HEALTH,THE HERBAL WAY, PAGE 14
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Published by the Students'Society of McGill University
Volume 27 Issue 4* September 25, 2007
Redmen fall short of victory
Traffic halts at activities night R ed u ced
IT'S OFF THE WALL! FALL • 1 ARTS SPECIAL, PAGE 18
c a p a c it y r e s t r ic t s
s t u d e n t c ir c u la t io n Kate Spirgen Attempting to recruit new mem bers, clubs and services set up tables at the Students' Society semiannual activités night last Wednesday, but many were disappointed to find that the Shatner building's new capac ity restrictions caused long lines and disgruntled attendees. "It's totally insane this year," Sév erine Koen, U2 international develop ment and political science said. "Last year was also a hassle because they didn't have the line-ups and people were pushing, so I understand why they devised this system, but it's still so dissuading. There should be sev eral activities nights or a different building or something." At times students were told that they would have to wait 30 minutes in order to reach the second floor and extra security was called in at the last minute in attempts to maintain order and avoid city fines that could be incurred if the building capacity
was exceeded. "We were expecting this to be an issue," Students' Society President Jake Itzkowitz said. "We had all the clubs and services reps, the activities night coordinator and the executives and security all working at capac ity. We thought it was going to be enough, but we were wrong.” Club officers were also con cerned about the amount of traffic in the building, due to a traffic flow system allowing interested students onto the second floor in counted groups in order to avoid overflow. "[Students] just come in waves and pass by tables because it's just so intimidating to wait in line forever and then get in and get called to by everyone at the exact same time," said Kristin Lang, U2 marketing, who was working with the International Relations Students' Association of McGill, Alpha Kappa Si and the firstyear office.
See OVERACTIVE on page 7
Despite record breaking offensive performances, McGill found itself on the bottom of yet another game as Acadia scored on a last second drive. See page 20 for more coverage.
Memory, masochism and Mondo Canuck In s id e t h e b r a n d e d
b r a in o f W in n ip e g f ilm m a k e r G u y M a d d in
J ohn Semley With a filmic canon that draws equally from German Expres sionist cinema, Soviet montage, early-Technicolor musicals and the Bavarian mountain drama, Winnipeg's Guy Maddin is situated comfortably within the paradigm of Cinema du Parc's retrospec tive series, the fundamental criteria for which seems to be critical acclaim, ingenuity and just plain weirdness. Maddin's latest commercial release, Brand Upon the Brain!, sees childhood nostalgia, expressionist horror film and teenage detective drama coagulate into one fanciful, if bizarre, piece of quasi-autobiographical filmmaking.
Told in twelve chapters, Brand! tells the tale of Guy Maddin, a middle-aged house painter who, at the behest of his aging mother, returns to his childhood home to spruce the place up with two thick coats of paint. In the process, the melancholic Guy becomes consumed with memories tied to the place of his youth. As the story unfolds, we see the young Guy bend to the whims of the overbearing and ever-watchful matriarch, fall in love, and fall victim to brain fever. All the while the real Guy Maddin (that is, the filmmaker himself) trots over the standard psychosexual tropes: Oedipal fantasy, incest, homoeroticism, transvestitism and even some new ones, such as voodoo, réani mation and child-eating.
SO CCER M A R TLETS SO CC ER R E D M E N
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Though the narrative specifics may not speak to the trivia of Maddin's own life (the real Guy grew up in Winnipeg, not in a lighthouse on an unnamed island), the filmmaker contends that Brand U pon the Brain! is "psychologically and poetically one-hun dred per cent true." "I always laugh out loud," said Maddin, "when I see a movie trailer in a big theatre:'Based On A True Story.'What do I care if its true or not?" Indeed, Maddin has made a career of taking the proverbial piss out of the facts. In his first feature, 1988's Tales From the Gim li
See IN REMEMBRANCE on page 19
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