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Last Saturday, I went to watch the Hopkins Center’s screening of the collection of Oscar-nominated live-action short films without a clue of what I was getting into. I hadn’t looked up any of the films before my viewing, and in my innocence, I assumed that the brevity of the shorts meant they would toe the line between light-hearted and meaningful. They would not be too dark or bleak, I assured myself, before the lights went dim and the title card for the first short appeared on the screen.
We are so concerned with what is new and exciting in music that we often forget the artists we’ve lost, the artists that even from the grave figure prominently in our collective imagination. Big names have died in the last few years — Tom Petty, David Bowie, Aretha Franklin — and it feels like time is running out for the musicians who inspired popular music today. Leonard Cohen is one such artist. Cohen passed away in November 2016 at 83, but still inspires people with his not-quite-music-not-quite-spoken-word pieces years later.
As a film-goer, I watch movies to escape reality — to dive into a fantasy and feel immersed in a new environment. All of this is accomplished by the trademarks of a film: action, dialogue and acting. It’s clear from the movies that often win at the box office that most audiences also appreciate similarly exciting, enthralling films. Yet among the films most critically lauded this year is Alfonso Cuarón’s semi-autobiographical film “Roma.”
As we find ourselves hurtling toward the already contentious 91st Academy Awards ceremony, I think it might be time to take a break from our regularly scheduled programming and tackle a seemingly unrelated question: Why do we like cult films?
I grew up in the south, and some of my most vivid childhood memories took place on the sandy shores of the Atlantic or in the pristine saltwater marshes on the Carolina coast. I was always captivated by the raw beauty in these environments: sunlight bending through Spanish moss, the great arc of a blue heron in flight, hundreds of fiddler crabs scuttling across the mud flats and the gentle lapping of waves at low tide. The sheer abundance of life clustered within the marshes always astounded me. They were their own little sanctuary, sheltered from concrete high-rises and boisterous tourists, having just the right conditions to foster an entire ecosystem.
“Tangerine” by Christine Mangan transported me beyond my world. I felt like I knew how the ghostliness, both the good and bad tangles of history, feels in Tangier. The book brought the feeling of standing on top of Phoenician tombs, gleaming white against the azure of the intersection of the Mediterranean and Atlantic Oceans alive; I felt like I could feel the layered history beneath my feet and the physical manifestations of syncretic culture present before my eyes.
Art is a medium that contains within it the passage of time. It is something that remains. A piece of art is how it was, how it has been since its creation. It is the same object seen by innumerable different sets of eyes, through myriad ages, and yet still the lift of the artist’s brush flicked up a peak of paint that rose above the canvas. The paint dried in its miniature topography and the action of an instant was preserved through time. Do you remember standing in a museum to view for the first time a famous piece of art that has been reproduced in countless photographs, on postcards, t-shirts and posters? Did you look closer and imagine the artist painting it, stroke by stroke? Did you retrace the line of their brush with your eyes and follow it up to a peak of dried paint?
Monik Walters ’19 wears many hats. As Student Assembly president, president of the National Association for the Advancement of Colored People at Dartmouth, leader of the Dartmouth Alliance for Children of Color, Hopkins Center curatorial fellow, a member of Ujima and choreographer for D-Step, Walters has made an impact on various spaces on campus, especially in the arts.
In light of the 91st Academy Awards coming up this month, a few of our film reviewers are looking at the Best Picture nominees to see what might be the best pick for the film industry’s most prestigious award. Today, Sebastian Wurzrainer looks at “The Favourite.”
There was a moment of collective solidarity on the Internet — which is really rare, considering it’s the Internet — when Fox announced the cancellation of “Brooklyn Nine-Nine” in May of 2018. Fans of the show, from Lin Manuel-Miranda to Guillermo del Toro, all tweeted their outrage, leading to the show’s resurrection at NBC a mere 31 hours after the announcement of its cancellation.
It was one of the greatest marketing campaigns of all time: a pristine launch video showing supermodels swimming in bikinis on an island once owned by Pablo Escobar, a series of cryptic orange tiles posted online by celebrities and Instagram influencers and the promise of an immersive music experience in the Bahamas called Fyre Festival. In reality, it was an utter disaster; gourmet meals became two slices of cheese on soggy bread, luxury villas became disaster-relief tents and Fyre Festival became a colossal failure of the millennial age.
On Feb. 1, 22 Dartmouth singers will take the stage in the Spaulding Auditorium and showcase their talents in the Dartmouth Idol semi-finals. Currently in its 12th year, Dartmouth Idol provides collegiate students with a unique opportunity to perform songs for the Hanover community, as well as compete for cash prizes and a demo recording.
The first poem I remember loving was “From Blossoms” by Li-Young Lee. I memorized its soaring verses, each one a dedication to peaches, and would recite it at nearly every lunch period to the chagrin of my classmates. I was a girl obsessed. That was the first time I had seen a poem that was unapologetically jubilant; Lee eschewed everything I thought I knew about poetry in “From Blossoms.” There was nothing depressing, pejorative or traumatic. It was simply an exalting review of some really good fruit and a really good summer’s day — and it was in that simplicity that Lee found the nuance and depth that marks interesting poetry.
It’s an understatement to say that Netflix has a bad history with its original movies. Sure, they might make one decent movie every now and then, but for every “Roma,” there are at least three films like “The Cloverfield Paradox.” “Polar,” regrettably, won’t be joining “Roma,” “Mudbound” or “Beasts of No Nation” in the lofty pantheon of decent Netflix movies because, depending on your definition of what makes a movie good, it’s either some of the worst trash to ever grace the “trending now” section of Netflix, or a glorious hot mess that’s incredibly entertaining by virtue of how bad it is.
In its 250th year, how can Dartmouth recognize the failures of the past while celebrating its diverse present and future? “Indigenous Rising: An Evening of NextGen Native Artists,” an upcoming event at the Hopkins Center for the Arts featuring three Native American artists, is attempting to adjust that and represent more Native artists.
The Studio Art department is hosting a new Artist-in-Residence for the winter term. Emily Jacir is a conceptual artist who works in a range of mediums, from photography to sculpture to installation.
Let’s begin this review with the following two statements: 1. Spider-Man was the first superhero to whom I was introduced. 2. “Spider-Man: Into the Spider-Verse” is hands down the best Spider-Man film ever made. Full stop. No qualifications. I mention these two things in conjunction because even though they initially appear to be unrelated, they are, in fact, intrinsically linked. I never read comics as a child, and when I finally did find myself immersed in the world of superheroes, my favorite was always Batman thanks to Tim Burton’s bizarre, stylish 1989 film adaptation. Nevertheless, my first proper experience with anything superhero related was watching Tomo Moriwaki’s “Spider-Man 2” at the impressionable age of 7 or 8. Thus, even to this day, I have a special fondness for everyone’s favorite web-slinger.
The Hood Museum of Art will have its grand reopening this upcoming Saturday. After dramatic renovations began in 2016, the museum will open its doors to the public to reveal a building transformed by the work of Billie Tsien and Tod Williams, the architects in charge of the project.
At once a stunningly evocative retelling of Greek mythology and a commentary on mortality, motherhood, resilience and female agency, “Circe” by Madeline Miller intertwines the fantastic with the familiar, shaping a narrative whose supernatural exterior ultimately serves to tell an altogether human story of a woman’s life.
This Saturday, the Hood museum will finally reopen after being closed for extensive renovations, but the modern architectural design isn’t the only thing that’s new. As part of the museum’s transition, the Hood has created the new position of Global Contemporary Art Curator to promote bringing thought-provoking works to campus. Newcomer Jessica Hong discusses her role at the Hood and how she hopes to make an impact on campus.