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Toothless is but one of many creatively crafted dragons in the film. Unlike the CGI-based cinematography, which often calls to mind the epic sweep of Peter Jackson with glorious pans across its digitized landscapes, the film’s dragons are awkward and strange. With outsized heads and teeth that jut out at uncomfortable angles, these are not the majestic and mysterious beasts of so many other films-—they are odd and misshapen, just like people. The movie’s message of empathy is thus underscored by its imagery...
Harvard has aggressively advertised the new opportunities offered by the creation of SEAS in its on-campus information sessions and in its outreach efforts to high schools in dozens of cities across the country, according to Fitzsimmons...
Xie’s curatorial arrangement optimally displays a series of surreal, sexually charged images. “Garden of Earthly Delights” features nude female figures interacting within a surrealist landscape, while “Erotica” depicts similar figures draped across an imposing, devil-like creature, whose intricate folds of flesh and meticulously detailed features elicit a potent emotional response. Perhaps the most striking of these sexual, unearthly images is “Los Dos Kaylas,” which depicts two faceless, nude figures, their bodies textured with a mélange of colors, perched...
...thrilled to be leaving Russia after having suffered the wearying expense of expatriate living, the oppressive politesse required by her regular engagements at the Tsar’s imperial court, and six years of seemingly endless winters. But she faced a two-thousand mile journey in freezing conditions across a continent traumatized by more than a decade of war between Napoleon and the European allies, to meet a husband with whom her relationship had always been fraught—especially since the death of their infant daughter three years before...
...Journey in the Last Days of Napoleon,” against the background of Adams’ troubled marriage and peripatetic life as a diplomatic wife, British historian Michael O’Brien marshals an impressive array of sources in order to recreate Mrs. Adams’ journey across Europe. The result is an agreeable mix of biography, travelogue, and historical narrative—a book whose form is as hybrid as its subject. O’Brien describes Louisa Catherine Adams as “migrant, transnational, bicultural, bilingual,” and proposes to read her journey...