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 blockbusters: 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- '^arming comedy. The Hobbit 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 CHIUSTMASZ012 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. Les Miserabies 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 a classic. t**» VOtlU'riftf MC6IC.M St‘'ViTiOS #XC«V£ iMt MWU(>»* rfCTuju'ivtM or an HUGH JACKMAN RUSSELL CROWE ANNE HATHAWAY AMANDA SEYFRIED HELENA BONHAM CARTER SACHA BARON COHEN Les Miserabies December ^12 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 Vicky Pivitsiripakde. -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 atre. Q: What’s your background in your field? 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 field? 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 teaching ballet. Q: What kind of music do you like to dance 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 sion. 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 choreographer? 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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