroni. We encourage absolute creative freedom in your artistry and becoming a part of the team is a great way to get experience in having your work published. Positions available are Artist, Art Sourcing Sub-Editor and Senior Artist. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniart@gmail.com.
Artist
Art Sub-Editors are responsible for creating high quality art for Woroni and must be able to stick to strict deadlines. Artists must be able to produce work of specific structural qualities (ppi, sizing, cmyk colour palette etc.), Some experience in producing art and/or designs under instruction is preferred but not required. Ideally, Artists would work well within a team, are approachable, and want to bring their own ideas to life!
Art Sourcing Sub-Editor
The Art Sourcing Sub-Editor’s role is to source art for Woroni mastheads. It is the Sub-Editor’s responsibility to make sure the sourced work adheres to specific structural qualities (ppi, sizing, CMYK colour palette etc.). A large component of the role is liaising with a variety of appropriate channels in order to source diverse, representative art for Woroni. Ideally, the Sub-Editor would be outgoing, approachable, and willing to put themselves out there in order to source art.
Senior Artist
Art Senior Sub-Editors carry the same duties as Artists with a few additional roles. Senior Artists are also expected to assist the Art Editor in some of their duties like taking team minutes, helping the other artists as well as fostering teamwork. Senior Artists may also be asked to help the Art Editor run events, workshops or other social activities. Ideally, Senior Artists would work well within a team, are a great communicator, are innovative and enjoy leadership!
Submit your application to join the Art Team here.
MANAGEMENT
The management team operates across all of Woroni’s content-producing portfolios and contributes to organisational co-ordination. We are seeking driven and innovative individuals to join the team either as a Photographer, Business and Strategy Assistant or Senior Events Officer. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact Matthew Box at managingeditor@woroni.com.au.
Photographer
The role of a Photographer is to capture and record events organised and attended by members of the ANU community. The work of a Photographer may appear under any Woroni masthead and Photographers are encouraged to pitch their own creative content. The role is approximately 6 hours per week, and includes photographing, editing and submitting photos. Currently possessing a camera, while not required, is highly valued in applicants and applications should include an up-to-date portfolio. The ideal candidate will be someone with creative ideas for the position; an ability to manage multiple, competing deadlines; and strong communication skills.
Business and Strategy Assistant
The Business and Strategy Assistant will assist the Board to develop short and longer-term strategies and business operations for the Association. The successful individual will work closely with the Managing Editor in procurement matters and in investigating additional revenue streams. Applicants should be able to demonstrate an understanding of planning and show how they could assist the Board in pursuing business and strategy planning. The ideal candidate will also be able to communicate via written and verbal means effectively. There will be scope within the role for the individual to pursue personal interest projects. Applicants should be prepared to commit at least 5 hours a week to the role during semester.
Senior Events Officer
The Senior Events Officer will work alongside the rest of the management team, including two events officers, to organise, coordinate and manage events run and funded by Woroni. The individual will work closely with the Managing Editor and the rest of the Board to plan events and ensure the administration work of organising events is completed effectively and in a timely manner. The ideal candidate will have significant experience in organising events, will be effective in both written and verbal communication and will be able to help manage a small team. The successful individual will be expected to commit an average of 6-8 hours a week across the semester.
Submit your application to join the Management Team here.
NEWS
Woroni’s News Team reports on the current affairs impacting the ANU community and students in particular. It is a fast-paced work environment where members of the team report on a variety of topics, ranging from student politics, changes to the University’s policies, to the Federal Budget. The News Team meets each week and everyone meets tight deadlines. It is a fun, closely-knit team that helps create excellent writers who work well under pressure. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroninewseditor@gmail.com.
News Reporter
News Reporters regularly write articles for Woroni News on events and issues that impact ANU students. They are expected to engage with campus life, write, on average, an article a week, and attend weekly team meetings. The role will also involve attending various events throughout the semester, like festivals, non-autonomous collective meetings, protests etc. News Reporters must be able to: write concisely and accurately; meet deadlines at short notice; pitch story ideas; work well in a team environment; and be confident in independently investigating issues further.
Senior Writer
The Senior Writer is a unique position, which focuses on feature-length articles that delve into the complexities and perspectives of an issue. They are expected to engage with issues on campus and to understand and summarise the voices of those involved, including students, staff and University management. The Senior Writer should excel in concise, articulate writing that can prioritise the human side of stories, going above and beyond just relaying the facts of a story. They should be able to produce polished drafts, and edit the drafts of other reporters, reliably meet deadlines, be confident in independent research, regularly pitch their own articles and work well in a team. The expectation is that, in a semester, the Senior Writer produces five articles. Experience in writing and journalism will be an asset, but is not necessary for this role.
Senior Reporter
Senior Reporters both write and edit articles. They are a senior-sub editor, meaning they take some responsibility for helping manage the News Team. In practice, this includes overseeing News Reporters writing articles, editing their work, and providing advice on specific issues. The workload of Senior Reporters varies from week to week, but usually consists of one article per week, and editing other reporters’ articles. Senior Reporters should be organised, capable of providing even-handed criticism, and capable of working with other people. Applicants with prior experience in student journalism and reporting are preferred.
Submit your application to join the News Team here.
RADIO
The Radio team runs Woroni Radio; ANU’s student radio. From scheduled broadcasts to one-off specials, there is a kaleidoscope of content produced by Woroni Radio. We are seeking passionate and energetic individuals for the role of Producer. A producer provides both technical and moral support to presenters throughout the semester. Producers and presenters will work together to create an engaging radio shows that airs on a weekly basis. They will also assist the Radio Editor with content production. This role is approximately 5-7 hours per week and no past experience is necessary as long as you are keen to learn and passionate about helping our presenters create quality radio content! The ideal candidate will be approachable, organised, responsible, reliable, a good communicator, a team player and a critical thinker. If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woroniradioeditor@gmail.com.
Submit your application to become a producer for the Radio Team here.
TV
The TV portfolio at Woroni produces video content ranging from videos about campus life, to news reporting, to short film. We’re looking for aspiring filmmakers, documentary presenters, screenwriters, news anchors, vloggers, and anyone interested in being behind a camera! All applicants must be willing to use or learn to use Adobe Premiere Pro, as well as commit to weekly meetings. People with any level of experience are encouraged to apply! If anything can be done to make the application process more accessible, or if you have questions or concerns, please do not hesitate to contact woronitveditor@gmail.com.
Production Assistant
Production Assistants are responsible for assisting the production of video content within a small team. The role includes responsibilities such as: developing video ideas, editing videos in conjunction with the team, and filming. This role is ideal for someone looking for a smaller commitment and to develop more basic skills in camera operation and editing.
Producer
Producers are responsible for driving the creation of video content. This will include: generating ideas and writing scripts if necessary, storyboarding, organising shoot logistics, as well as filming and editing while working closely with the team. Ideally, people applying for this role will have some experience of film production and editing.
Executive Producer
The executive producer’s role is to coordinate a production team, organise weekly meetings, and contribute to video development, as well as camera operation and editing. This role is ideal for someone with experience in film production and managing a team, who is able to manage a more significant time commitment.
Submit your application to join the TV Team here.
Woroni is hiring for 2023! Positions are available in our art, management, news, radio and tv portfolios.
It’s a bright day, warm and lazy. The kind where you might describe a nectar-gorged bee zig-zagging towards the hive in the park, though there aren’t many this year. Grandmother always kept a beautiful garden, and it’s taking full advantage of the sun this year. Brilliant colours line the flower beds. Lavender, rose, orchid, chrysanthemum, daffodil, and more sprout and bloom.
Boy walks along the path up to the house. It’s distinctive, awash with colour in an insipid street, in a neighbourhood full of yuppies and middle-aged couples one bad day away from a mid-life crisis, the threads of their lives unravelling before them. The path up to Grandmother’s house is red brick and curls up the lawn to the porch. The door is black and an old brass knocker in the shape of a fish is set into it. The curtains are open, in the room to the left of the door. Boy knocks on the door, and presently a pottering along the hallway on the other side is audible.
“Who is it?”
“It’s ______!”
“Oh! Your mother said you were coming!”
The door swings open, and Grandmother wears a light shirt and some simple trousers, looking as if ready to go to the garden.
“Come in, come in! I’ll put some tea on!” Grandmother’s voice is already trailing away as Boy enters the house and moves to the lounge room, sitting on a floral-patterned chair, with a small cushion.
“It’s so good to see you again! It’s been such a while! Most of the time it’s just me running myself around here.” Grandmother places down a small china tea set, and a plate with biscuits.
“Yeah … Sorry I haven’t come out to see you more often. Did Mother tell you why I came to see you?”
“When ______ called me? She said something about some sort of school project.” Clearly in Grandmother’s eyes could be seen the glint of curiosity.
“Well, we have to interview our grandparents about something. Kinda like chronicling the past, or what life used to be.” Boy paused. “And I think it would be good to do it now, before …” trailing off. Grandmother makes no indication of having heard this comment.
“Well then. Did you have any questions in mind? Or were you just planning to ask this on the fly?” Grandmother chuckled. “I’ve got a lot I can tell you.”
“Pick a favourite for me. An all-timer.” Boy set down a small tape recorder.
It was the middle of winter, before ______ met me, before I moved here. In that time, if you were lucky, it would snow, but more often we got these bitingly cold winds, sleet and hail and rain. You’d slide across the road in the car and fall flat on your a-, A pause. -butt, walking back from the shops. I remember one time I’d been sent by my own mother to get lard and soap, and I came home soaking wet after tripping and falling straight into a puddle on the way back. Anyway, that’s how it was then – I could give you a million more examples.
On one of these days, some friends of mine from back then, friends from high school, though of course then it was the done thing to leave high school early, so we couldn’t have been older than ______ is now. They’d wanted to see something new at the pictures … I can’t for the life of me remember what exactly it was called now, something scary, though. So, we’d gone in, me and a few girlfriends and maybe a boy or two … my memory is lacking there. A laugh. Anyway, the movie, it started off in this old house, derelict, you get the picture. These teenagers had broken in there, heard it was the local haunt of a ghost, and at first they hadn’t heard anything. There were a few fake scares – like the teens scaring each other or playing around with something in the séance. But, later on, things started to happen that they couldn’t shrug off anymore – it started with things seeming to move, or scraping noises from below … Hm? Oh, don’t worry, I’m going somewhere. I’m just trying to set a- a mood. Another laugh.
Anyway, this wasn’t a big budget movie, so it looked corny sometimes. It was still creepy, definitely, but it- it was pretty funny in some parts, to be honest. At this point, too, we’d still not seen … whatever it was, that was terrorising these kids. It was just noises and shadows and flashes. So, about halfway through, we were following one of the kids, they’d been separated from the group, and the house seemed to twist and turn and morph around them while they tried to navigate …
And then sitting in the cinema, we just heard this … low, rolling boooooooom. It’s so hard to describe the sound. It went through your body and out the other side and kept going. The building shook where it stood. At this point … we’d all forgotten about the movie in an instant. The theatre was … was nearly full, and there was a mad dash to get out the door, get outside, see what happened.
And outside, there was a billowing pillar of smoke rising into the sky, and a lurid orange and red glow, mixing with the sunset sky. Grey smoke was twisting up and mixing with the white clouds. You could start to hear sirens now, and some of my friends had already hopped in their car, to get a better look and …
I had stood outside the cinema, fixated on the smoke and fire, and some of my friends had also stayed … And then after a while, I don’t know how long we heard – didn’t see –
Grandmother stopped here.
“Are you okay?”
“Yes … yes, but, I think I will have to finish this one another time.”
The tape recorder clicks off.
Originally published in Woroni Vol. 72 Issue 2 ‘To Be Confirmed’
Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.