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Silvia Moreno-Garcia’s New York Times best-seller “Mexican Gothic” is a lush, moody story brimming with horror and mystery. With all the trappings of a Victorian novel, “Mexican Gothic,” which was released in June, calls upon notable doomed heroines in the literary canon, from Ophelia in “Hamlet” to Cathy in “Wuthering Heights,” in order to place readers in its melodramatic prose. “Mexican Gothic” is your favorite Brontë novel, but better.
Since April, the Hopkins Center for the Arts’ virtual cinema program, #SmallScreenFun, has provided Dartmouth community members with the opportunity to stream films and join live Q&As featuring filmmakers, film scholars and celebrity guests. This term, the Hop has given students a greater role in the program, allowing them to act as moderators and ask guests questions.
Through class projects and hands-on learning, a new studio art class — SART 17.23, “Book Publication Lab” taught by professor Tricia Treacy — is seeking to create connections during remote learning.
The Hopkins Center for the Arts has offered workshops to students since the 1940s, and quarantine has by no means put an end to this practice. According to ceramics instructor Jennifer Swanson, workshops turned to a virtual format during the summer term, with instructors mailing students supplies and guiding the classes over Zoom. Titled the “Make It At Home” workshop series, the virtual program includes workshops focusing on woodworking, ceramics and jewelry-making skills.
On Tuesday, late night talk show host and political satirist Trevor Noah joined over 1,800 Dartmouth students, faculty and staff for a discussion on issues ranging from COVID-19 to racial politics to social media.
With their self-titled 2008 debut, Fleet Foxes established themselves as an indie folk outfit with achingly sincere, pastoral lyrics and a penchant for vocal harmonies. And unlike many folk rock artists emerging out of the late 2000s, they have remained fresh, while managing not to make a major departure in style on any of the three albums they have released since their debut. After a six-year hiatus, their third album “Crack-Up” dove headfirst into progressive folk, with denser instrumentation, longer songs and unorthodox song structures. With “Crack-Up,” Fleet Foxes proved that they could work within their established style to create a challenging, dense album of music that defied accessibility. With their newest album “Shore,” released on Sept. 22, Fleet Foxes have proved the opposite: Their music can be equally powerful with simpler instrumentation and more accessible, catchy songs.
Yaa Gyasi’s follow-up to her American Book Award-winning 2016 debut “Homegoing” is “Transcendent Kingdom,” a novel alternating between past and present in the life of Gifty, a Ghanaian-American neuroscience Ph.D. candidate and former self-proclaimed “Jesus Freak.” Throughout the book, Gifty, who studies impulse control in mice, reexamines what led her to a life of empiricism after growing up in a deeply religious immigrant family in the Bible Belt. Grappling with Gifty’s experiences growing up “sticking out like a sore thumb” in her predominantly-white town and “as Ghanaian as apple pie,” the novel is both accessible and urgent.
On Thursday, Hop@Home held its first events of the academic year. The fall kick-off saw two pairs of alumni take the (virtual) stage. Oscar-winning animators Phil Lord ’97 and Chris Miller ’97 participated in a live chat, and twins Angel and Dren Coleman ’13 DJed the event.
Frances Cha ’07’s debut novel “If I Had Your Face” has been making waves in the literary world. The Guardian praised the novel — a story about four young women navigating the rigid cultural hierarchies, impossible beauty standards and plastic surgery craze of contemporary Korean culture — as a “fizzing, grisly debut.” The Washington Post even likened the book to Bong Joon-Ho’s Academy Award-winning “Parasite.”
In late 2018, the production crew of “Mulan,” the latest soulless Disney live-action remake, began filming in the Xinjiang province of northwest China, home to the Uighur people. At that same time in Xinjiang, the Chinese Communist Party continued to sharply expand internment camps for ethnic Uighurs, camps that had already incarcerated up to one million members of the predominantly-Muslim minority group.
On Aug. 19, Brooklyn-based sculptor Ursula von Rydingsvard's “Wide Babelki Bowl” — a large cedar sculpture resembling “babelki,” or knots on a sweater — became the newest addition to Dartmouth’s collection of public art installations.
Katy Perry’s fifth studio album, “Smile,” arrives on August 28. To generate buzz, she hosted a Zoom question and answer press conference with college reporters. I clicked out feeling underwhelmed, and I’m trying to pinpoint why.
When I first watched “Indian Matchmaking,” I didn’t frown upon the premise of the show. Instead, I laughed at hilarious scenes between Indian American families redolent of my family. Released on July 16, this Netflix original is produced by the Oscar-nominated documentary filmmaker Smriti Mundhra, who communicates a middle way between arranged marriages and modern dating. “Indian Matchmaking” has polarized viewers, with some seeing it as perpetuating colorism, sexism and the caste system, while others perceive it as a lighthearted take on contemporary Indian culture that destigmatizes arranged marriages. I am in the second camp and let me tell you why.
Dominic Fike’s debut album “What Could Possibly Go Wrong” is the antidote to a lackluster summer. Released on July 31, Fike’s album presents an eclectic collection of musical ideas well-packaged into 14 songs. This 34-minute listen is full of pleasant twists and turns that make for an engaging and kaleidoscopic record.
Children all over the country have been stuck at home due to the COVID-19 pandemic, and many of them might not fully understand the reasoning for this quarantine. While this virus might seem daunting to explain for some, Hannah Margolis ’20 saw the pandemic as an exciting opportunity for science education.
Just when I thought Taylor Swift had surpassed every semblance of an expectation, she proved to be even more of a superwoman. The release of her eighth album, “folklore,” on July 24th comes only 11 months after the cheerful and flowery “Lover.” Written and recorded entirely in quarantine, “folklore” is a testament to the singer’s creativity as a musical powerhouse. “Folklore” stuns with its ethereal beauty and maturity, expressed through intelligent lyrics and gentle, haunting melodies.
Radio plays, at-home workshops and smartphone recordings of theater scenes are just some of the many adaptations Dartmouth community members are employing to maintain arts education despite the challenges imposed by COVID-19. Technology has proved critical in these plans, allowing students to learn, perform and rehearse together across time zones.
Alberto and Ernesto Villalobos performed a live concert from their New York City living room for the Hopkins Center for the Arts’ online program Hop@Home on Wednesday, July 22. They were joined on the virtual stage by bassist Victor Murillo, as the Villalobos Brothers’ third member, Luis, is currently in Spain.
It can be difficult to acknowledge the near-ubiquitous prevalence of sexual abuse when victims are nameless, shapeless and unfamiliar. Released on June 24, “Athlete A” forces a recognition of this rampant abuse, as the victims are the young women that America champions as Olympians. Through the bravery of the female gymnasts and the brutal, but necessary look into the bleak world of USA Gymnastics, “Athlete A” is an illuminating, tear-jerking, must-watch documentary.
In one part of the documentary, “Welcome to Chechnya,” which debuted at Sundance earlier this year, a man identified as “Grisha” shares his harrowing experience of being arrested and tortured by Chechen authorities because of his sexual identification. The emotion conveyed on screen — fear, anger, sadness — is palpable. It is also not, in the strictest sense, real. Using a groundbreaking editing technique, the documentarians behind the film were able to digitally “swap” the face of the real Grisha with that of a volunteer actor, thereby protecting his identity without losing the essential human connection that comes with being able to put a face to a story.