Meredith College Student Newspaper /
Nov. 28, 2012, edition 1 /
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2012 Holiday Season Movies Promise Love and Laughs
Lizzie Wood, staff writer
Are movies one of your holiday
traditions? The winter season this year
.is providing viewers with new movie
releases ranging from classics such as
The Hobbit to comedies like This is
40. Here’s a look at this season’s latest
Playing For Keeps
This lighthearted romantic comedy .
'vill be in theatres Dec. 7. Starring
Gerard Butler as an ex-soccer pro and
Jessica Biel as ex-spouses with a child,
the film explores the relationship of
the two estranged lovers as George
(Butler) volunteers to teach his son’s
suburban soccer team. Creating quite
a splash in suburbia, Butler’s character
IS chased by the soccer moms (Uma
Thurman and Catherine Zeta-Jones).
I^ennis Quaid also stars in this heart-
In theatres Dec. 14, this prequel to
Ihe Lord of the Rings trilogy is sure to
the same level of masterpiece as the
previous films. Starring Ian McKellen
^s Gandalf and Martin Freeman as
Bilbo Baggins, the film follows Bilbo
on his journey with Gandalf the Grey.
The duo, along with 13 other hobbits,
face dangers as they travel through
the Lonely Forest and also come face
to face with Gollum. The film will
end with Bilbo gaining possession of
the infamous ring, which started the
drama of the trilogy.
THIS IS 40
This is 40
Marketed as the “sort-of sequel to
’Knocked Up,’ ” this raunchy comedy
is sure to be as humorous and crude
as Knocked Up. Entering theatres Dec.
21, the film centers around the dynam
ic duo of Leslie Mann and Paul Rudd.
The storyline follows the husband and
wife as they enter into a new period of
their lives: their forties. Packed with
well-known actors like Melissa McCar
thy and Megan Fox, the film is sure to
be comedy gold.
Christmas Day brings viewers one
of the most talked about films of the
year. The musical-movie will feature
Hugh Jackman, Russell Crowe, Anne
Hathaway, Amanda Seyfried and
countless other new and veteran stars.
Directed by Tom Hooper, the musical
was filmed featuring live singing being
done by each actor directly on the set.
The soundtrack, all of which was not
pre-recorded, features all of the songs
which made the musical such a classic.
Set in 19th century France, Les Mis
erabies is a love story and one which
emphasizes the power of dreams. The
passionate story-line is heartbreaking
and beautiful and centers around an
ex-prisoner (Jackman) who is being
hunted for breaking parole by police
officer (Crowe). When Jackman’s
character, Jean Valjean, agrees to care
for Cosette (Seyfried), the daughter
of the scorned Fantine (Hathaway),
their lives change immensely. This
movie-musical sensation is sure to be
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HELENA BONHAM CARTER
SACHA BARON COHEN
When coming out of my
classes, I often hear students
lament that a class they’re tak
ing is a waste of time because, I
quote, “I’ll never need to know
this in the real world. ” The
strength of a liberal arts educa
tion is the nurturing of a broad
base of knowledge from which to
approach specialized or pro
fessional study, but the peril
is that the relevance of liberal
arts requirements may be lost in
translation between the profes
sor, the course material, and the
student. In an effort to help bet
ter translate the relevance of the
liberal arts, this year the Herald
staff is conducting faculty in
terviews across campus. Focus
ing on the humanities in the fall
and the sciences in the spring,
we hope to establish a dialogue
between and among faculty and
students that illustrates how
knowledge in all fields is useful
in the “real world. ” Our goal is
to foster an interdisciplinary
dialogics that puts all aspects
of a liberal arts education in
dialogue, continually informing
and influencing each other.
This installment in the series
is an interview with Dr. Carol
Finley by Sarah Haseeb and
-Amy Hruby, Editor in Chief
Dr. Carol Finley is the Director of
Dance. She teaches Perspectives in
Dance; Ballet I, II, III and IV; Impro
visation I; Participation in Choreo
graphic Projects; Movement Analysis;
Music for Dance; Composition II;
Technical Production for Dance; Dance
Repertory; and Meredith Dance The
Q: What’s your background in your
A: I began taking ballet at age five and
continued at my dance studio through
high school. I also attended the N.C.
Governor’s School for dance in high
school which was my first introduction
•to modern dance. I attended North
Carolina State University (NCSU) for
my undergraduate degree, and al
though I continued dancing with the
modern-based NCSU Dance Company,
I majored in Graphic Design. After
a summer composition class at the
American Dance Festival, I decided to
attend graduate school for dance rather
than pursue a career in graphic design.
I earned an MFA in Dance Choreogra
phy from Ohio State University.
Q: What first got you interested in this
A: I wanted to take ballet class and my .
mother said yes. My dance teacher liter
ally picked up my twin sister and me
and carried us across the street from
our mother’s art studio to her dance
studio for our first class. We thought
we would wear pointe shoes and tutus
on the first day, and although we were
disappointed to discover practice-wear
instead, we stuck with it for 13 years.
What’s your favorite dance style?
I enjoy choreographing and perform
ing modern dance and compositional
improvisation the most. I love to watch
hip-hop and rhythm tap — probably be
cause my skill in these forms is so low
“ and I still enjoy taking class in and
Q: What kind of music do you like to
A: Lots of forms of music are inspiring
to me including African drumming,
classical, alternative rock and, lately,
dub step. I often work with a live musi
cian for class, which is usually percus
Q: How do you see your style of dance
to be relevant today?
A: Since postmodernism, lots of chore
ographers have hybridized their work.
I fall squarely in that camp, but also
include visual design and narrative in
my work. This is a little different than
most choreographers working in this
region, and I think it offers audiences a
different perspective within the genre.
Q: Who is your favorite contemporary
A: Ohad Naharin of Israel
Q: What contributions do you think he’s
making to your field?
A: Naharin works with veiy strong vi
sual images and has developed a power
ful physical technique that supports his
choreography beautifully. It is a style
of dance technique that he calls “gaga”
and it has begun to be taught all over
the world. It has been decades since a
specific modern dance technique has
emerged from a single choreographer.
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