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The Ubyssey Sep 30, 2010

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 Liberating our food from the grocery store SINCE 1918
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* (
f 2/UBYSSEY.CA/E VENTS/2010.09.30
SEPTEMBER 30, 2010
Justin McElroy: coordinating@ubysseyca
ArshyMann: news@ubysseyca
Sally Crampton : associate.news@ubysseyca
Jonny Wakefield & Bryce Warnes:
culture@ubyssey ca
Anna Zoria: associateculture@ubysseyca
Ian Turner: sports@ubysseyca
Trevor Record :features@ubyssey ca
Geoff Lister: photos@ubysseyca
Virginie Menard: production@ubysseyca
Kai Green: copy@ubysseyca
Tara Martellaro: multimedia@ubysseyca
Stephanie Warren:
Matt Wetzler: video@ubysseyca
Jeff Blake: webmaster@ubysseyca
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Alex Ho opes
Kasha Chang
Austin Holm
Michael Haack
Greg Ursic
Kellie Hogan
Ginette Monaco
Ashley Whillans
Fabrizio Stendardo
Mandy Ng
Karina Palmitesta
Kait Bolongaro
Rhys Edwards
Ines de Sequera
Andrew Maclsaac
Olivia Fellows
Ginny Monaco
Anne Tastad
The Ubyssey is the official student newspaper of
the University of British Columbia. It is published
every Monday and Thursday by The Ubyssey Publications Society. We are an autonomous, democratically run student organization, and all students are
encouraged to participate.
Editorials are chosen and written by the Ubyssey staff. They are the expressed opinion of the
staff, and do not necessarily reflect the views of
The Ubyssey Publications Society or the University of British Columbia. All editorial content appear-
ng in The Ubyssey is the property of The Ubyssey
Publications Society. Stories, opinions, photographs
and artwork contained herein cannot be reproduced
without the expressed, written permission of The
Ubyssey Publications Society.
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University Press (CUP) and adheres to CUP's guiding principles.
Letters to the editor must be under 300 words
Please include your phone number, student number
and signature (not for publication) as well as your
year and faculty with all submissions. ID will be
checked when submissions are dropped off at the
editorial office of The Ubyssey; otherwise verification will be done by phone. "Perspectives" are opinion pieces over 300 words but under 750 words and
are run according to space. "Freestyles" are opinion
pieces written by Ubyssey staff members. Priority
will be given to letters and perspectives over free-
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must be received by 12 noon the day before intended publication. Letters received after this point wil
be published in the following issue unless there is
an urgent time restriction or other matter deemed
relevant by the Ubyssey staff.
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Society fails to publish an advertisement or if an
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Theatre at UBC presents the first of its
mainstage 2010-11 season, The Madwoman of Chaillot. Sweet madness ensues when an eccentric circle of Parisians plot to foil corporate plans that
will transform "The City of Light" into a
rubble-strewn oilfield. At once whimsical, poetic and comedic, this production
is a must-see. • Sept 29-Oct 9, 7:30pm,
at the Frederic Wood Theatre.
Micmacs is a new film from Jean-Pierre
Jeunet, the director of Amelie. The film
tells the story of Bazil, an ingenious salvage artist who ekes out a marginal existence in a scrap dump together with a
good-humoured and resourceful group of
misfits. • 7pm, Norm Theatre, $5 for non-
members / $2.50 for members.
ADULT BALLET with HELEN EVANS, highly experienced teacher—mat fitness workout and ballet barre.
At 7th Ave. Dance Studio, 1555 W. 7th Ave., and Kits
and Dunbar Community Centres. Consult Craigslist &
Kijiji for schedules. Call 604 732 5429 or evansgerry©
This talk focuses on the transformation
of the turntable from a playback device
to a musical instrument during the early
years of hip-hop. It will offer a framework for understanding the musical and
social bases for the turntable and demonstrate how hip-hop went from being a
performance practice to a musical genre
in its own right. • 5-6:30pm, Green College 6201 Cecil Green Park Road.
Frank Warren started PostSecret by
asking strangers to anonymously mail
him secrets on postcards. Half a million
postcards later, PostSecret has become
a worldwide phenomenon. Presenting to
packed houses around the country, Warren brings communication, compassion
and community to life. • 8-Wpm, Chan
Centre, tickets on sale via ticketmaster.
Come support your local vendors at the
AMS Farmers' Market. Products such
as honey, handmade soaps, 100 per
cent natural mineral makeup and organic
vegetables will be on sale. • 10:30am-
5:30pm, south side of the SUB.
OCT. 4 - 8
► Fine Art
Fantasy m
Wildlife •«
► Giant-Sized Posters
last day
Frames & Hangers <
► Film
► 1000s of Posters
Preparation Seminars
* Complete 30-Hour Seminars
* Convenient Weekend Schedule
* Proven Test-Taking Strategics
* Experienced Course Instructors
* Comprehensive Study Materials
* Simulated Practice Exams
* Limited Class Size
* Free Repeat Policy
* Personal Tutoring Available
* Thousands of Satisfied Students
K/1 ?^ C3?= CD UJE
We offer:
• Compact and portable
Hydrogen Storage
• MH lank Refilling Services
• Stackable PtbUuel Cells
We don't
have as much
room as
we used to,
but send us
your events
EDITOR ARSHY MANN»news@ubyssey.ca
ASSOCIATE SALLY CRAMPTON»associate.news@ubyssey.ca
Bus loop consultations underway
Campus community presented with three options
UBC is presenting students with
options for a new bus loop—and
none of them are underground.
UBC Campus and Community
Planning (CCP) has been holding consultations over the past
two weeks in order to collect
input from the UBC community regarding future transit options for campus.
This is a continuation of a process that began in March with
the Ideas Fair.
"I'm impressed by the participation we've had," saidjoe Stott,
the director of CCP. "It's right up
there with other successful consultations we've had on campus.
I think it helped that we started back in March with the Ideas
Fair—it was a chance to go back
to the drawing board and start
from square one."
AMS President Bijan Ahmadian was similarly pleased with
how consultations have been
"Students have an opportunity to give input, which is great,"
he said. "We had Campus and
Community planning in the
SUB, and they were in a very
prominent location with lots of
traffic. I know that lots of people
have been directed to fill out the
forms online so they can vote
on it and I've seen lots of posts
on Facebook so I know it's going around."
While CCP is presenting three
different bus loop options, Stott
made it clear that these were not
final options, but instead a way
But will the lines get shorter? GEOFF LISTER PHOTO/THE UBYSSEY
in which to gain input from the
campus community.
"We could have presented
variations on all three of the
options," he said. "We're trying
to look at options that had incorporated as much ofthe practical
input we received from the first
round of consultations. It's not
a vote and the final option may
borrow from all three."
He said that there are potential benefits and hindrances to
all three options.
"Option one is a way to make
permanent what's essentially
the status quo. We install trolley buses on University Boulevard and we free up Gage South
[where the current bus loop is]
by moving the buses a little closer to War Memorial Gym.
"Option two is a request to
get better coverage of the campus by having the regional bus
routes serve the western side of
the campus, and that we have a
two-node approach.
"The final one was to think
more fundamentally about a transit terminal and see if we couldn't
do it in a more urban approach,
the same way you would in Downtown Vancouver for example.
"We'd use the streets as the
terminal, so essentially we're
taking the trolleybuses and installing them on University Boulevard, and we're taking the die-
sel buses and replicatjmg] the
facilities that they have now, but
stretch it down Wesbrook Mall."
Ahmadian said that although
the AMS does not have an official preference for any ofthe bus
loop designs, they have made
it clear that any design should
focus around the new Student
Union Building.
"We have spent a lot of time
and energy [planning] a world
class Student Union Building,"
he said. "We want this building
to be the crown jewel of campus
and to be the point of arrival
for students and for everybody
when they get off the bus."
Stott said that the SUB renew
project, alongside with the building of a new alumni centre in the
same area, will all have to be taken into account after the designs
for the bus loop are finalized.
"One ofthe problems with the
transit terminal is there are a
number of other initiatives at play
right now, including the Student
Union Building and the Alumni Centre, and we have to bear
in mind that what we see on the
ground is going to change," said
"We need to make sure when
we provide better facilities for
the transit riders to and from
UBC that it's integrated into a
whole, rather than sort of a disjointed approach." ^J
UBC students take home an Emmy
coordinating® ubyssey.ca
UBC journalism students and faculty have won an Emmy Award
for a documentary that investigated the effects of electronic waste
shipped to other countries.
"Ghana: Digital Dumping
Ground," is a PBS documentary produced by UBC Journalism students and faculty, and
was the winner ofthe Outstanding Investigative Journalism
in a News Magazine award at
the 2010 News and Documentary Emmy Awards in New York.
The program, shown on Frontline/World, defeated documentaries that aired on 60 Minutes,
Nightline, and 48 Hours Mystery.
The award marks the first time
students at a Canadian journalism school have won an Emmy.
"It's awesome," said Dan
Haves, one often UBC Journalism students who, due to being
a co-producer on the documentary, is now an Emmy winner.
"We found out an hour ago, we
didn't expect to win, we're super thrilled that we did."
Haves, who was Multimedia
Editor of The Ubyssey in 2008,
was in the school's International
Reporting class, which is taught
by Peter Klein, a former producer at 60 Minutes. Each school
year, students produce a long-
form documentary, which is
funded through a $1 million
gift from the Mindset Social Innovation Foundation. The foundation funded "Ghana: Digital
Dumping Ground," for which
students travelled to China, India and Ghana in 2008.
Mary Lynn Young, Director of
the UBC Graduate School ofjournalism, said in a press release,
"Winning these awards early in
their careers will give these students a tremendous leg up, and
reflects the quality ofjournalism students and faculty at UBC."
Haves seconded the notion.
"For all of us, we graduated in
one of the tougher times in the
industry...something like this
award may validate choosing to
get involved in the first place."
But hours after winning the
award, Haves is content to ask
simpler questions.
But will the lines get shorter? GEOFF LISTER PH0T0/THE UBYSSEY
"One: Do we get a trophy?"
he said. "And two, where will I
put it?" U
The full list of students includes Shira Bick, Ian Bickis,
Krysia Collyer, Allison Cross,
Heba Elasaad, Dan Haves, Do-
erthe Keilholz, Jodie Martinson, Dan McKinney, Blake Sif
ton and Leslie Young.
Levy decries
Israeli occupation
"We must believe there is a light
at the end of the tunnel, even
though it might be the light from
the train in front of us."
So said controversial Israeli
journalist Gideon Levy to about
three hundredpeople on Sunday
night at UBC's Wesbr ook building.
Levy, an award winning journalist for Haaretz, Israel's largest
newspaper, and the son of Holocaust survivors, was in Vancouver on the last leg of his Canadian tour to promote his new
book The Punishment of Gaza.
The book is a collection of his
articles from 2006 up until last
year about the Israeli-Palestinian conflict.
Levy, who referred to himself
as "an Israeli patriot," spoke for
nearly an hour about what he believes are the injustices taking
place in the West Bank and in Gaza.
"I realize there is almost no
one who wants to hear this story," he said.
Levy was jovial throughout
his talk, at one point recalling
a girl who had approached him
and said, "You look so much older in life than in the poster."
Yet his speech had a dark undertone. There were moments
of shock from the audience, such
as when Levy said about Israel
that he "cannot recall one occupation that the occupier feels so
good about themselves." He also
claimed Israel is brainwashing
its citizens through its education system.
Levy said that "the responsibility [for peace] is on the occupier, not the occupied. When a
thief steals your car, the thief
is not in a position to put conditions on returning your car."
At the end of his speech, most
of the audience rose to its feet
to applaud Levy.
The event was organized by
Solidarity for Palestinian Human Rights (SPHR), an AMS
club, in collaboration with Canadians for Justice and Peace in
the Middle East (CJPME).
Omar Shaban, president of
SPHR, said he was happy with
the turnout, considering that
the event took place on a Sunday night. Shaban claimed that
people came from as far out as
Surrey, Coquitlam and Burnaby
to attend.
Reaction to Levy's presentation was mixed, however.
"I found it to be pretty inspiring that there's somebody in Israel taking these measures," said
Daniella Shovitz, a UBC student.
However, Patjohnson, director
of programming for Vancouver
Hillel Foundation, thought Levy
placed too much blame on Israel.
"Mr Levy's perspective lacks context ofthe historical situation that
has led to the ongoing conflict,"
he said. "It is not fair to place all
ofthe blame on one party."
Hardeel Khadper, a Palestinian Muslim, said he appreciated
Levy's perspective on the issues.
"He wasn't trying to find a
solution...just [saying] that a
solution needed to be found
and he presented it from the
perspective of an Israeli citizen,"
Khadper said, tl 4/UBYSSEY.CA/FILM/2010.09.30
GUEST EDITOR GREG URSIC»gursic@ubyssey.ca
Lights, camera, action
Judging by
the plethora of film festivals in Vancouver, including DOXA, the
Queer Film Festival, Whistler
Mountain Film Festival and,
of course, the granddaddy of
them all, VIFF (not to mention
a half dozen smaller festivals)
it's obvious that Vancouverites
love their films. And owing to
our proximity to Hollywood and
the number of films that are
shot here (as noted by the ubiquitous fluorescent arrows posted around the city), it goes beyond mere interest.
Aside from a mini rush in
the film industry in the 1930s,
itwas the creation of tax incentives in the 1970s that led to
a boom in film productions in
Vancouver and our title as Hollywood North. Butwhatwas once
just cheap film production naturally led to a growth in film-related industries such as stunt
schools, increased enrollment
in film programs and a thriving
special effects industry. Not surprisingly, with a wealth of local
talent, professional crews, excellent locations and burgeoning
service, industry productions
keep coming back, despite the
rising Canadian dollar.
This supplement provides a
behind-the-scenes look at the
people that make the magic
happen and are keeping film
in Vancouver alive, from an interview with a stuntman, to an
interview with a UBC alumna
whose documentary made a
huge splash in 2009. We'll also
be looking at the growth and accessibility of local filmmaking
made possible by the ubiquity
of digital film cameras (heck,
mostpeople have them on their
phones these days), as well as a
look at VIFF's evolution from a
one-venue festival into the fifth
biggest festival in North America and the man behind it.
So ifyou want to find out more
about the film industry or just
need a break from calculus, keep
reading. tl
VIFF: behind the curtain
With the dog days of summer
but a fleeting memory, most Vancouverites are grumbling about
the approaching dark and damp.
But for moviegoers, the turning
ofthe leaves means the Vancouver International Film Festival
(VIFF) is on its way. Now in its
29thyear, VIFF, which runs from
September 30-October 15, will
host over 600 screenings of 359
films from around the world on
every imaginable topic (well, a
lot, anyway.) And it's the result
of one man's quest for "quality" cinema.
Leonard Schein, currently the
operator of Vancouver's Festival
Cinemas (The Ridge, The Park
and Fifth Avenue Cinemas) and
the Board Chair of the Canadian Cancer Society, has been active in both the art and business
communities and as a philanthropist for decades. Yet no matter how busy he gets, he's always
found time for films.
"I grew up in Hollywood," he
explains, "and saw great movies
on campus all the time when I
went to Stanford."
While working on his Masters degree at the University
of Saskatchewan in the early
70s, Schein's interest turned to
"I started a film club there
and...showed movies by Fellini, Kurosawa and old Hollywood
movies like Casablanca."
When he moved to Vancouver, where as a registered psychologist he took on clients and
taught psychology at three colleges, something was missing.
"There were very few movie theatres that showed what
I considered quality films," he
laments, "and I missed all the
good films I used to see."
Most would simply grouse
about it, or, if particularly motivated, dash off a letter to one
ofthe local theatres. Not Schein.
"I thought one way to see good
films was to open up my own
movie theatre," he says. So in
1978, at the ripe old age of 30,
he assumed the lease for The
Ridge. Knowing nothing about
running a theatre didn't dissuade Schein, as "...part ofthe
deal was that they trained me
how to be a projectionist."
Schein added several more
theatres, then took the next step.
One of the screens at the Vancouver International Film Centre. COURTESY OF VIFF
"I had been to the Seattle and Toronto film festivals and thought
Vancouver was ready to have
one too."
He approached Telefilm about
funding and they informed him
that "...there were enough festivals in Canada and if people in
Vancouver wanted to go to a festival they could go to the one in
Toronto." He chuckles, "Apparently they didn't have an idea
how far Toronto was from Vancouver." So once again, Schein
took matters into his own hands.
He contacted his friends at
SIFF and arranged to bring up
prints from Seattle, "so originally our film festival followed
theirs [in May]."
Despite a complete lack of
sponsors, Schein took the leap,
holding the first VIFF in 1982.
"We had 39 films at the first
festival at The Ridge and attendance was really good," he
notes happily. "The Ridge basically subsidized [VIFF] for the
first several years, butfromthe
first one on we were able to pay
all the bills." From the start,
the festival was so successful
that "it was never a financial
Schein shepherded the festival for the next three years, expanding it to multiple screens,
including premieres for Canadian films and inviting guests
like Paul Verhoeven and Sidney
Poitier. Although Schein went on
to work at TIFF and the Montreal World Film Festival, he clearly influenced those around him,
including VIFF's current director, Alan Farney.
"Alan worked at The Ridge theatre right out of high school, doing concession, box office and
worked his way up. I was on the
board that hired him in 1988."
For his work in cinema,
Schein received the Canadian
Picture Pioneers lifetime service award this year. "It was a
surprise to me because I didn't
think of myself as being that
old," he laughs, adding, "but
now that I've been around for
32 years with the industry and
have been involved with the industry as a distributor, an exhibitor and film festivals, it's a
nice award to get."
Schein's petprojecthas grown
into one of the top film festivals in North America. Since
its inception, VIFF has screened
11,000 films for 3,000,000 fes-
tivalgoers and is renowned for
its programming and forums.
Schein, too, is proud of what he
hopes will be his legacy: "that
I helped bring quality films
and speciality Alms to Vancouver both with the VIFF and the
theatres I've operated over the
years." tl
It's one of the top five film festivals in North America, with annual attendance of 150,000. VIFF
shows more Canadian films than
any other film festival.
The Dragons and Tigers Series
is the largest exposition of East
Asian films outside Asia.
The Non-Fiction Series, Hot
Docs, is the largest of any non-
documentary-specific festival.
The Vancouver Film & TV Forum, which allows attendees
ton meet and brainstorm with
industry professionals, is one
ofthe largest in North America.
VIFF will  be screening on
ten screens at the following
Empire Granville 7
Pacific Cinematheque
Park Theatre
Vancity Theatre
The Vancouver International Film
Tickets are $12, $10 for matinees and a student 5-pack is
$50. For details on tickets and
films check-out www.viff.orgor
dial 604-683-FILM (3456).
Picking your class schedule is
child's play compared to the labyrinthine machinations required
to ensure thatyou see as many
films as humanly possible in the
16 days allotted. Ifyou just show
up for a random screening, you
might find yourself in the Kazakh remake of Gigli, and no one
deserves that. A good starting
point is the film synopses online
at www.viff.org which are broken down by genres and series
and are searchable. You can also
avail yourself of the extensive
coverage in The Lfoj/ssej/orpick
up one of the local papers. Once
you've picked some potentials,
check out when they're screening and where and make a list.
All the venues are easy to get
to on transit: just grab a #17 or
#4 downtown and get off at the
nearest cross street. For the
Park, you can either go downtown and catch the Canada Line
to King Edward and walk several blocks, or grab a 99 B-line and
get off on Cambie and grab the
Canada Line. You could also wait
for the Cambie bus at Cambie
and Broadway: it will drop you
off closer to the theater, but it
runs infrequently.
If you're viewing three or more
screenings a day—Xtreme Movie Viewing, as we veterans like
to call it—pretend you're planning for an 8 hour flight. Lulule-
mon sweats or relax fit jeans are
a good choice; you re going to be
in the dark anyway, right? You'll
also want to layer, because while
it may have been sunny when
you left the house, you might be
greeted by a torrential downpour
on the way home. A small umbrella is also a good idea.
If you're settling in for a marathon session, food becomes
a concern. There's always the
concession stand, or if downtown, the many local eateries
within walking distance. Theatres are also a tad more relaxed about outside food during
the festival; you might want to
consider bringing some snacks.
Use small, easy to open reusable containers carried in
a backpack. Avoid using plastic wrap or anything crinkly
that sounds like chipmunks
on speed: these could incite
violence. And subtlety is the
key here, people: do not stand
by the entrance to the theatre
chomping on your peanut butter and sardine sandwich, or
ask the concession stand if
they can heat up your burrito—they will not be amused,
and may well ask you leave.
Finally, cell phones are considered the Devil's devices by fes-
tivalgoers and they are far less
tolerant than regular moviegoers. If your cell rings, expect to
be yelled at by several people
until you turn it off. And don't
even think about texting. Unless you are a doctor on call or
enjoy being the object of scorn,
turn it off before you go in. tl 2010.09.30/UBYSSEY.CA/FILM/5
A labour of love: Nimisha Mukerji talks docs
Only four years after graduating from UBC's Film Production Program, Nimisha Mukerji has made a name for herself
as one of Canada's emerging
young film talents.
"[UBC] was a really nurturing
environment to work in; the program has a strong community
feel," said Mukerji.
She credits her graduating
project—a narrative short entitled Scattering Eden—with instilling the confidence she needed to succeed in the film industry. Nimisha said it was "really
helpful to have the experience
of getting all the way through
a project, in every aspect, from
production to shooting.
"It was nice just to have a
short film like that completed
in your arsenal, especially to
have that confidence when you
are out there on your own in the
industry, with people looking at
you, questioning your abilities."
At last year's Vancouver International Film Festival, Nimisha showed her film 65_RedRo-
ses, which she produced and co-
directed with fellow UBC alumnus Philip Lyall. The documentary follows Eva Markvoort, a
young woman with cystic fibrosis, as she waits for a double-
lung transplant and blogs about
her experience under the screenname "65_RedRoses." Following
Eva's death earlier this year, Nimisha repurposed the official
website for 65_RedRoses to encourage organ donation and began self-distributing the DVD
Eva Markvoort, the subject of Nimisha Mukerji & Philip Lyall's 65_RedRoses. COURTESY OF NIMISHA MUKERJI
online, with a portion ofthe proceeds contributed to the movement Eva Markvoort created for
organ donation.
This year, Nimisha will be
pitching her new project, a cinema verite documentary entitled Blood Relatives, shot on location in Mumbai, India, along
with other local filmmakers. The
broadcasters they will be pitching to include Knowledge Network, PBS and the BBC, among
others, at Storyville, a new initiative at the VIFF Film and Television Forum.
While working on Blood Relatives in Mumbai, Nimisha stumbled upon her first hurdle as
a woman in the film industry
when she encountered resistance from an all-male Indian
film crew. Nimisha, determined
not to give up, learned how to
use any perceived weaknesses
to her advantage.
Nimisha spoke about the fast
learning curve she went through
with criticism in general, being
in such a public industry. She
was surprised to have her postgrad film 65_RedRoses win so
many audience awards at film
festivals across Canada and
the United States. In particular, she counts her win at Banff,
where they beat out all the other
genres at the festival, as a huge
"To cross the boundaries of
narrative and documentary film
is very difficult," she said ofthe
win. "You hope andyou pray for
the public to love whatyou make,
but you certainly never expect it.
"You have a responsibility as
a documentarian to emotional truthfulness and integrity,
because you're dealing with real
people; these are their real lives."
Nimisha said thather job is to
ask responsible questions, but
she feels that the most important thing is being able to listen.
"You have a
responsibility as
a documentarian
to emotional
truthfulness and
integrity, because
you're dealing with
real people."
"Tell the story in the best way
you can, so that [the audience]
emotionally invests in what they
are watching," she said.
Nimisha especially enjoys the
opportunity to meet new people and get into the nitty gritty
details of their lives. She noted
the importance of letting your
subjects open up without feeling judged or interrupted when
documenting their lives.
"It's so rewarding to translate
the bond you form with each
person onto the screen so that
the audience can feel that same
bond," said Mukerji.
"I love that mutual investment that exists solely in documentary filmmaking." va
SEP 3D - DCT 15. 2D1D
Russian Lessons (Russia, 111 min.)
When war erupted betweci3 Russia and Georgia in 2008, filmmakers Olga
Konskaya and Andrei Nekrasov shot both sides of the conflict and swapped
their footage to reveal that the first casualty of war is, of course, truth. A stunning act of journalistic courage and a powerful indictment of the brutality of
modern warfare. <RUSSI>
Thu. Sep 30, 9:00pm, Cinematheque
Sun. Oct 3, 1:30pm, Vancity Theatre
Revolution (Mexico, 106 min.)
"Made to mark the centenary of the
Mexican revolution, [this] surprisingly
cohesive omnibus... features shorts
by 10 directors [including Carlos
Reygadas and Gael Garcia Bernal| that
generally augurs well for the future of
Mexican filmmaking... A subversive
streak throughout obliquely questions
what the revolution achieved and what
its legacy is today..."—Variety <revol>
Thu. Sep 30, 1:00pm, Granville 7
Tue. Oct 5, 9:30pm, Granville 7
The Man from Nowhere
(South Korea, 119 min.)
A big summer hit in Korea, Lee Jeong-
Beom's terrific action-thriller marks Won
Bin's transition from "kid-brother" roles
to centre-stage. He plays a Bourne-like
special agent who comes out of a traumatized retirement to battle druglords and
organ harvesters... and to rescue a nightclub dancer and her daughter.    <MFR0M>
Fri. Oct 1, 3:15pm, Granville 7
Mon. Oct 4, 10:00am, Granville 7
Wed. Oct 6, 6:20pm, Granville 7
The Sleeping Beauty
(France, 82 min.)
Once upon a time, in a kingdom far far
away, a film auteur named Catherine
Breillat turned a classic fairy tale upon
its head. Charles Pcrrault's famous
story of Princess Anastasia, three fairy
godmothers, a spinning wheel, and an
evil curse is reinvented as a symbol of
adolescent sexual awakening.   <SLEEP>
Sun. Oct 3, 6:40pm, Granville 7
Wed. Oct 6, 10:30am, Granville 7
Thu. Oct 7, 4:15pm, Granville 7
Snow & Ashes (Canada, 105 min.)
Blais Dumas, a war correspondent,
awakens from a coma in a hospital
room to find that his collaborator
David has not come back with him. In
Charles-Olivier Michaud's award-winning debut feature, the story slowly
unfolds in a series of flashbacks that
shed light on the events that led to
David's disappearance... <SNASH>
Fri. Oct 8, 9:30pm, Granville 7
Sun. Oct 10, 10:45am, Cinematheque
King's Road (Iceland, 93 min.)
"Set in a bedraggled trailer park in
rural Iceland, populated by a bunch
of goofballs, eccentrics and sad sacks,
|Valdis Oskarsdottir's] film could be
taken as a penetrating satire of all that
went wrong in that country's financial meltdown as much as a genially
whacky little romp."—Hollywood
Reporter <KINGS>
Sat. Oct 9, 4:00pm, Granville 7
Tue. Oct 12. 6:45pm. Granville 7
Winds of Heaven (Canada, 87 min.)
Subtitled Emily Carr, Carvers, and the
Spirits ofthe Forest, this is a must-see—
possibly one of the best films ever made
about our province, these forests, and
our history as newcomers. Few of us
were as sensitive as Emily Carr, and no
one has interpreted this place more profoundly in their art. Hats off to director
Michael Ostroff, cincmatographcr John
Walker, and everyone involved in this
project; it is, for us, a very important
story well-told, ai3d surely for everyone,
a sight to behold. <WIN0H>
Sat. Oct 9, 6:30pm, Granville 7
Sun. Oct 10, 4:00pm, Granville 7
Wed. Oct 13, 1:00pm, Granville 7    9
Inside Job (USA, 120 min.)
This will probably be the most
high-profile and important film on
the recent financial crisis. Charles
Ferguson (No End in Sight) makes the
dizzying Byzantine complexities—and
who's to blame—explicitly clear in
riveting and angering fashion. You will
not believe what you will hear spokei3.
Sun. Oct 3, 4:00pm, Granville 7
Fri. Oct 8, 6:45pm, Park
Sun. Oct 10, 4:20pm, Granville 7
Film Infoline: 604.683.FILM
Find a Program Guide
location atVIFF.ORG
Visa Advance Box Office
Vancouver International Film Centre,
1181 Seymour St. (Noon-7pm)
Visa Charge-By-Phone Line:
604.685.8297 (Noon-7pm)
VIFF.0RG (24hrs)
Adult SI 2
Weekly Matinee S10
Senior $10
Passes & Discount ticket
packages available
Digital film: from cameras to cell phones
Anyone can make a film, but will you be heard above the noise?
"To talk about having a digital
camera is like saying 'I've got
an electric telephone.'"
So says Chris Gallagher, an
associate professor with the
UBC Film School. For Gallagher, the shift from analog to digital that occurred more than
a decade ago is very much old
news. The UBC Film School has
been teaching digital technologies for years, and the heavy
cameras and film reels of old
have not been kept around for
anything more than nostalgia.
"Every once in a while we
reminisce on how things used
to be done," says Gallagher. "It
just seems so incredibly awkward and quaint."
While the technology itself is
certainly old news, the implications of cheap digital equipment
are still something the industry
and filmmakers are pondering.
Anyone with a shoestring budget and a little bit of drive can
make a film for the big screen.
For a medium that for so long
relied on scarcity, it's a major
shift that has yet to arrive at a
status quo.
"Images come cheap these
days," says Alan Franey director ofthe Vancouver International Film Festival (VIFF). "You can
shoot an image that will look
fantastic on the big screen on
a camera that costs less than a
thousand dollars."
Or even cheaper. "We've
shown films [at VIFF] shot on
cell phones," he adds.
Franey admits that these cell
phone programs, which are in
vogue at many film festivals
around the world, rely a bit too
heavily on what he calls a "gee-
whiz factor." But while some
of these DIY films are novelty acts, Franey argues many
amateur works are surprisingly good.
"[Low budget film submissions to VIFF] are not all garbage just because [they] didn't
cost a lot," he says. "I would
have thought the more people
making films, the lower the average would be. But, in fact, I
think there's just a lot more interesting films being made."
Gallagher says cheaper technology has led to an explosion
in niche films. "Film doesn't
have to be all things to all
people," he says. Franey says
he saw a similar trend when
35mm film became affordable.
VIFF gets more and more submissions everyyear.
"Between the two dozen of
us seeing films for the festival,
we see several thousand [before we] select the final list."
That's not so bad for someone
who's paid to watch films, but
Franey worries about the effect of this trend on the general public. "The problem is
that a lot of those interesting
films will never find an audience. It's scary when you can
make a really fabulous film
and no one sees it."
Gallagher adds that this fragmentation is in many ways a
positive trend from a filmmaking stand point. "The interest
groups are much smaller and
more fragmented and it's possible now to make a film about
a very specific topic...and somehow get it to people who share
those interests," he says.
This trend has given rise to
many niche or culturally specific film festivals, like Vancouver's DOXA Documentary Film
Festival, the Queer Film Festival and the Asian Film Festival.
"[The film festival business]
has become quite a money machine in some ways," says Gallagher, due to the sheer volume
of films out there looking for an
"You could start your own little film festival and charge a
hefty entry fee and you'd still
get thousands of entries, because people want their films
to be seen." Web services like
withoutabox.com, an application
submission service for film festivals, have been very successful in linking film makers to the
thousands of festivals out there.
Gallagher and Franey contend that while the volume, genre
and accessibility of films have
changed tremendously in the past
tenyears, good filmmaking still
relies on a few fundamentals.
"You're not going to make a work
of art unless you know what you're
doing," says Franey. tl
There has been a complete revolution in the both the number
of festivals and the diversity of
genres being produced as vast
advances in film technology
have brought in a much greater talent base.
"Before, when you were
shooting on film, itwas more
like a ratio of $1000 a minute,"
said UBC Film Production student Tyler Funk. "Now, digital
SLR [cameras] have changed
a lot of things... we shot an indie feature this spring, and on
that we spent $5000-6000."
When a full-length, professional-quality movie that once
would have cost tens of thousands of dollars can now be
made for a price comparable
to one year's UBC tuition, it's
easy to see why more people
are able to get into film. With
a borrowed camera and some
editing software, anyone can
produce a short film for next
to nothing. With the increased
number of participants comes
the creation of many new film
festivals, each catering to a
different area of the rapidly expanding film scene. Below are a few of the Vancouver-area favourites:
After submitting a five-minute video pitch of a short film
idea, successful teams compete to convince a panel of industry professionals to produce
their short. In the process, the
12 finalists get to work with
a CBC story editor to further
develop their project, and the
top six are awarded a production package containing everything they need to make their
film and a premiere screening
in front of Vancouver film industry professionals.
With the goal of showcasing
both student and professional
Digital camera technology has made it possible for some to make films on their cell phones. GEOFF LISTER PH0T0/THE UBYSSEY
talent in the same festival,
VSFF hopes to "build ties between emerging and established filmmakers, allowing
BC's film industry to grow and
flourish." The festival accepts
submissions up to 15 minutes
long, and presents awards in
both student and professional
www. celluloidsocialclub. com
Based out of the ANZA Club,
the CSC is a Vancouver organization whose goal is to help
filmmakers screen their completed works to an audience
and get feedback in a social
setting. Through this mandate
the organization acts as host
to a number of niche festivals:
Vancouver Film Race, Blood-
shots and Hot Shot Shorts.
The local branch of a international competition started in
New York City. Film Racing is
a frantic, caffeine-driven sport
wherein competitors are given
24 hours to create a four minute film on based a set of criteria, including a theme and a
surprise element revealed at
the start of the race.
www. my space, com/
Similar to the Vancouver Film
Race in that there is a time
crunch, but differing in that the
race time is 48 hours, and each
team is given a horror subgenre,
prop, and line of dialogue that
must be used to create a two-to-
seven minute horror film.
www. celluloidsocialclub. com/
A contest run directly by the
Celluloid Social Club, Hot Shot
Shorts provides sponsorship
to a winning script submission up to ten pages in length.
The winning script is provided
with approximately $30,000
in services to allow the submitting team to produce a final product for entry into major film festivals.
The recent growth in the number of film festivals has not
overlooked the cultural diversity of Canada.
The following are just a few
such festivals in the Vancouver area:
www.vsf i I mfest. com
www.twff.ca 2010.09.30/UBYSSEY.CA/FILM/7
Stuntman Steven Chang is the world's toughest landlord
It's safe to say that my landlord
could beat up your landlord. Unless your landlord also happens
to be trained in hapkido, karate,
kung fu toa, kickboxing, jiu jit-
su, krav maga and tae kwon do.
His name is Steve Chang, and
he managed to turn an athletic
background and a thrill-seeking
hobby into a career as a stunt-
man. He has been working in
the business for six years now,
and in that time Steve's worked
with some high-profile people on
some big-name projects.
UBYSSEY: What made you decide
to get into stunt work?
STEVE CHANG: When I was in high
school I used to joke about it... I
used to drive around, crawling
on top of the car while a friend
of mine would hop into the driver's seat. I would climb out the
back and over into the passenger's side. This was when I was
like 16, 17. I'd always liked it, but
I never knew how to get into it. It
wasn't until manyyears later...
U: I guess it helped growing up
in Los Angeles?
SC: Oh yeah. Definitely. They say
it's all about who you know. That
definitely holds some truth.
U: What was your first stunt job?
SC: Itwas on this show called For
The People with Lea Thompson.
I think I worked for four hours
and it was the easiest, easiest
day of work. I just had to shoot
a fake gun and fall down, you
know, because the cops are chasing me. I was like, "Oh my god,
this is the best job in the world!"
U: And what have you worked on
most recently?
SC: Transformers 3.1 just shot that
over the summer in LA. I was
doubling Kenjeong. He's a super
smart guy and he's a comedian.
Steven Chang on the set of Tropic Thunder. COURTESY OF STEVEN CHANG
Really down to earth. So yeah, I
get beaten up. I go through a window out of a building.
U: I know you worked on Tropic Thunder. There's a scene in
that movie where they blow up
a whole section of jungle and
the cameras aren't even filming. Do you ever feel any pressure to get the scene right the
first time?
SC: Some of those shots, they're
over $100,000, that one shot.
But it's the time too. It's not
the most practical thing. On
Indiana Jones [and the Kingdom
of the Crystal Skull], I mean,
Stephen Spielberg basically
writes his own ticket. There's
one scene I was working on in
that movie, and he just didn't
get the shot he wanted. We
came back to it for a couple
days and you're thinking how
many thousands of dollars, six
pictures per day, just to get
one shot.
U: You've worked with some
SC: Yeah. Steven Spielberg, obviously. Clint Eastwood, Academy
Award winner and Hollywood
icon. Just recently on Transformers 3,1 worked with Michael Bay.
He's probably the biggest action
director out there.
U: Sometimes it's just as much
acting as it is stunt work. You
have that hilarious scene in
Blades of Glory.
SC: I missed some work on Heroes [Note: Chang doubled Masi
Oka, who plays Hiro Nakamura
on the show] because of that job
but it was just hilarious watching those guys work. The whole
domino thing, when Will Ferrell head butts Jon Heder and
Jon Heder bumps into me then I
bumped into the lady. That lady,
her name's Jeannie Epper, she's
one ofthe legends. She was Wonder Woman's stunt double.
U: Are there many stuntwomen?
SC: Oh yeah. There's a lot of
great ones out there. Everyone respects stuntwomen because they're in miniskirts and
high heels. They don't get to
pad up as much. Lot of respect
for those women.
U: So what does it take to get
into the stunt business?
SC: This business is about longevity. You are the product, so
you want to keep up with your
skills. I would say, right now,
the basis to do stunts is an
athletic background. It's that
body dynamic, gymnastic or
martial arts that you've got
to have, tl
Big-budget filming on the rise in BC
Not everyone dislikes the HST.
When prices went up for almost everything else, the cost
of filmmaking went down.
BC Film Commissioner Susan Croome says that the HST
"leveled the playing field."
Productions in Ontario and
Quebec were already receiving tax exemptions, and now
that a similar policy is in effect
for British Columbia, American studios are rediscovering the benefits of filming in
According to the Commission's internal film list, a count
of productions that are notpub-
lically registered, there are 36
shows currently taking advantage of what "Hollywood North"
has to offer. This number is
up from the 27 filming at this
time last year. Most of these
film productions are for television series from major networks in Los Angeles.
The film commission is responsible for showcasing British Columbia to producers
globally, nationally and locally It's not a difficult pitch to
make. "It's a great production
hub. We have over 1000 feet
of studio space, diverse geography, fantastic cast and crew,
animators. It's also a very livable city."
Despite the current influx
of foreign business, domestic
productions are in decline.
Croome points to the recent
downturn in the economy and
the fact that most Canadian
broadcasters are located in Ontario. It is unclear exactly how
many Canadian productions
will return to Vancouver or
what will draw them back, but
Croome is optimistic. "We're
hoping we will see that side
ofthe business grow."
With the new tax incentives
in place, there is no reason the
increase in international productions will not continue. BC's
climate and geography have
proven to be very flexible over
the years.
"The studios wanted to be
here," says Croome. "We're close
to Los Angeles and [BC] can be
anywhere. It's New York, it's Seattle. Ifyou want Antarctica, you
go to Prince George. The Okanagan can be the desert, wine
country. Parts of Twilight were
shot in Torino. Our fabulous geography is what got us into the
game in the first place—and our
talented, talented people." tl
From Battlestar Galactica
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to The Stepfather, UBC
has hosted a slew of films
N. ^_^ -Jhr**"        WB
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sey reported that the uni
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fect on the university
and its reputation, and
must not be disruptive
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ing filming before they
are approved. The ma
jority of films on cam
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ever, approved films by
UBC students have their
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a portion of these reve
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nues go to the depart
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ments of Film Studies
and Film Production, tl
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w *
A scene from X-Men Origins: Wolverine, which was filrr
—By Trevor Record, with
UBC campus in 2009. This culminated with an explosive
shot out-
files from Sophie Raider
ASSOCIATE ANNA ZORIA»associate.culture@ubyssey.ca
Riffin' off VIFF: The first batch of reviews
Hot 'n' buttered
Half Empty?
VIFF is in town. Now is your
chance to take in some of the
freshest films out there. Not
sure where to start? The Ubyssey's intrepid team of cinephiles
has been attending press screenings, taking in films at ungodly
hours ofthe morning so you don't
end up seeing a stinker.
Stay tuned for reviews throughout the next two weeks. Enjoy the
It's hard to pick the most heartbreaking scene among the many
in Davis Guggenheim's Waiting
for "Superman."The Inconvenient
Truth director's latest documentary tackles the broken US education system, focusing on five families with good kids close to falling through the cracks. During an
interview, Guggenheim asks Anthony, a kid from Harlem, why he
hopes he'll get into a competitive
magnet boarding school in his
neighborhood. Anthony pauses
for a moment. "I want my kids to
have better than what I have," he
replies. Anthony is tenyears old.
Guggenheim's is an ambitious
project, but one that he tackles
with humanity and authority. The
film is a sweeping narrative covering the past half century of the
US education system, touching
on such broad topics as teachers' unionization and the shift to
a post-industrial economy. Guggenheim then turns the camera
on the end result of an education
bureaucracy that has failed to
modernize: the "rubber rooms,"
where tenured teachers spend
years playing cards at full pay
awaiting hearings; the magnet
school lotteries, where a bingo
ball determines if a kid will go to
a good school or a "dropout factory" where they'll most likely end
up in prison.
Superman emphasizes the humanity of an issue thatcouldhave
been tackled from a bureaucratic or political standpoint. Kids
like Anthony are the perfect foil
to the teachers' unionists that
Guggenheim bluntly sets up as
boogiemen. In the end, the film
and its message are overwhelming—but necessary.
—Jonny Wakefield
Directed by Emmy winner C. Scott
Willis, The Woodmans is a fascinating look into the lives of a
family of artists: George, an abstract painter, Betty, a cerami-
cist, and their children, Charles,
a video artist and Francesca,
one of the 20th century's great
"Art is about remembering,"
says Betty, and that's exactly what
this film is about. In a series of
intimate interviews, with the
camera zoomed in uncomfortably close, the family remembers
Francesca as she grew into herself as an artist.
It opens with a video of Francesca, naked behind a sheet of paper and writing her name. You
can hear George and Betty Woodman's voices reminiscing about
their daughter before her tragic
spiral into depression.
These interviews, along with
the seamless integration of her
photos, experimental videos and
private journal entries, make for a
haunting insight into the troubled
mind of their daughter. Today,
Francesca is a world-renowned
photographer, but her success
only came after her suicide, an
event thatlefther family stunned
and devastated.
The film is a delicate and sad
study of tragedy and healing and
is an eye into the hidden world
of artists.
—Ines de Sequera
Based on a 1662 novella by Madame de La Fayette and directed
by Bertrand Tavernier, The Princess of Montpensier tells the story of Marie de Mezieres (played
by Melanie Thierry), a captivating
young noblewoman who is forced
away from the man she loves, and
into a marriage with a man she
knows nothing about. Running at
139 minutes long, The Princess of
Montpensier tries to fit too much
into too limited a format.
Marie quickly jumps from one
romantic entanglement to the next,
starting with her lover and her husband but soon including her tutor
and the Due d'Anjou. AH this happens too quickly, with not enough
background to make it believable.
With its sex, drama, and intrigue,
The Princess of Montpensier could
easily outpace Showtimes The Tu-
dors in the realm of prime-time period drama, but as an overly long
feature film it leaves the audience
wanting both more and less at the
same time.
—Andrew Maclsaac
Madwoman ofChaillot a moral parable
UBC Theatre's new season opens tonight
On September 30, the Department
of Film and Theatre at UBC will
openits2010—11 season with their
production of The Madwoman of
Chaillot at the Frederic Wood Theatre. Written byjean Giraudoux during the Second World War, the plot
oi Madwoman sounds like something out of a music video for a darling indie rock band: abundant,
with colourful and potentially non-
ironic eccentricity and a prevalence
of youthful righteousness.
In a Parisian cafe, Countess Au-
relia, the overtly idealistic madwoman, conspires to put a group of
evil corporate prospectors to trial
with a motley crew of larger-than-
life personalities. Though a comedy by definition, Madwoman is
more than mere whimsy.
"It is a play that is, sadly, back in
fashion," said Stephen Heatley the
director. "It's about greed, people
not looking out for each other and
the world... it's oddly timely, given
that it's 60, almost 70 years old."
ButMadwoman is not necessar-
ilyamoralparable, either. "There's
a stylistic challenge in doing a play
like this... anyplayhastobebeliev-
able, but this play has a 'fable' aspect to it," said Heatley.
"Although there are many street
characters, we didn'twantittolook
like a commentary on the street,
like the Downtown East Side or
Joanna Williams in the play's title role. PHOTO COURTESY OFTIM MATHESON
something... it's more fantastical
than that.
"There's a kind of ambiguity to
it too, in that... a woman decides to
kill a bunch of people, and somewhere in that it's supposed to be
looked on as okay. I hope that itpos-
es the question, you know, when is
it really okay to exterminate people? I don't think the play is saying, 'Solving the problems of the
world is simple' ... it's saying we
have to remain vigilant, on guard,
all the time."
Barbara Kozicki, who recendy received the prestigious Hnatyshyn
Foundation Developing Artist
Grant, stars in the production as
one of Aurelia's eccentric co-conspirators. On the ambiguity ofthe
script, she elaborates: "When you
analyze the script... there are times
whenyou wonder if it's meant to be
reality or if it's in the head. Is it fantastical, or is it an alternate world?
When you're dealing with things
like that, it can be tricky at times because you have to be clear on your
understanding ofthe world in the
play, and your role in it."
Ambiguity aside, there are more
practical concerns for Kozicki, who
plays the role of a deaf, mute juggler. "Every actor dreams of being
asked to learn a new skill in a production; I started juggling anhour
every day after being cast! But the
greatest thing I've taken away from
this is that I've gained so much
knowledge about deaf culture."
Kozicki is certain the audience
will appreciate the qualities of
the production too: "I was overwhelmed over how beautiful the
show is, to know that the content
is so interesting and relevant, yet
on top of that it has a beautiful design ... and there is so much camaraderie in my year. It's our last
time we're gonna be treading the
boards here."
With a vivacious script and the
ripe acting talents of thisyear's senior Theatre students, audiences
can expect, at the very least, an intriguing performance, vl
Many Vancouverites are ignorant of First Na-
t lions food tradi-
I tions, and this
isn't helped by
and restaurants
offering the cuisine. Enter Salmon 'N Bannock which openedinFeb-
ruary2010. It'sthebrainchiMof Remy
Caudron and Inez Cook, who noticed
this absence and createdarestaurant
that is becoming a centre of First Nations style cuisine in Vancouver.
This hideaway has a welcoming
atmosphere and takes its decorating
inspiration from traditional First Nations elements. The walls arepainted
cream, charcoal and red and display
new works from West Coast artists.
The kitchen is visible from the dining
area through a sort of window, where
guests can watch Chef Eli Isaac work
his magic.
Caudron and Cook source their
ingredients from local food markets. Their fish is all wild Pacific, and
themeatis organic. Remyexplains,
"Thatis why we don'tusebeef or pork
in our dishes: it is difficult to find
an organic supplier and these two
meats were not used in traditional cuisine."
The menu is an epicurean haven
with its fusion of traditional and
modern ingredients. As an appetizer, I would recommend the Arctic prosciutto roll. It is wild musk
ox from the North of Canada which
has been air dried and salted in
the same manner as the traditional Italian version. It's purplish in
colour and has an earthy taste,
which complements the smooth
oka cheese and crisp asparagus it
envelops. It's lightly drizzled with
blueberry marinade, which is perfect for the dish.
For entrees, there are many delicious choices ranging from venison to salmon to duck. As a lighter
dish, the smoked salmon club sandwich with the house salad is perfect. It's two-tiered, separating the
smoked salmon and the lettuce and
tomato, allowing the fish to dominate. It is held together by thin slices of in-house made bannock loaf-
bannock being traditional First Nations bread,pan-fried and light tasting. Accompanying it is the house
salad topped with roasted pumpkin seeds, which complements this
Another option is the bison
cheeseburger and sweetpotato wedges. The bison has a mild taste, and
isn't nearly as greasy as beef. It is enveloped in a plump, soft bannock
bun, and topped with melted cheese,
lettuce and tomato. The sweetpotato wedges are on the heavier side,
yet the fry retains its sweet taste.
For dessert, the bannock and berry bread pudding is the perfect finish. However, it could have used
more berries, as their flavour was
lostbetween the bannock pudding
and the ice cream.
This location is ideal for a
date night, or for a more formal
occasion, as the prices are above
the average student budget. But
it's worth the extra money spent
for the cultural and culinary experience. Salmon 'N' Bannock is
at 1128 West Broadway—easily
reached via the 99 B-line. tl 2010.09.30/UBYSSEY.CA/CULTURE/9
PostSecret and the greater mysteries of life
Frank Warren comes to the Chan Centre this Friday
associate, cui ture® ubyssey.ca
Frank Warren is the world's
most trusted stranger. Sixyears
ago, Warren founded PostSecret,
an ongoing community art project where ordinarypeople anonymously mail him their deepest
secrets written on decorated 4x6
inch postcards. What started as
a personal art exhibition quickly turned into one ofthe biggest
internet sensations of the decade: Warren's blog, where new
secrets are posted every Sunday,
receives approximately 200 hits
a minute.
The idea behind PostSecret is
simple: turn your confession—
whether it be dark, thought-provoking or humourous—into art.
Warren, previously a small business owner, said that the concept
first came to him during a stay
in Paris, where he purchased
two Little Prince postcards and
put them in his nightstand drawer. "I had a lucid dream and saw
the postcards in my dream with
writing on the back. When I woke
up I took out the actual postcards
and made them appear the way
they had looked in my dream.
I remember one of the cards
read 'Unrecognize evidence of
forgotten journeys unknowingly rediscovered.'"
Upon his return home to suburban Washington, DC, Warren
decided to turn his dream into
reality. He left over 3000 blank
postcards in coffee shops, between book pages and on park
benches with instructions on the
back inviting random strangers
to anonymously mail him their
secrets. He received around
100 back and posted them on
his blog, after which the idea
caught on and secrets started
pouring into his mailbox by
the thousands from all over
the world.
Since then, Warren has produced five books containing
collections ofthe postcards,
many of which have never
been seen before. His most
recent, PostSecret: Confessions
on Life, Death and God reached
number one on the New York
Times bestsellers list.
Though Warren has received
over half a million postcards
to date, he said his most recent favourite secret is pretty
lighthearted. "It says, 'I wait
until I get to work to go to the
bathroom...that way I can get
paid to poop.' I thought that was
pretty funny."
But what about those more
serious secrets—some of them
disturbing cries for help? Warren said that he tries his best
not to meddle in the lives to
which the secrets belong. "From
the beginning, I've asked that
the secrets be sent anonymously. I think that when people
release the secrets they don't
necessarily want me to try and
fix it, or tell them what the answer is. They just want to let
it go, and that's enough in
many cases."
But in many ways, Warren
does use his project to reach
out and help people directly.
Since PostSecret's beginning,
he has been supporting suicide
prevention. Though he doesn't
feel that there is a direct connection between secrets and
suicide, it has been an issue
which has affected him personally and has given him the
incentive to raise funds and
awareness for the suicide prevention hotline.
Another way that Warren
connects to his readership is
through his speech tours, during which PostSecret is taken on
the road to universities and colleges all over North America.
It's a venue that suits Warren.
"The students are stronger at
asking questions about what's
real and what's bullshit, and
they're not as locked into their
identity as people are when
they get into their 30s and
40s," he said.
So what can we expect from
the PostSecret show this Friday?
"I project images on the
screen of postcards that were
banned from the books, as well
as ones that have changed lives,
and, essentially, have changed
my life."
There will also be an open
mic portion ofthe night during
which audience members will be
invited to walk up to the microphone and confess their own secrets in front of hundreds of people. Warren said that this is usually his favourite part ofthe presentation, as it is often "highly
emotional and inspiring."
At the end of our interview
I wanted to let Frank Warren
know how refreshing it was to
see such a simple project be able
to reflect the wide spectrum of
our daily existence. He agreed.
"I think you can't help but see
the beauty in it when there are
so many secrets coming from
earnestpeople, sharing the full
range of human emotion. I think
thatyou really can't help but be
invited to think about the greater mysteries of life." tl
PostSecret comes to the Chan Centre on Oct. 1 at 8pm. Tickets are
available at the box office or from
Interviews with the Crash Test
Dummies and Chad VanGaalen @
ubyssey. ca/culture.
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DO YOU CARE? WRITE US A LETTER»feedback@ubyssey.ca
In the distant future, when kids are wirelessly jacking into the global neural-net hivemind and having
their pituitary glands regulated by third party apps,
Facebook will be a nostalgic reminder of the past.
The website's development into a cultural monolith is being cemented this Friday with the release
of The Social Network. Directed by David Fincher,
the film mythologizes the creation of Facebook
and its establishment as a Zeitgeist ofthe 21st century's first decade.
Remember life before Facebook? You shouldn't
have trouble—it was only six years ago. But in the
era when an amateur video of a cat in a t-shirt
playing piano can capture the hearts and minds
of millions, this sort of rapid ascendancy is no longer indicative of a flash-in-the-pan phenomenon.
Information comes quickly now, and so does culture. It should be no surprise when an online service that has existed for a little over half a decade
is considered by many to be as indispensable as
TV remotes or indoor plumbing.
If The Social Network does well—and early reviews are overwhelmingly positive—it may become the Easy Rider of our generation. Just as the
former captured the free spirit of the '60s counter-culture movement as it clashed with the conservative old world order, The Social Network encapsulates the attitudes and anxieties ofthe '00s.
And what better characterizes this group—and
the modern era—than Facebook? The pursuit of
celebrity large and small-scale; the gratification
that comes from having the most distant people
follow your most mundane activities. The almost
compulsive urge to network, to post and re-post,
to comment, blog and tweet. Self-definition and
self-expression without a second though. Individuality: the opiate of the masses.
So try not to feel bad, in the future, when your
grandchildren watch the 40th Anniversary Edition of The Social Network. They've never lived
without Facebook, or whatever form social networking evolves into next. They've never had to
ask someone their religion, political affiliation or
sexual preferences. They've never had anyone in
their lives further away than the tips of their fingertips. And they probably never will.
Last week, you may have received a broadcast email
from UBC that was, shall we say very peculiar.
It was a link to a six-minute promotional video,
with the UBC President (Stephen Toope) and AMS
President (Bijan Ahmadian) trading lines about
UBC and opportunities for students. Sometimes,
they tried out beat poetry. All of the time, it was
weird. Sadly comments are banned on the video.
We suspect this may be due to the fact that, in the
firstvideo they made together, someone wrote "Stephen Toope must regret having taken part in this
remarkably horrible video."
But leaving aside the amusement of seeing Toope
attempt to appear "with it" by getting on the inter-
tubes with his former research assistant, there is
the question of how the AMS and UBC presidents
working closely together benefits students. Certainly there are some positives. The AMS becomes
more visible, and considering they're responsible
for advocating for us, that's not a bad thing. And after the reign of Blake Frederick, who never found
a UBC decision he couldn't disagree with, having
a student leader that isn't outright antagonistic to
the university is a useful counter-balance.
There are limits, however. Two weeks ago, Ahmadian tried to convince council that the AMS
shouldn't have specific objectives in negotiating
policy with UBC in land-use consultations, and
should instead trust him to deliver a fair deal for
students. Council wisely responded that a policy
without teeth isn't a good policy and unanimously
rejected his suggestion. Fundamentally a student
union needs to disagree with what the university is doing from time to time, and this has and always will be a blind spot for Ahmadian.
It still opens up unique possibilities for the AMS.
For example: they're planning a talent show, and if
enough people buy tickets to the event. Ahmadian
and Toope will sing a duet together. Whether you
think this is a great motivator or a silly stunt is
probably indicative of whatyou think ofthe close
relationship between the two. va
Reaction to Tamil refugees a double standard
Canadians have always prided ourselves for our immigrant heritage. We
speak constantly of multiculturalism,
tolerance and the "Canadian mosaic."
When xenophobia flares up in the United States or Europe, we're quick to denounce, and even quicker to point to
ourselves as an example of a harmonious and accepting society.
But when push comes to shove, Canadians are equally quick to allow bigotry
and fear to drown out common decency. Take for example the MV Sun Sea,
which arrived on Canadian shores last
month with around five hundred Tamil people fleeing Sri Lanka.
When reports ofthe vessel first surfaced, the government, the media and
the Canadian public at large all entered
a state of panic.
According to the prevalent narrative, they were Tamil Tigers attempting
to infiltrate the country and exploit
the goodwill of the Canadian people.
These people who risked their lives in
a trans-Pacific voyage were inherently suspect, including the many women and children on board.
Many dispute their claimed refugee
status. And that's a fair argument. Regardless ofthe fact that the Sri Lankan
government recently crushed a twenty-year-long Tamil separatist movement, and in the process displaced
hundreds of thousands and detained
tens of thousands in refugee camps,
refugee claims should be decided by
the mechanisms that we have set up.
The rhetoric around their arrival,
however, stinks of the same xenophobia that led Canada to turn back the
Komagata Maru in 1914 and to send
many of the passengers of the MS St
Louis to their deaths in 1939.
Canada's anxieties over immigration have always run deep. Unlike most
other immigrant-receiving countries,
Canada has no poorer neighbour to
serve as the primary source of our
immigrants, meaning that most people who do come here are well-trained
professionals with university degrees.
So when the poor and desperate
make their way to our shores, we're
offended that these brown-skinned people would dare wish to live among us.
But almost all of Canada's people
have their roots in immigration. The
only difference now is where the immigrants are coming from.
The reports have characterized these
refugees as terrorists until they prove
otherwise. However, the 37,000 Hungarians Canada accepted in 1958 didn't
have to prove they weren't communist revolutionaries. Neither did the
5000 refugees from the Balkans have
to prove that they weren't genocidaires.
It's a fair argument as to whether the
Tamils are refugees. But as to whether a double standard exists? There's
no debate, tl
In this, our post-financial bailout epoch, in can be hard for a fella/fellette
to make a buck. UBC students, aside
from their scholarly pursuits, have
been known to find themselves in all
sorts of odd jobs in their hunt for better living through beer money. We've
even known the odd sex worker or two.
Which is exactly why this week's letter demanded our interest.
Sol hear a judge just repealed Canada's prostitution laws. How soon till we
can open up a UBC brothel and start
paying off our student loans?
—Wishing Humans Observed Real Innovative New Ground
Thank you for sending in the vaguest letter we've ever received. When
Too Sexy received this letter, we had
not heard the news. Undaunted, this
reporter (read: hack opinion writer)
hopped aboard the internets and set
sail towards the lands of lazy research.
Unfortunately WHORING, it might
be a while before you pay off your
student loans with the sex trade. Although an Ontario judge did recently
repeal some of Canada's anti-prostitution laws, you may safely be assured
that a giant, sexy money-making party will probably not be coming to a
brothel near you. More likely the sex
trade will remain a dangerous grey
area within the law. Here's the deal.
Technically prostitution isn't illegal
in Canada. However, Canada's laws do
specifically target prostituting-type actions, making it a pain in the ass (often literally I'm sure) to sell your meat
on the street. But the Ontario Superior Court has struck down three parts
of the law in its own province. Keeping a common bawdy house is now legal, meaning the ladies and laddies of
the night can bring their buddies back
to their own boudoirs without fearing the popo. Communicating for the
purposes of prostitution is now legal,
so next time you get chatty with some
streetwalker, you don't have to worry
about being unduly harrassed. And
finally living off the avails of prostitution is no longer illegal. This opens
the doors for prostitutes to have nice
things, like bodyguards and unions.
Although some might herald this
as a fantastic ruling that has the potential to seriously ameliorate some
of the harms of the sex trade (and despite our joking tone, there are harms),
Canada's Conservative government
has, of course, decided they will fight
this ruling tooth and nail.
And so, WHORING, we're sorry to
say that a UBC brothel will not result from this ruling. Given that the
judge gave a thirty day period before
the law would come into effect and
the Tories are determined to sink it
before that, there might not even be
any brothels for our Ontario students
to return home to over winter break.
Alas! At least we still have the back of
The Georgia Straight... tl
Anyways, that's all for this week. Send
us your letters at toosexy@ubyssey.
ca or use the anonymous web form at
ubyssey.ca. 12/UBYSSEY.CA/OURCAMPUS/2010.09.30
! T-shirts with funny symbols filled the
SUB concourse Monday afternoon for
. bids day the annual event in which
those hoping to join a fraternity find
■ out if they have been bid upon—and
by whom. Held the day after Formal
Rush, any fraternity that would like
|   an individual to become a pledge of
' the fraternity puts a card (bid) with
the individual's name on it and the
fraternity name. Some UBC students
could have multiple bids to different
'   fraternities—but they can only pick
|   one. Chants are chanted. Songs
II are sung. Drinks are, well, drunk.
Fraternities are replenished with
new members. The antelope eats the
grass. And the circle is renewed, vl
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Call for Nominations
Killam Teaching
Every year the Faculty of Science
awards five Killam Teaching Prizes to
acknowledge excellence in undergraduate teaching and to promote the importance
of science education. Professors, instructors or
lecturers appointed in any of the Faculty's departments are eligible. Students, alumni or faculty members are welcomed to submit nominations in writing to:
Killam Teaching Awards Committee
Dean of Science Office
Biological Sciences Building
1505-6270 University Boulevard
Vancouver, BCV6T1Z4
Fax: 604-822-5558
Term 1 Deadline
Friday, October 15,2010
Term 2 Deadline
Friday, January 28,2011
a place of mind
Share your experiences of
Econ 101/102...
UBC researchers are conducting a study to learn
about student experience
taking first year economics
courses at BC universities.
Ifyou are a student who
completed a first year economics course within the
last 9 months we invite you
to participate in our study.
The study involves a I hour
interview. This study is to
explore students 'perceptions
of introductory economics
Further information:
tgreen@ireSr uher ca
Have an opinion? We want
to print it. Send a letter to
ieedback@ubyssey.ca, and well
print it. Promise.
Justin mcelroy | coordinating@ubysseyca


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