1000 items found for your search. If no results were found please broaden your search.
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.
From intricately woven cloth to painting-like script, African art and culture will converge when “Auto-Graphics: Works by Victor Ekpuk” and “Ukara: Ritual Cloth of the Ekpe Secret Society” open at the Hood Museum of Art this Saturday.
When Madeline Abbott ’15 auditioned for the student-produced musical “To Slay A Demon,” a musical based on the cult show “Buffy the Vampire Slayer” (1997), this winter , she had no idea that she would land the lead role. Prior to this audition, Abbott had not done any sort of theater since she was in high school.
“The House of Seven Bagels.” “The Dartmouth Alumni Marzipan.” “The Road to Tiramisu.” These titles were among several literary-themed puns that inspired desserts, including cakes, bagels and a collection of brownie crumbs, on display in Baker-Berry Library yesterday. This showcase of literary arts meeting the culinary arts celebrated one of the library’s newest traditions — the second annual Dartmouth College Library Edible Book Festival.
Few people would question the assertion that art can have an impact on social change, but, as can be expected, some changes are easier to address than others. We have likely all seen works that call attention to gender inequality or racial injustice, for example, but how often do we see art about environmental concerns?
Tucked away down a hallway connecting the lower level of Baker Library to the Sanborn Library basement, the Book Arts Workshop, called “Dartmouth’s best-kept secret” by the Dartmouth College Library, is celebrating its 25th anniversary this year.
I don’t know what’s scarier — modern horror films themselves or the current state of the horror genre, which has become a factory for lazy and unoriginal pabulum. In most contemporary films, frightening has become a formula — a veritable cinematic slot machine, where audiences pay their money to watch a string of classic icons, like the possessed child, clown or abandoned house. Even worse, many nascent directors have taken to using horror as a springboard for their careers — the films are cheap, don’t require professional actors and just need bad lighting and a broken music box to get the ball rolling. Like visitors to Atlantic City, modern horror audiences are destined not to be satisfied. But luckily, there are exceptions to the rule. “It Follows” (2014) is just that — the rare breed that waits, lurks and lets your mind do the scaring.
Divyanka Sharma ’13 exemplifies the meaning of “doing it all.” A young alumna originally hailing from India, Sharma balances budding success in short fiction with full-time work for New York City-based Locus Analytics, working to apply functional classification systems of enterprises to the developing world. An English major at the College, Sharma worked for Reserve Bank of India during her time at Dartmouth and credits English professor Thomas O’Malley for helping her publish her first ever published piece, the short story “To Benares.”
From its opening projections of Los Angeles smog and the Hollywood Sign, “¡Figaro! (90210)” marks a stark departure from the Mozart comedy opera from which it is adapted, “The Marriage of Figaro.” But on the strength of new elements including a hip-hop-obsessed teenager, sexting and facelifts, the adaptation of the operatic classic — which opens today and boasts a cast list including both students and professional opera singers — continues the stellar form that saw versions of the same script win acclaim in New York and Los Angeles.
The Culley Concerto Competition, which will take place this Saturday afternoon in Spaulding Auditorium, features live solo performances by 19 Dartmouth student performers, Hopkins Center director of bands Matthew Marsit said. Ranging in instrument types from brass to strings, the soloists — competing in the annual competition established in 1988 by Grant and Suzanne Culley, parents of Maryly Culley ’86 — will aimto take home prizes for high achievement in orchestral performance.
When Zach Wooster ’15 takes the stage this spring for his last show as a guitarist and vocalist with campus band shArk, he may be greeted with a chant of “Fins Up!” — a slogan used by the group’s fans. As he strikes the final notes of his Dartmouth career, Wooster will find himself a long way from his early performances at the College, played alongside friend and bandmate Pablo Marvel ’15 in the relaxed atmosphere of open mic nights at One Wheelock.
As a crowd of undergraduates, faculty and community members watch, an arctic fox curls its back and turns its head to look directly at its audience. With its white coat popping in sharp contrast to the dry, brown tundra on which it stands, the fox creates a transfixing image — one nearly powerful enough to transport viewers to the Arctic, where studio art professor Christina Seely’s expedition-based work has taken her.
Have you ever thought of what defines a craftsman, of why we consider a craftsman to be different from an artist?
While many students took advantage of the spring interim to escape Hanover’s frigid temperatures and travel to tropical climates or catch up on Netflix’s newest offerings at home, the 20 members of the Dartmouth Aires spent their break in China in a combination of singing and sightseeing.
It’s natural not to have life completely figured out by college. For Stephen Godchaux ’81, it took several years as a lawyer before he discovered a genuine interest in writing and producing television shows. Now, with more than a dozen television writing credits to his name and a Writers Guild Award nomination for Best Original Television Movie, Godchaux brings new meaning to the phrase “better late than never.”
What immortal hands or eyes can keep framing James Bond’s famous fearful symmetry? Bond, after all, has nearly become a genre in himself, from his offshoots in Jason Bourne from the Bourne films and Jack Bauer in the television series “24” (2001), making it more difficult to innovate within this iconic genre. Matthew Vaughn, the director of “Kick-Ass”(2010) and “X-Men: First Class” (2011) brings a new and youthful exuberance to the dated spy framework with his “Kingsman: The Secret Service” (2014) and dusts the cobwebs off Bond’s aged suit.
After nearly four years in Hanover, Michael Taylor is no longer serving as the director of the Hood Museum of Art, College spokesperson Diana Lawrence confirmed in an email. Juliette Bianco, who previously served as deputy director at the Hood, will serve as the museum’s interim director until a replacement is found.
More than a year ago, when she was deputy director at the Hood Museum of Art, now-interim director Juliette Bianco was invited to a meeting intended to inform faculty and administrators about the Hopkins Center for the Art’s upcoming show featuring the Nile Project. As she learned more about the Nile Project — a group of musicians, educators and activists from 11 countries in the Nile River Basin region that create and perform music incorporating various traditions, languages and instruments — Bianco was inspired.
Kyle Abraham, whose choreography can be seen performed at the Hopkins Center this week in “When the Wolves Came In” — a performance combining classical and modern dance styles to explore the civil rights struggles in South Africa and the United States — is a MacArthur “Genius” Fellow with an international reputation. Today, though, he will trade working with professional dancers for a postmodern movement class in Straus Dance Studio, open to both students and the community.