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We are just six days away from the 87th Academy Awards on Feb. 22, 2015. They will be hosted by none other than Neil Patrick Harris, who has hosted numerous Tony and Emmy Award ceremonies. Here are my predictions of the major award winners for this year. Note: these are not my opinions of the ones that are most deserving. I’m just playing the Oscar game, which is as peculiar and unpredictable as the films themselves.
Since graduating from the College, Sam Means ’03 has won three Emmys for his work on “The Daily Show with John Stewart”and has written or produced for television comedies “30 Rock” and “Parks and Recreation.” He is currently a writer for the show “Unbreakable Kimmy Schmidt,” which will premiere on Netflix on March 6.
Any student who walks into the Hopkins Center on Saturday afternoon will be greeted at the door by the sound of the Dartmouth Glee Club singing classical love songs and Beatles arrangements.
When Dartmouth Idol finalist Tara Joshi ’18 was young, she would only sing around the house. After her mother signed her up for a production of “The Sound of Music,” she decided she only wanted the part of Gretl von Trapp.
The sights and sounds of a globally scarring cataclysm will bombard attendees from the bows of the Kronos Quartet, before a backdrop of absorbing historical footage, during the group’s upcoming performance of “Beyond Zero: 1914-1918” today.
What is the purpose of art? Is art supposed to be an escape or a refuge, a soothing balm for our eyes to peruse? Or is art supposed to be something more?
There is nothing more heartbreaking for an art museum than learning of the destruction of a beloved piece in its collection. While paintings can be cleaned using a combination of plaster and resin treatments, restoring broken sculptures is altogether a much more difficult task. Last year, however, a team of conservators from the Metropolitan Museum of Art in New York City used cutting-edge technology that combined computer science with visual art to restore Italian Renaissance artist Tullio Lombardo’s iconic marble masterpiece “Adam” after it collapsed in 2002.
Film professor Bill Phillips, who is a member of the Class of 1971, started his career with an interest in playwriting and several appearances in the Massachusetts High School Drama Festival before shifting to filmmaking. His upcoming film “Sabra” about Vermont printmaker Sabra Fields will be played in Loew Auditorium today and Feb. 16 at 6:30 p.m.
It’s odd seeing a propaganda film nowadays. There seems so little to cheer about in America — what could a director praise? Clint Eastwood’s hagiographic “American Sniper” (2014) lauds the murders of the deadliest sniper in American military history, Chris Kyle (Bradley Cooper), while introducing a brand of colonialist racism reminiscent of the American settlers’ against the Native Americans. This cloying, skewed film plays more like an army recruitment video than a biopic. Coming from the man who spoke to an empty chair at the 2012 Republican National Convention, I’m not surprised.
Big band music and swing dancing will take center stage on Saturday night as the Barbary Coast Jazz Ensemble headlines the 39th annual Winter Carnival Concert in Spaulding Auditorium.
In front of a packed Spaulding Auditorium, 25 students battled to earn one of six finalist spots in the eighth annual Dartmouth Idol competition yesterday evening.
The cold weather calls for a different type of social space, preferably one that involves hot chocolate and coffee. Programming Board’s new Coffeehouse Concerts aim to create this new environment by providing students with a relaxed atmosphere where they can socialize and listen to live music from up-and-coming bands in One Wheelock.
Why are the classics of literature, theater and film subjected to repeated reimaginings and twists? How does a work even qualify as “classic” enough to deserve a new version?
Faces stare out from the walls of the Hood Museum of Art, from a grotesquely elongated and detailed blue face to a woman shooting a water gun directly at the viewer to a series of people mimicking riding a bus, all of whom are portrayed by the same woman. The one thing that connects all the pieces, which come from 18 different artists, is that they are self-portraits, part of the Hood’s “About Face: Self-Portraiture in Contemporary Art” exhibit, which opened at this weekend.
From singing with the Dodecaphonics to producing a mini-opera in Italian for her major thesis, Sarah Nelson Craft ’01 surrounded herself with music during her time at the College, though she did not decide to go into music professionally until midway through. Since then, Craft has sung in Paris and China and has been on “This American Life.” In March, Craft will perform a solo at Lincoln Center.
What does possession look like? Does it entail crawling up walls, becoming a vessel for Satan and vomiting up green slime as in “The Exorcist” (1973)? Or is it subtler, with glazed, absent eyes, isolation and monomania? If “The Exorcist” were set at the Juilliard School, the result would be “Whiplash” (2014). Director Damien Chazelle wrote the screenplay to “The Last Exorcism Part II” (2013), and brings his demonic expertise to this compact gem of perfection.
A bamboo shoot cultivated in illuminated cubicles. A hanging piece of metal that can take on multiple forms. These are just two examples of the work shown in the Strauss Gallery’s newest exhibit “Metamaquette” by studio art professor Zenovia Toloudi.
When Carly Carlin ’15 first began taking dance lessons at five years old, she refused to take ballet classes because she “hated the color pink.” Now, the 21-year-old co-president of Fusion Dance Ensemble has 14 years of classical ballet training under her belt. This Sunday, she led Fusion in a “Your Space” performance at the Hopkins Center’s Bentley Theater.
After a lengthy six-hour audition process and an even longer, nerve-racking deliberation period, the stage is set for the semifinals of the eighth annual Dartmouth Idol competition, which will be hosted in Spaulding Auditorium on Feb. 3 at 7 p.m.
A forgotten art and declining practice, bookbinding is not given the same consideration that it once was now that the age of technology has equipped consumers with the e-book. Factory-bound books, let alone hand-bound books, are no longer a reader’s most convenient option. The practice of bookbinding is on the threshold of demise, and we can only hope that its value as a functional art form will salvage it from the brink.