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In a time when most students are focused on acing their midterms or finding that perfect summer internship, have we given ourselves the chance to take a moment to stop and reflect about our past decisions, such as why we chose to come to the College in the first place and how we chose the career paths we want to pursue? Those deep questions about everything we sacrifice in order to achieve success will be explored when the College’s theater department presents “Merrily We Roll Along” (1981), a musical based on the 1934 eponymous play by George Kaufman and Moss Hart with music and lyrics by Academy- and Tony-Award winning composer Stephen Sondheim, this weekend.
Considering the College is in the process of wrapping up PRIDE week festivities, I thought it would be appropriate to look at the presence and representation of queer individuals in popular media in 2015 compared to decades past. PRIDE week serves as a time of recognition, commemoration and celebration of the lesbian, gay, bisexual, transgender and queer community. This focus on non-heterosexual orientations also helps to educate the public on what I think has been appropriately termed “the new normal.”
While the College’s collection of more than 20 works of public art includes only two pieces created by women, the College is currently taking action to decrease this disparity by the end of spring term.
If you took HAL from “2001: A Space Odyssey” (1968) and put him inside the body of the bathroom woman from “The Shining” (1980), you’d get Ava, the sleek, sultry artificial intelligence robot of “Ex Machina” (2015). The film itself lies somewhere between these two Kubrick movies, combining the claustrophobic horrors of the Overlook Hotel with the supercomputing callousness of HAL. Like Siri sexified, Ava epitomizes the male fantasy — an erotic subservient who deifies him — and the consequences of its fulfillment. Think “Her” (2013), but with a Samantha who would kill to be more than just a voice.
For David Levi ’00, his First-Year Trip was an experience that foreshadowed his environmental consciousness. After stints teaching high school and working as an apprentice for restaurants in Sweden and Italy, Levi became the executive chef of Vinland in 2012, a 100-percent locally-sourced restaurant in Portland, Maine.
After exploring the works of Shakespeare in the fall and spending an evening in Metropolis this past winter, the Dartmouth College Wind Ensemble will conclude their 2014-2015 season this Saturday by featuring work from several 20th-century composers. In the Spaulding Auditorium concert — titled “Stravinsky and Friends” and featuring work by the Russian composer Igor Stravinsky as well as composers from France and Belgium — the wind ensemble will explore the “strong connection” between the featured composers, Hopkins Center student relations advisor and wind ensemble member Ryan McWilliams ’14 said.
Welcome to the first edition of Odaku, Dartbeat's very own column that will discuss experimental films and work to make this genre more accessible to Dartmouth students.
Beyond trying to grab the swinging platform of “X-Delta” as a study space on the nicer days and complaining about the strange proportions of the Baker-Berry Library windows, most students do not spend a lot of time thinking about campus landscaping, an aspect of the College that has a daily impact on their lives.
Woodstock, America’s first music festival of note, took place on a dairy farm in Bethel, New York, from Aug. 15 to 18 in 1969. For those three days of peace and music, concert-goers were expected to fork over only $18 — a little over $115 when adjusted for inflation. Today, a three-day general admission pass to see Drake, Florence and the Machine and other performers at Coachella will run you $375 — and if you factor in shuttle privileges with your pass, the cost will rise to $435, with an $85 minimum required just to camp out overnight. These prices, of course, don’t include food, drinks and initial transportation to the event. Times have changed.
Dance, freestyle rap and a cappella came together as SHEBA, DStyle and the Dartmouth Aires performed at Saturday night’s Spring Sing.
Growing up in Edgemont, New York, Chase Klein ’14 has had a love for music all of his life — he has always listened to a wide variety of genres, played the piano and the guitar in high school and founded the student band Chuck, now known as shArk, during his time at the College. And yet, despite his passion for music, Klein said he never considered performing professionally until his senior year. Just one week after graduation, Klein moved to Los Angeles to pursue a career in music, performing under the name Chase Byrne, as well as working for Disney animation.
Most of us have fond memories of a Blue Steel-miened, vacuously heroic Ben Stiller from “Zoolander” (2001), spraying gasoline and successfully turning left with youthful euphoria, or even the crusty yet playful night watchman in the “Night at the Museum” series. Noah Baumbach’s latest romcom “While We’re Young” (2014), however, captures a verisimilar Stiller, around 50, succumbing to mid-life crises and arthritis, with nostalgic eyes for his past in a present without pity for the aging.
Closing Friday, Nigerian-born artist Victor Ekpuk will spend four days creating an original work on the wall of the Hood Museum’s Lathrop Gallery as part of his exhibition “Auto-Graphics.”
From the moment she received a mini art set from her grandmother for her sixth birthday, Laura Dorn ’15 knew that she loved art. After beginning lessons, she realized that she was the most taken with painting. But then the real world came along and told her that being an artist was not particularly practical. She needed to be more sensible. By the time Dorn arrived at Dartmouth, she planned on pursuing a major that would help her land a job after graduation.
Considering the selfie to be photography may seem laughable, but perhaps it is a logical extension of self-portraiture in the digital age. Is the millennial generation, as many have argued, self-absorbed, or are youths these days following the tradition of showing themselves through images?
The Dartmouth Film Society will present North African Academy-Award nominated filmmaker Abderrahmane Sissako with a Dartmouth Film Award today and, in tribute, screen a showing of his newest movie “Timbuktu” (2014). The film tells the story of a family whose lives are disrupted by the appearance of militant Islamists.
“I think that we are honor bound to play this film,” manager of the Hopkins Center’s film program Sydney Stowe, said. “The minute we heard the film was out and released we went for it.”
For most people, the leap from anthropology major to circus clown might seem like a bit much, but for Steve Lough ’87, it made perfect sense. Lough spent over 10 years traveling the country as a professional circus clown with a variety of troupes, including the Ringling Bros.
Sequester a group of actors in a small space, point your camera at them and wait an hour. By then, each of them will surely have gone insane. It’s the theory behind Sartre’s “No Exit” (1944) of being locked together in a room for eternity. Claustrophobia is a truly cinematic fear. It requires no sets and no props — it is just the actor’s psyche slowly consuming itself. “The Shining” (1980) should come to mind. Even viewers cramped into small theater seats can relate to its stifling intensity. “The Black Sea” (2014) stuffs 12 men into a dilapidated submarine searching for gold and watches the pot boil. Beyond a couple flare-ups, though, the film can only manage a simmer.
After driving two passenger vans to campus from Portland, Maine, on Monday, several of the musicians who form part of The Nile Project — a collaborative group of artists from 11 countries along the Nile Basin who use music to draw awareness to and provoke discussion about the region — will pile into yet another van this evening and head to Thetford, Vermont, for a local musicians exchange. There, as part of its mid-April residency at the College, the international group will participate in a “jam session,” Hopkins Center publicity coordinator Rebecca Bailey said.