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I don’t know what’s scarier — modern horror films themselves or the current state of the horror genre, which has become a factory for lazy and unoriginal pabulum. In most contemporary films, frightening has become a formula — a veritable cinematic slot machine, where audiences pay their money to watch a string of classic icons, like the possessed child, clown or abandoned house. Even worse, many nascent directors have taken to using horror as a springboard for their careers — the films are cheap, don’t require professional actors and just need bad lighting and a broken music box to get the ball rolling. Like visitors to Atlantic City, modern horror audiences are destined not to be satisfied. But luckily, there are exceptions to the rule. “It Follows” (2014) is just that — the rare breed that waits, lurks and lets your mind do the scaring.
Divyanka Sharma ’13 exemplifies the meaning of “doing it all.” A young alumna originally hailing from India, Sharma balances budding success in short fiction with full-time work for New York City-based Locus Analytics, working to apply functional classification systems of enterprises to the developing world. An English major at the College, Sharma worked for Reserve Bank of India during her time at Dartmouth and credits English professor Thomas O’Malley for helping her publish her first ever published piece, the short story “To Benares.”
From its opening projections of Los Angeles smog and the Hollywood Sign, “¡Figaro! (90210)” marks a stark departure from the Mozart comedy opera from which it is adapted, “The Marriage of Figaro.” But on the strength of new elements including a hip-hop-obsessed teenager, sexting and facelifts, the adaptation of the operatic classic — which opens today and boasts a cast list including both students and professional opera singers — continues the stellar form that saw versions of the same script win acclaim in New York and Los Angeles.
The Culley Concerto Competition, which will take place this Saturday afternoon in Spaulding Auditorium, features live solo performances by 19 Dartmouth student performers, Hopkins Center director of bands Matthew Marsit said. Ranging in instrument types from brass to strings, the soloists — competing in the annual competition established in 1988 by Grant and Suzanne Culley, parents of Maryly Culley ’86 — will aimto take home prizes for high achievement in orchestral performance.
When Zach Wooster ’15 takes the stage this spring for his last show as a guitarist and vocalist with campus band shArk, he may be greeted with a chant of “Fins Up!” — a slogan used by the group’s fans. As he strikes the final notes of his Dartmouth career, Wooster will find himself a long way from his early performances at the College, played alongside friend and bandmate Pablo Marvel ’15 in the relaxed atmosphere of open mic nights at One Wheelock.
As a crowd of undergraduates, faculty and community members watch, an arctic fox curls its back and turns its head to look directly at its audience. With its white coat popping in sharp contrast to the dry, brown tundra on which it stands, the fox creates a transfixing image — one nearly powerful enough to transport viewers to the Arctic, where studio art professor Christina Seely’s expedition-based work has taken her.
Have you ever thought of what defines a craftsman, of why we consider a craftsman to be different from an artist?
While many students took advantage of the spring interim to escape Hanover’s frigid temperatures and travel to tropical climates or catch up on Netflix’s newest offerings at home, the 20 members of the Dartmouth Aires spent their break in China in a combination of singing and sightseeing.
It’s natural not to have life completely figured out by college. For Stephen Godchaux ’81, it took several years as a lawyer before he discovered a genuine interest in writing and producing television shows. Now, with more than a dozen television writing credits to his name and a Writers Guild Award nomination for Best Original Television Movie, Godchaux brings new meaning to the phrase “better late than never.”
What immortal hands or eyes can keep framing James Bond’s famous fearful symmetry? Bond, after all, has nearly become a genre in himself, from his offshoots in Jason Bourne from the Bourne films and Jack Bauer in the television series “24” (2001), making it more difficult to innovate within this iconic genre. Matthew Vaughn, the director of “Kick-Ass”(2010) and “X-Men: First Class” (2011) brings a new and youthful exuberance to the dated spy framework with his “Kingsman: The Secret Service” (2014) and dusts the cobwebs off Bond’s aged suit.
After nearly four years in Hanover, Michael Taylor is no longer serving as the director of the Hood Museum of Art, College spokesperson Diana Lawrence confirmed in an email. Juliette Bianco, who previously served as deputy director at the Hood, will serve as the museum’s interim director until a replacement is found.
More than a year ago, when she was deputy director at the Hood Museum of Art, now-interim director Juliette Bianco was invited to a meeting intended to inform faculty and administrators about the Hopkins Center for the Art’s upcoming show featuring the Nile Project. As she learned more about the Nile Project — a group of musicians, educators and activists from 11 countries in the Nile River Basin region that create and perform music incorporating various traditions, languages and instruments — Bianco was inspired.
Kyle Abraham, whose choreography can be seen performed at the Hopkins Center this week in “When the Wolves Came In” — a performance combining classical and modern dance styles to explore the civil rights struggles in South Africa and the United States — is a MacArthur “Genius” Fellow with an international reputation. Today, though, he will trade working with professional dancers for a postmodern movement class in Straus Dance Studio, open to both students and the community.
Though she does not come from a musical family, Charli Fool Bear-Vetter ’15 fell in love with music at an early age. Without ever taking a lesson — and without the benefit of a choir at her high school — the a cappella singer said she trained herself to write music, play the guitar and sing.
We live in a screen-centric society. Therefore, it should come as no surprise that these screens have become the canvases of our future. Maybe these digital creations will not diminish the value of traditional art, but what if the diminishment of the traditional canvas is where we are headed?
From the visually-engaging and thought-provoking exhibitions at the Hood Museum of Art to the enchanting melodies performed by student ensembles and unique performances that will be shown at the Hopkins Center for the Arts, the 2015 spring arts season is primed to be another term full of celebration for music, film, dance and the visual arts.
Many of us have fond memories of the hockey film “Miracle” (2004,) which tells the story of how the 1980 U.S. men’s hockey team defeated the juggernaut Soviet team at the Lake Placid, New York Winter Olympics. Much like the Space Race, this game was steeped in Cold War politics and pitted capitalism against communism in the battle for global and athletic supremacy. In short, hockey was war, and the Russians had the biggest guns. While we savor our underdog American victory, in all the patriotic fanfare, we forget about those fallen Red Goliaths. The documentary “Red Army” (2014) shows “Miracle” from the other side, giving audiences a rare glimpse behind the Iron Curtain.
Ten undergraduate and graduate students will screen animations tonight that they have been creating over the past several wekks of the term as part of the culminating experience for Film Studies 35: “Animation, Principles and Practices.”
We are taught in our elementary school art classes that red is a warm color, that blue and orange are complementary colors and that if we mix red and yellow we will end up with orange.
When Keith Moskow ’83 started at the College, he dreamed of becoming a boat builder. Instead, he became the co-founder of Boston-based architecture firm Moskow Linn Architects, which focuses on sustainable architecture in New England. His work has won awards, including ones from the American Institute of Architects and the Seoul Design Olympiad.