Kinda hibrawi biography of martin
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RISD XYZ Fall 2013
ΩΩΩΩ WE LCOM E TO T HE DO L L H OUS E 20 I NTERWEAV I NG MEDI A 28 REDISCOV ER I NG T HE WH E E L 34 GRA P HIC + GU TSY 42
OUT OF BOUNDS Rhode Island School of Design alumni magazine FALL / WINTER 2013 / 14
D E PA R T M E N T S
F E AT U R E S
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Conversations online, incoming, ongoing
Six Degrees alumni network news
08 Listen reflections, opinions, points of view
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Welcome to the Dollhouse
Interweaving Media
Now that he has moved beyond homemade Barbie dresses, Martin Gutierrez 12 PR is pushing his utforskning of gender and roles through his evocative Real Dolls series.
Five artists working in a range of materials collaborate with Pollack’s design team to create The Makers Collection.
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Rediscovering the Wheel
Graphic & Gutsy
Architect Adam Silverman BArch 88 found his true talent in making smaller structures he can shape by hand.
In her dizzying rise to prominence in the design world, Jessica Walsh 08 GD is having a blast
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‘J. Edgar’ tries to do it all and falls short
Much like the controversial FBI director himself, the film “J. Edgar” suffers from an identity crisis. In an attempt to provide a multifaceted portrait of J. Edgar Hoover, director Clint Eastwood fails to commit to any of the movie’s six plot lines, instead creating a film as bloated as the actual former FBI chief.
The film relies on the narrative of an elderly J. Edgar (Leonardo DiCaprio) dictating his memoirs, which launch into alternating series of flashbacks that fail to anchor the plot in one era. “J. Edgar” uses the clumsiest of devices, the flashback within a flashback, to depict a scene from Hoover’s early childhood.
Ostensibly, the film’s spine is the repressed homosexual affair between J. Edgar and his FBI associate director Clyde Tolson (Armie Hammer). Despite the fact that the nebulous relationship between Clyde and J. Edgar dominates the final third of the film, “J. Edgar” doesn’t introduce Clyde until 30 minutes in
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