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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.
Though she does not come from a musical family, Charli Fool Bear-Vetter ’15 fell in love with music at an early age. Without ever taking a lesson — and without the benefit of a choir at her high school — the a cappella singer said she trained herself to write music, play the guitar and sing.
We live in a screen-centric society. Therefore, it should come as no surprise that these screens have become the canvases of our future. Maybe these digital creations will not diminish the value of traditional art, but what if the diminishment of the traditional canvas is where we are headed?
From the visually-engaging and thought-provoking exhibitions at the Hood Museum of Art to the enchanting melodies performed by student ensembles and unique performances that will be shown at the Hopkins Center for the Arts, the 2015 spring arts season is primed to be another term full of celebration for music, film, dance and the visual arts.
Many of us have fond memories of the hockey film “Miracle” (2004,) which tells the story of how the 1980 U.S. men’s hockey team defeated the juggernaut Soviet team at the Lake Placid, New York Winter Olympics. Much like the Space Race, this game was steeped in Cold War politics and pitted capitalism against communism in the battle for global and athletic supremacy. In short, hockey was war, and the Russians had the biggest guns. While we savor our underdog American victory, in all the patriotic fanfare, we forget about those fallen Red Goliaths. The documentary “Red Army” (2014) shows “Miracle” from the other side, giving audiences a rare glimpse behind the Iron Curtain.
Ten undergraduate and graduate students will screen animations tonight that they have been creating over the past several wekks of the term as part of the culminating experience for Film Studies 35: “Animation, Principles and Practices.”
We are taught in our elementary school art classes that red is a warm color, that blue and orange are complementary colors and that if we mix red and yellow we will end up with orange.
When Keith Moskow ’83 started at the College, he dreamed of becoming a boat builder. Instead, he became the co-founder of Boston-based architecture firm Moskow Linn Architects, which focuses on sustainable architecture in New England. His work has won awards, including ones from the American Institute of Architects and the Seoul Design Olympiad.
“I’d rather have cancer,” Alice Howland (Julianne Moore) , a Columbia University linguistic professor and mother of three, admits as she slowly succumbs to the ravages of early-onset Alzheimer’s disease at the age of 50. In “Still Alice” (2014), Howland is robbed of the two vitals that sustain her in life — words and family. Slow, restrained and infinitely sympathetic, the film becomes a nursing home, the audience Howland’s caretakers, as we watch every inch of her decline into helplessness.
After six finalists gave crowd-pleasing performances before a sold-out audience in Spaulding Auditorium on Friday, Tara Joshi ’18 was crowned the 2015 Dartmouth Idol first-place winner after performing songs by artists ranging from Gloria Estefan to Aretha Franklin. She earned a $500 prize and a chance to record a two-song demo, while Charli Fool Bear-Vetter ’15 won $250 for second place and Danny Rogers ’15 won $100 for third.
This Friday, six finalists will compete for the title of Dartmouth Idol in a night of competition reminiscent of famous televised shows like “American Idol” and “The Voice,” in the eighth annual Dartmouth Idol finals.
The motto “United We Stand” receives plenty of verbal attention, but perhaps, at times, it is best portrayed through the combination of diverse, yet unified, musical sounds.
Stephanie Abbott-Grobicki ’15 is not a stranger to the stage. She began to study ballet at the age of four, and because her family moved frequently during her childhood, including to South Africa and France, Abbott-Grobicki said she was able to find some stability in dance.
Now a year after its conception, “Voices,” an original student production created during last February’s V-Week, will return to the College today and Wednesday. “Voices,” which is directed, produced, written and performed entirely by self-identifying women, will give women a chance to share stories that range from sexuality to body image to sex education.
Many people hold literature in high esteem — they praise the complexity of history’s great literary works, unreachable by any other sort of medium.
With their final performance yesterday afternoon, the cast and production crew of Shakespeare’s “Romeo and Juliet” bid a fond farewell and parted with “sweet sorrow” after several months of preparation and presenting their visually-stirring modern adaptation over the past two weekends.
How can you say “break a leg” to an actor who already has a broken heart, a shattered psyche and a fractured family life without it being a cruel joke? Riggan Thomson (Michael Keaton), the lead in Alejandro González Iñárritu’s four-time Academy-Award-winning, including Best Picture “Birdman: Or (The Unexpected Virtue of Ignorance)” (2014), is that actor, the washed-up movie star salivating for a shot back in the limelight. Himself a former superhero star — Keaton played Batman in Tim Burton’s “Batman” (1989) and “Batman Returns” (1992) — the role is fittingly mimetic. With crow’s feet the size of talons and referring to himself as a “turkey with leukemia,” Thomson is like Birdman without feathers; vulnerable to the cold of an icy, unsympathetic populous, his goose seems nearly cooked.