It consists of a long series of short skits, each a satirical take on experimental media. Lots of nudity, lots of violence, and lots of surprises.
If pop punk is going to stay relevant, it needs to address the real issues of exclusion that are driving its downfall.
The film’s genre is difficult to define, with Todd Strauss-Schulson naming Back to the Future, The Purple Rose of Cairo, Friday the 13th: The Final Chapter, and even Terms of Endearment as influences.
They described their music as a mixed bag, with shreds of folk, pop, alternative, queercore—an LGBTQ offshoot of punk—and cheesiness all intermingled.
Emerson Game Developers hatched from the success of the daylong Girls Make Games workshop held in the lab in November, which provided 25 female students the opportunity to learn directly from women in the industry.
Shouldn’t the Academy categorize and award actors for, you know, their acting?
Under the penname J.M. Aucoin, Justin Aucoin '06 writes historical novels packed with swordplay and thievery.
Last November, sophomore Michael Kiaunis decided he wanted to make a game show for college students. His vision was Campus Clash, a Family Feud-style game show where Emerson organizations compete against each other in the hopes of winning $300 toward a specific purchase or event.
The 48 Hour Film Festival: where a loaf of bread, a parasite, and a materialistic antagonist can live together in creative harmony.
To spread awareness about on-campus theater, a cappella, dance, and comedy organizations, Zach Holden founded the Student Performance Network, or SPN.
David Bowie thrust LBGTQ themes into the media, demanding more mainstream acceptance for work outside of the binary.
In 2014, Amnesty International USA recorded and investigated human rights abuses in 160 countries and territories worldwide.Faculty member Christina Marín, who teaches courses like Theatre of the Oppressed and Human Rights in Theatre, wanted to direct a play that educates people about human rights violations in Latin America.
The only surprising or intriguing thing left is the gaze of the camera upon its subjects and the way it tells the audience to view them—as either objects or people. Women in spy films are traditionally the former.
Polly Carl, the creative director of ArtsEmerson, was named Person of the Year by the National Theatre Conference (NTC) last month for her/his work in new play development.
WMLFs are typically a biopic, often named after the man they portray, and are nearly always written, directed by, and starring straight white men.