1000 items found for your search. If no results were found please broaden your search.
(04/07/25 6:00am)
Although Dan Erickson’s “Severance” is rife with cynicism and corporate humor, it differs drastically from a workplace satire. “Severance” is ultimately a work of science fiction. The show grants insight into the depths of human psychology and emotion.
(04/07/25 6:04am)
“L’Absinthe” by Edgar Degas. “Tired” by Ramón Casas. “The Wedding Dress” by Frederick Elwell. These are the portrayals of women experiencing extreme despair that inspired Michelle Zauner in the production of Japanese Breakfast’s new album, “For Melancholy Brunettes (& sad women),” which was released on March 21.
(04/04/25 6:00am)
“This is bliss / This is Hell / Forever is a feeling / And I know it well,” sings singer-songwriter Lucy Dacus in the titular track of her fourth solo album, “Forever is a Feeling.” These lines depict the central juxtaposition of the record which grapples with the ephemerality of love. Dacus knows “forever” is impossible, but she wants it all the same.
(03/07/25 7:48am)
At Dartmouth — where Greek life and student-run events dominate the campus social scene — one name has risen to prominence behind the DJ booth. Known for her ability to read a crowd and deliver high-energy sets, DJ TFam has built a reputation as a female DJ.
(03/07/25 7:49am)
On March 4, journalist and filmmaker Mona El-Naggar discussed her career in documentary filmmaking — from covering conflicts in the Middle East to the role she sees for herself as a storyteller in the media landscape. The event was co-sponsored by the Middle East Initiative — a collaboration between the Dickey Center for International Understanding, the Middle Eastern studies program and Jewish studies program — along with Dartmouth Dialogues, while Middle Eastern studies professor Jonathon Smolin served as moderator.
(03/03/25 7:00am)
This spring, Ephemera, a new art history journal, is set to release its first issue on campus. The journal will feature theoretical and historical essays, artist spotlights, exhibition overviews, student work and more, according to founder Chandini Peddanna ’25.
(02/28/25 7:00am)
On Wednesday, Feb. 12, there were more people than chairs in the Wheelock House, the Christian Living Learning Community and former home of Eleazar Wheelock. Spencer Reece, a visiting poet and Episcopalian priest, stood at the front of the room like it was a Sunday service. He led the group in “Shalom,” a call-and-response prayer begetting peace. As I repeated the Hebrew benediction, moving from whispers to shouts, I felt aware of how rarely an opportunity arises to join a group of strangers and sing without shame.
(02/24/25 7:00am)
On Feb. 19, the Hood Museum of Art hosted 26 community members for a special guided tour of two of its current exhibitions: “Attitude of Coexistence: Non-Humans in East Asian Art” and “Beyond the Bouquet: Arranging Flowers in American Art.”
(02/21/25 7:00am)
In the spirit of the saying “if it ain’t broke, don’t fix it,” the “White Lotus” season premiere — “Same Spirits, New Forms” — delivers exactly what its title promises. For those unfamiliar, the “spirit” of the White Lotus television series centers around a luxury resort enterprise functioning as a cultural refuge for the hyper-rich. Far from broke, the Emmy award-winning first and second seasons of “White Lotus” cemented themselves in the zeitgeist as a satirical exploration of America’s ever-expanding wealth gap. Each season thus far has transformed the serene utopia of a Four Seasons property into a crime scene where everything that can go wrong, does, and where somebody innocent is sure to end up dead.
(02/17/25 7:00am)
Across campus, you might notice students trekking through the snow with heavy camera equipment or hunkering down to edit footage in the Black Family Visual Arts Center. To conclude their majors, seniors studying film and media studies must complete “a project related to their experience” in the department, according to the department website. Students can pursue a variety of options for their “culminating experience,” including animations, critiques, research, screenplays and short films.
(02/14/25 7:15am)
In the last week of January, 11 Dartmouth students and one recent graduate traveled to Park City, Utah, to volunteer at the Sundance film festival, the largest independent film festival in the United States.
(02/14/25 7:00am)
If controversy begets conversation, then on Sunday, the Caesars Superdome in New Orleans, La. hosted a performance primed for discussion. The Super Bowl halftime show is meant to appeal to the masses, which is why, for many viewers, Kendrick Lamar’s performance fell short — its dense, politically-charged messaging went against the mainstream audience’s expectations. However, I think the 13-minute set undoubtedly stood as a testament to a storyteller’s showmanship.
(02/14/25 7:10am)
Few films engage with architecture like “The Brutalist” does. In the film, director Brady Corbet does not relegate architecture to the background but instead explores it through the experience of a Holocaust refugee.
(02/14/25 7:05am)
On Jan. 31, the Hood Museum of Art welcomed two world-renowned modern art curators, Sam Bardaouil and Till Fellrath, to Hanover to deliver the 2025 Walter Picard Lecture. The annual talk is part of the Harris German/Dartmouth Distinguished Visiting Professorship Program, an initiative created in 1987 to bring German academics to the College.
(02/10/25 7:00am)
On Feb. 6, University of California, Los Angeles, professor Kency Cornejo delivered the Manton Foundation Annual Orozco Lecture in the Hood Museum of Art. Cornejo discussed her July 2024 book, “Visual Disobedience: Art and Decoloniality in Central America” — a text which explores artistic strategies for “Indigenous, feminist and anti-carceral resistance in the wake of torture, disappearance, killings and U.S.-funded civil wars in Central America,” according to its blurb.
(02/07/25 7:05am)
This article is featured in the 2025 Winter Carnival Special Issue.
(02/07/25 7:00am)
This article is featured in the 2025 Winter Carnival Special Issue.
(02/03/25 7:00am)
In classic SZA fashion, the deluxe version of her second album “SOS,” titled “Lana,” arrived later than expected — a testament to her perfectionism. Although teased to release at the stroke of midnight on Dec. 20, 2024, SZA spent the morning making finishing touches, sweetening the deal by dropping a teaser music video, featuring actor Ben Stiller, for the song “Drive” at the original drop time. It wasn’t until 3 p.m. when my Spotify refreshed and I was finally able to embark on my latest SZA-inspired spiritual journey. A winterim-emptied and situationship-drained receptacle, I sat on a park bench near my home in Florida and pressed play. Dropped two years after its parent album, the deluxe version was well worth the wait. On that perfectly sunny afternoon, I floated away to the tune of the opening flute synths on “No More Hiding.”
(02/03/25 7:05am)
On Jan. 29, approximately 20 people gathered in Still North Books & Bar for a reading from new author Duncan Watson. Watson read from “Everyone’s Trash: One Man Against 1.6 Billion Pounds,” his debut memoir about the “human connection with trash,” he said.
(01/31/25 7:00am)
Robert Eggers’s “Nosferatu” was a skillfully made image of the 1830s in Germany – a predictable victory for the veteran director who spent 10 years on the film. Eggers’s film history boasts immersive, tonal psychological thrillers. Notably, “The Witch” and “The Lighthouse” made him well suited to take on “Nosferatu.” However, when placed outside of Eggers’s repertoire and into that of the series of films based on the original story of “Nosferatu,” his remake fails to make a meaningful addition to the canon despite his promises to provide a feminist interpretation.