The Bucknellian

By Jen Lassen
Arts & Life Editor

Who knew that 1920s vaudeville parallels a stereotypical college weekend?

Although it was a way over-the-top representation, the theatre department’s production of “The Wild Party” set out to define–and show the dangers of–a liberated lifestyle.

The musical, set in 1928, explores the craziness of an evening after everyone’s lives are seemingly falling apart. At this point in time, vaudeville performance lost its luster, drugs offered solace to desperate burnouts and hopeful wannabes and people were rapidly giving up on their dreams. It was a bleak time for most; any glimmer of happiness seemed to come in the form of letting loose without any restraints.

Cast members Eve Carlson ’12 and Michael Strauss ’14 starred in the production as Queenie and Burrs, respectively. These two vaudevillians set the party and plot in motion, making one destructive decision after another and bringing their guests down with them. These decisions included taking cocaine, having sex with random party guests and guzzling down gin and other kinds of alcohol.

This production was intended for mature audiences only, as stated on the tickets for the show.

“We haven’t really done something like this before; it explores one social ‘taboo’ after the other,” Pat Shane ’12 said. 

One of the least verbal characters in the musical, yet one that required the most discipline to seem authentic, was Sally, played by Hannah Cordes ’15. Sally, a morphine addict, depicted how jaded and damaged one can become after years of making careless choices.

“I had to push myself a lot; it was definitely a challenge [to play Sally] … We practiced six times a week for four hours a day, but it was crazy fun,” Cordes said.

Each character was individually developed to seem as real and personal as possible. Assistant director Victoria Moyer ’13 worked on character development with each member of the cast.

“Each character had to go through different ‘therapy sessions’ and interviews to really explore each character. It’s a completely different side of musical theatre; there are so many elements to it,” Moyer said.

Costume and design was also a major element of this production. From the intricate beading to the gossamer fabric characteristic of the 1920s, the costume design department worked diligently to create authentic pieces of clothing for the actors to wear. 

“It was difficult finding the right type of fabric. Everything was so sheer and delicate in the 1920s; that type of fabric is hard to withstand the stress actors put on it. We used silhouettes that were completely authentic,” assistant costume director Jessica Napoli ’12 said.

Representative of the destructive decisions many college students make on campuses nationwide, “The Wild Party” performance came at a very relevant time and offered a warning to University students.

“The characters in the show [made] destructive choices. I felt that it was a real, rewarding and truthful show. It has helped me to understand the University attitude more,” John Thiel ’13 said.

By Carolyn Williams
Senior Writer

Melanie Benjamin’s debut novel “Alice I Have Been” imagines a new backdrop for the famous story behind Lewis Carroll’s “Alice’s Adventures in Wonderland.” The book takes the beloved fairytale and turns it into a lackluster coming-of-age story, but the presence of one of our favorite childhood stories lurking around every corner saves the novel from being a complete disaster.

Benjamin divides her story into different stages of Alice’s life, narrated by the girl herself. Beginning with a look at the elderly Alice, exhausted by the literary weight she has carried since her youth, we are taken back to the Golden Afternoon itself. The novel is written as straight-laced historical fiction, but lovers of Carroll’s “Adventures” and anyone who knows the story behind the story will recognize Wonderland’s presence in the real world as well.

Alice Liddell, age seven, is willful and not at all the young lady her domineering mother, the austere “queen” of Oxford, (wife to the Dean of Christchurch), expects her to be. The crimson-robed, flirtatious mother (a Queen of Hearts if ever I saw one) is hellbent on raising her three daughters to marry well. Alice though insists on being difficult, in love as she is with the silly, fun-loving Mr. Dodgson, a professor of mathematics who will soon become famous under another name, for his fictional story starring his favorite Liddell child. Curiouser and curiouser still, Mr. Dodgson seems to reciprocate Alice’s feelings, leading to a pivotal moment which will change the pair’s lives forever.

Leaping ahead more than 10 years, we find a corseted Alice being courted by a prince of England. He is enchanted with the now-famous Alice, and for the first time since the vaguely-described “incident” with Mr. Dodgson, Alice is able to envision for herself a life in which she may outrun her past and finally escape her parents’ household. But, alas, circumstances prevent the advantageous marriage, and Alice is once again left to hope in vain for rescue.

We meet Alice again in her encroaching old age, married with grown children, facing war and times of trouble, both for her family and for her own identity. It is in this time of crisis that Alice is convinced to reenter the spotlight, for the world to once again greet its beloved Alice in Wonderland.

There is nothing bad about this story; the problem is more that there’s nothing particularly new or memorable. This, coupled with the fact that it is not so spectacularly written as to preclude the need for a particularly gripping plotline, creates a sadly uninspiring read. Benjamin is hardly the first person to suggest anything untoward between Alice and Dodgson; such rumors have been in circulation since the book’s original publication. And the young adult Alice, straining at her corset stays and violently wishing for independence, though a commendable feminist thinker for her historical setting, seems more like a cardboard cutout than an original creation.

Still, Benjamin’s child Alice is remarkably similar to the one originally immortalized by Carroll, and this admirable quality makes “Alice I Have Been” not quite so bad, after all.

By Michelle Reed
Contributing Writer

Nothing feels better than unveiling a semester’s worth of hard work.

On Friday, April 13, four University seniors presented the 28th Annual Student Art Exhibition in the Samek Art Gallery. The students had been working on the exhibit for the entire year.

The Student Art Exhibition features art by Christina Huang ’12, Cara Poli ’12, Samantha Lajterman ’12 and Hannah Roman ’12. The works on display utilize a variety of artistic mediums, ranging from printmaking to sculpture, photography and more.

The student artists discussed their work and answered questions about their final projects, art education and art in general in a panel that took place before the opening of the exhibition.

Huang said her project was largely inspired by a Posse Plus Retreat in her junior year.

“My senior project ended up being about interracial and LGBT couples, and how they’ve integrated into our community,” Huang said.

Like Huang, Poli chose to do a project that explores an important issue. Her series, “Natural Reactions,” investigates the relationship between humans and the environment.

“I created my own sculptures using natural materials and photographed them,” Poli said. “Then I would wait for a period of time and go back to document the changes that occurred.”

When asked about the importance of art, Roman emphasized the power of art as an avenue to relay ideas.

“I think it’s all about communication,” Roman said. “Not everything can be communicated with language.”

Poli talked about the importance of determination and imagination.

“Find something that you want to say, and if you have the creativity, you can find a way to pull it off,” Poli said.

The Student Exhibition, “Progress in Works,” will be open until May 2.

By Carolyn Williams

Senior Writer

There has been much speculation about the return of James Cameron’s 1997 blockbuster “Titanic” to theaters in 3D this spring. The purported reasoning behind the new launch of the beloved classic is a memorial of the disaster’s 100th anniversary. Since its original release, “Titanic” has achieved cult status, catapulted Kate Winslet and Leonardo DiCaprio into overnight stardom, and held the title of highest grossing film of all time until it was overtaken by Cameron’s latest vehicle, “Avatar”. In case you’ve been living under a rock since 1997, here’s the basic plot rundown.

In 1996, a treasure hunter is combing the underwater wreck of the RMS Titanic for the fabled “Heart of the Ocean,” a fabulous stone which supposedly went down with the ship. His expedition attracts the attention of an elderly woman who, it turns out, wore the stone the night of the sinking, and the story is told in a series of flashbacks to her experience on the ship more than 80 years before.

Rose DeWitt Bukater (Winslet) is our narrator, and her story begins when, at 17 years old, she boards the Titanic with her mother and wealthy fiancée. Dissatisfied with her elitist circle, Rose attempts suicide by almost jumping overboard, but is convinced to live by the charming and artistic drifter Jack Dawson (DiCaprio). The two begin a love affair that defies class and prior commitments, but which is violently interrupted when, as we all knew must eventually happen, the ship strikes an iceberg, transforming the second half of the film from a period romance to a disaster thriller.

There is no denying the greatness of “Titanic.” It won Best Picture and Best Director in one fell swoop. It made the careers of two of today’s critically acclaimed actors. It’s on TV practically once a week. But, we must admit, it is not perfect. The disparity between first and third classes is a little overdone, and Cameron’s dialogue at times seems forced, taking away from the terrific acting and truly fantastic plot. Still, we can’t help but be riveted.

Putting it in 3D, as strange as it may seem, only increases the movie’s staying power. The fact that a film released 15 years ago can still fill theaters is remarkable in and of itself, but “Titanic” in 3D is a completely different experience. The change in medium is a little jarring at first, but once you’ve acclimated, it’s impressive. The haunting scenes of the wreck are that much more heart-wrenching. The third-class party becomes more vibrant than before. And the actual sinking is made all the more real by the greater clarity. Falling stacks of china and people jumping overboard in an attempt to expedite the inevitable are brought home in a brand new way. This massive tragedy is just that–a tragedy, and the 3D does not let you forget it for a second.

And especially for those of us who were too young to see “Titanic” in theaters the first time, it is absolutely worth the price of admission. Cameron’s vision has been made to realize heretofore unknown potential. “Titanic” in 3D is entirely epic.

By Juliet Kelso

Staff Writer

For viewers of the hit American television series “How I Met Your Mother,” Barney Stinson epitomizes the “bro code.” Barney is the classic womanizer. Burnt by love in his youth, he re-invents himself as an uber-macho personality who adheres to the present manifestations of conventional gender stereotypes. Barney repeatedly goes to absurd lengths in order to sleep with as many women as possible. This is his primary function, driven by the impulsive sexualization and objectification of every woman he encounters. He stringently resists emotion and is generally unfeeling. 

Thomas Keith’s 2011 documentary “The Bro Code: How Contemporary Culture Creates Sexist Men” interrogates masculine-labeled identities like Barney Stinson and their implications to societal gender issues. The film was shown in the Gallery Theater at 8 p.m. on April 10 and was followed by a panel discussion. Initial responses by students in the audience were collectively overwhelmed by shock and disturbance.

Have you ever wondered how we learn to view the opposite sex? Or where our ideas of femininity versus masculinity come from? I would advise you to watch Keith’s film to find out what are most likely the answers to such questions, but unfortunately a copy of the DVD is sold for a steep $250 to colleges and universities and $125 to high schools, community colleges and non-profits. Since the Media Education Foundation refuses to sell the film to individual customers, we can only hope it will show up on the shelves of Ellen Clarke Bertrand Library’s DVD collection.

“The Bro Code” focuses on the dominant role of multi-media in shaping contemporary ideas of masculinity. Essentially, the queues are all over the place, inundating society at large with images of a problematic gender dynamic. Music, comedy, television, movies and sports all contribute to the mass perpetuation of gendered ideals, which sell. The entertainment industry determines what will likely be popular, exposes it to the public, and supply creates its own demand. 

Porn is a flawless example. A recent fad in pornography, Gonzo.com, has popularized troublingly violent fetishes. The site’s multi-million-member “hateporn” division features videos which venture far beyond the parameters of some naturally mutual S&M. Most involve the physical abuse and defiling of women by men. Female porn stars are portrayed as struggling, powerless and submissive while their male counterparts appear overtly aggressive, angry and merciless. As Gonzo produces more material and forces exposure, they extend the reach and hype of hateporn, augmenting a mass demand which by natural means never would have existed. 

Like never before, porn is readily accessible to an expansive portion of the population. Most young American boys, typically between the ages of 12 and 14, are introduced to sexuality via the fantasized world of porn. For many, this will become their perception of sexual reality. Developing boys are unlikely to be independently aware of their own sexual preferences, and porn teaches them what to strive for. Later in life, they are then likely to find themselves begging their confused and unconvinced girlfriend to reenact a kinky porn-star move they saw on the web. Porn is not reality. 

The Bro Code also specifically addresses the prevalence of masculinity issues on college campuses. Keith includes a haunting statistic which states that 56 percent of college men surveyed say yes, they would rape a woman if they absolutely knew they would get away with it. Another clip shows a group of drunk Yale men chanting, “No mean yes, yes mean anal.” Within the context of a relatively safe campus like the University’s, facts like this are difficult to believe, but thought advocating sex-related crimes is not alien to us. A prominent aspect of the bro code is the notion of taking whatever you want by whatever means possible, which rape certainly satisfies. This concept of dominance and entitlement applies to all men and calls them to identify with one of three takes on it: the Wrestlemania physical macho man, the charming and handsome Edward Cullen or the awkward but relentlessly desperate McLovin who is willing to try anything for sex. Those who do not fit into one of the above categories are marginalized and/or often mocked for being the worst thing a man could possibly be: feminine.

It is important to recognize, as Keith does, that women are also culprits. The media is stocked with degrading examples of how women ought to conduct themselves. Maxim and other magazines of the like objectify women as sexual playthings made for masculine pleasure. Many women project these images onto themselves, believing them to be true. In response to the traditional sexist value that men are meant to seek out sex with as many partners as possible, women are expected to compete with one another in desirability. This is reflected in hip-hop, sexist jokes and many other cultural practices. It seems that half of pop songs by female artists are encompassed by sexual competition, with lyrics like the Pussycat Dolls’, “Don’t you wish your girlfriend was hot like me? Don’t you wish your girlfriend was a freak like me?”

The post-film discussion was directed by a panel consisting of four faculty and staff members: Sheila Lintott, Vincent Stephens, Chipper Dean and Kate Parker, and IFC president Pat Zailckas ’13. Attendees discussed how Keith’s ideas apply to the University climate. Assistant professor of psychology Chipper Dean asked the audience what they feel defines the broad culture at the University. Answers included the familiar “work hard, play harder” mentality, the unavoidable overarching Greek system and the University’s adoration of convention and tradition. The latter attests to the concept that although current mainstream manifestations have evolved, campus social structure is nothing new. Women compete, viciously, for desirability. They obsess over social rank and categorizations, largely associated with sororities. Women in relationships are somewhat removed from the competition because they, in a way, have won the game and proven their desirability. Single women gain power by the quantity and quality of men who desire them. In this case, quality is often defined by wealth, charm and power: the three ingredients for the perfect womanizer.

The same traditional sexist values are being imitated by modern pop culture and can be found at the center of University culture. The looming question remains: Where do we go from here? We can’t censor the media and we definitely can’t harness the Internet. We can’t ensure that every child will have a parent, or that those who do are raised to embrace their personal identity, independent of media impositions. But we can educate. Films like “The Bro Code” deliver a fresh perspective on the contemporary social climate, are capable of revealing truths about identity and create leap-off points for open discussion.

“The Bro Code: How Contemporary Culture Creates Sexist Men”  was shown as part of the Masculinity Film Series presented by IFC. Upcoming films in the series include “Manhood and Violence: Fatal Peril” on Tuesday, April 17 and “Wrestling with Masculinity” on Tuesday, April 24.