VAGINA
continued from page 7
against women is happening," she
said. "They aren't alone, and a strong
community is being created to they
can stand up against it."
The Women's Center will host a
discussion forum Monday at 6 p.m.
in the EMU Fir Room. The free
event will give people the opportu
nity to talk about how the show af
fected them and voice their own
concerns about violence against
women.
Tickets for "The Vagina Mono
logues" are $7 for students and $10
for general admission and are avail
able at the EMU Ticket Office.
Contact the Pulse reporter at
natashachilingerian@dailyemerald.com.
DANCE
continued from page 6
Rod Stewart, "Joker" by the Steve
Miller Band and "Rock Your Body"
by Justin Timberlake. The three
dancers perform on pointe, a form
of ballet where dancers wear shoes
that allow them to dance on their
toes. They will wear flowing knee-'
length black skirts, solid-color tank
tops and black bow ties.
"It's about feeling the music and
having fun with each other yet
showing off," Kacaleksaid. "1 wanted
to show a side of my personality that
most people don't see."
The student choreographers
were in charge of all aspects of the
production, including costumes,
lighting design, fund-raising, de
signing posters and programs and
finding stage crews. Students have
held approximately two rehearsals
per week since mid-October and
exhibited their in-progress work at
several showings, where they re
ceived feedback from their
advisers.
"In the world of dance, you need
to know about every production as
pect," Kennedy said. "One of our
goals in the dance department is for
students to get practical experience
they can use."
Nelson said the process was most
ly a breeze thanks to her talented cast
members and love for dance.
"It was pretty enjoyable and exciting"
she said. "Doing choreography and cos
tumes is what I like to do. I was willing
to do all of it because it is so rewarding.
At first it was hard because I didn't know
how my choreography would look, but
it was a smooth process because my
dancers can do anything."
Courtesy
Left to right: Emily Burke, Judith Friedman (on floor), Carly Jaeger (in chair), 13-year-old
Sarah Garrelts, Liz Kadel, and Allie McClatchey (on floor in foreground) rehearse for their
presentation of “The Vagina Monologues.”
Tim Kupsick Freelance Photographer
Student choreographer Sarah Nelson’s piece for “Dance in Fusion" fuses ballet.
"Dance in Fusion" premieres
tonight at 8 p.'m. in the Dougherty
Dance Theatre and continues Fri
day and Saturday. Tickets are avail
able at the door for $ 10 for general
admission and $5 for students
and seniors.
Contact the Pulse reporter at
natashachilingerian@dailyemerald.com.
005699
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Every Thursday only in the
Oregon Daily Emerald.
PORTLAND
continued from page 6
1960s Paris film scene, "The Dream
ers," to "Free Radicals," director Bar
bara Albert's film about chaos theo
ry and a small town in Austria, will
make an appearance.
While the primary focus of the
festival is international films, there
are a few American entries, mostly
in the form of documentaries.
Among them are Jonathan
Demme's "The Agronomist," a doc
umentary about Haitian radio per
sonality and political activist Jean
Dominique, and Jehane Noujaim's
"The Control Room," about the
Arabian news channel Al-Jazeera's
coverage of the war in Iraq.
t our collections or snort rums
will play at various times during
the festival. Ranging from a few
minutes in length to just more
than 30 minutes long, the shorts in
this year's festival are made with a
diversity of techniques, including
live action, animation, CGI and
stop-motion. Among the popular
selections are "This Charming
Man," an Oscar-winning short
from Denmark and the Japanese
animated short "Mt. Head," which
played in Eugene as part of "The
Animation Show" at the Bijou Art
Cinemas in November.
Chel White's "Magda" departs
from the rest of the festival's fare as
the only film playing that was
made in Oregon. White, who di
rects commercials for the Bent Im
age Lab in Portland, made the film
over the course of five months us
ing a volunteer crew. The animat
ed short details a man's love for a
circus contortionist and debuted at
this year's Rotterdam Internation
al Film Festival. Its appearance at
the Portland International Film
Festival will mark its American de
but.
"We usually don't include
Northwest films and most of the
new ones were showcased at our
Northwest Film & Video Festival
in November," NWFC director
Bill Foster said. "But Chel's film
just got finished, and since this is
its premiere and it has a European
flavor, it felt worth the exception."
Director White, who has had
his films selected by NWFC for
other festivals, said he holds the
Center in high regard.
"I think we're really lucky here
in Portland to have NWFC,"
White said. "It's one of the reasons
I've stayed here."
The Portland International Film
Festival will be showing at the Re
gal Broadway Cinemas, the Guild
Theatre and the Whitsell Auditori
um in the Portland Art Museum.
Tickets are $8 for the general pub
lic and $5 for children. For more
information, contact the Festival
Ticket Center at (503) 228-7433 or
the Northwest Film Center at
(503) 221-1156 or visit its Web site
at http://www.nwfilm.org.
Contact the senior Pulse reporter
at ryannyburg@dailyemerald.com.
BLOOD
continued from page 7
As Walter's sculptures become
more grotesque, his popularity ris
es. Soon his murders are more
willful as he tries to keep from be
ing forgotten by the artistic elite,
passed up for the next big thing.
It is rare that a low-budget ex
ploitation film deals with the ques
tions of morality in art. Does an
artist have the right to bypass moral
ity if his work is truly great? Are
artists the only ones worth remem
bering? Is life only meaningful if
one is creating? If so, is murder
based art a legitimate creation and
hence an affirmation of one's life?
This is not standard fare for a
drive-in shocker, and what keeps
it from getting bogged down in
the artistic implications of the
subject matter is the hilarious
manner in which it is presented.
The caricatures of the beatniks
that inhabit the apartments and
coffeehouses of the film are won
derful mockeries of members
from any artistic scene.
Julian Burton is especially outra
geous as the poet Maxwell Brock.
His dialogue has to be heard to be
believed (personal favorite: "Hands
of genius have been carrying away
your cups of frustration!") The other
coffeehouse customers work in the
same manner. Sniveling, self-ag
grandizing and pretentiously cool,
Walter becomes only the latest, and
most extreme, member of a group
so full of itself that it believes art to
be more important than life.
Corman's whole career could be
seen as one that deals with this
battle against artistic pretension.
His films played for popular tastes
without pandering to them, and
while his consistency was poor, he
always tried to make the movies he
wanted to make. While they often
fit into popular genres, they would
also often transcend those genres,
becoming something more subtle
and inspired.
While high-priced Hollywood
products are the standard fare of the
day, modem filmmakers could take
a lesson from Corman. Big ideas
don't need big budgets. Maybe just
a sense of humor.
Contact the senior Pulse reporter
at ryannyburg@dailyemerald.com.
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