The screenplay for a totally existent movie about outgoing and incoming theater exec Trevor J. Levin '19.
“Media archaeology is a relatively new term that defines excavating through the history of media,” Bruno says. “It’s a way to understand where the history comes from and also how that history can be reinvented.”
Tucked beneath the Carpenter Center for the Visual Arts, the Harvard Film Archive is easy to miss. Yet as one of the most prominent university-based film collections in the U.S., the archive is a cinephile’s gem—one that cultivates a dynamic space for the film-watching community.
You’re not afraid to stick it to the man. You don’t need no man. You co-wrote Christina Aguilera’s “Ain’t No Other Man.”
“VEGA INTL. Night School” stands as a glossy new addition to Neon Indian’s catalogue that draws on elements of the past, including the tongue-in-cheek nature of 1980s hits, to push its singular sound forward.
Though Harvard’s various archives have perhaps been underutilized by students at the College in the past, their staffs are working to change that status quo.
Disclosure has concocted yet another current, irresistibly catchy pop tune.
“La Vie Est Belle” fully lives up to its name—despite drawing from a number of clashing influences, Ilunga has produced a variegated, compulsively listenable record.
Torday’s indisputable, immense talent as a writer and storyteller manage to keep "The Last Flight" from dipping dangerously close to the haphazard.
"Clouds of Sils Maria" is a lovely film about youth and mortality that, when it backs away from overt symbolism, provides the sublime subtlety that we want when we watch a movie.
Now in its second year, “SKETCH,” which ran from March 26th to March 28th in the Adams Pool Theater, is Harvard’s stab at creating its own live, entirely student-written sketch comedy show.
A few minor faults notwithstanding, “Night at the Fiestas” truly is a brilliant piece of literature. It transcends the prototypical modern short story collection because Quade possesses an extraordinary insight into human nature.
“Skrillex and Diplo Present Jack Ü” plays like aural Red Bull—fizzy and invigorating, its swirling caffeine highs generally compensate for its eventual crash of a conclusion.
"The Lazarus Effect" promises a frightening reprise of the classic reanimated corpse horror flick, but poor writing and predictable plots leave this body stiff.
Though “Vestiges and Claws” is both melodically and lyrically stunning, José González's third effort offers little in terms of emotional depth or any semblance of artistic innovation from his previous work.