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Non-Review Review: One Direction – This is Us

Let’s be honest here. As a brand, the success of One Direction has been phenomenal. In One Direction: This is Us, super producer Simon Cowell boasts about how it took him all of ten minutes to come up with the band, jamming five also-ran teenage X-Factor contestants into an also-ran X-Factor boy band that became a global pop culture juggernaut. Morgan Spurlock’s One Direction: This is Us is really nothing but a propaganda piece, a giant feature-length 3D pat on the back where a manufactured pop sensation are compared – not once, but twice – to The Beatles.

And there’s really nothing wrong with that. After all, this was never going to be an insightful piece of cinematic journalism, prying behind closed doors at the forces propelling One Direction to fame and the careful and painstaking maintenance and protection of the brand name. Anybody expecting anything but a celebratory ninety-odd minutes of mutual appreciation was clearly expecting something quite different from what was promised.

As piece of pop culture brand management, One Direction: This is Us is actually quite well-constructed. Spurlock knows how to frame an interesting documentary, and has always been theatrical and stylish. Even the talking head shots in One Direction: This is Us are tastefully shot, against a dark highway at night, Simon Cowell’s sterile studio apartment or in a band member’s makeshift art studio. There are moments in One Direction: This is Us when it looks like some humanity might accidentally shine through, but the film is quick to stamp that out with gushing about the fans and patronising discussions about how unique and individual the band members are.

onedirection

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Thinking Outside the Box: When Does Reality Subtext Overwrite Fiction?

It happens every so often, to the extent that I’m actually quite used to it. I’ll be either listening to Michael Jackson on my headphones, or mention in passing a bit of trivia, or name the musician as one of the most impressive of all time. And, undoubtedly, there will always be someone who will retort with, “Yeah, but he was a pedophile.” And that will be that – pretty much everything that Jackson has accomplished will be a moot point. Don’t get me wrong, I’m not arguing one way or a nother, I just feel a little bit curious as to where the line between what happened in real life can prevent or undermine an artist’s work.

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Non-Review Review: Return of the Living Dead

Return of the Living Dead is a fairly strange beast. Something of a black comedy spin-off from George A. Romero’s Night of the Living Dead, the film is a ridiculously campy exploration of trashy low-rent horror… and yet somehow has been picked up and embraced by popular culture. After all, this is the movie that introduced the idea that zombies weren’t just satiated by consuming large quantities of meat (most often from humans) – this was the film which introduced the idea of zombies stumbling forward, repeatedly droning “braaaaains!” It’s a concept which has been so throughly incorporated into pop culture’s definition of zombie (although it’s rarely the case, we still expect it and recognise it), so it seems strange that it came from a spoof.

No bones about it...

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