NYU’s Daily Student Newspaper
WASHINGTON SQUARE NEWS Vol. 42, No. 92
WEDNESDAY, NOVEMBER 12, 2014
nyunews.com STUDENT AFFAIRS
Reports of sexual assault questioned By ALANNA BAYARIN Staff Writer
STAFF PHOTOS BY SANG BAE
Thousands of people gathered on Fifth Avenue for the Veterans Day Parade on Nov. 11. Se-Joo Son, the Korean Consulate General speaks on behalf of Korean veterans (left). Army cadets present ceremony wreaths (top right). WWII veteran Frank Milano poses with Miss Veteran American (bottom right). BEAUTY & STYLE
Pop-ups rise, provide unique shopping By NINA JANG Contributing Writer
With brands and retailers constantly seeking creative ways to expand their reach, the concept of pop-up shops has become a strategic phenomenon that has been gaining popularity. Pop-up shops are temporary, experimental stores used by companies to either raise brand awareness or launch a new collection. These shops are more popular during the holidays, placed in locations with heavy foot traffic. The advent of pop-up shops can be traced back to September 2012. Here, the New York City Economic Development Corporation
and Chelsea-based retailer STORY launched Project Pop-Up NYC with the promise of a temporary pop-up store space and PR support for a selected few. Ever since, pop-up stores have garnered interest from retailers and consumers alike as a new experience for both parties. As the holidays approach, sticking to a budget may be in the back of people’s minds. At British brand Boohoo’s pop-up shop at 462 West Broadway, however, there are reasonable prices for the clothes similar to Forever 21. But shoppers must act fast, because this e-commerce brand will close its first ever pop-up location on Nov. 15.
POP UP continued on PG. 4
Sexual assault became a topic of contention during a town hall with NYU President John Sexton that was held on Nov. 11 in the Kimmel Center for University Life. Two graduate students from the Arthur L. Carter School of Journalism asked Sexton about the small number of reports of sexual assault on the NYU campus. Sexton said the sensationalism in journalism causes unnecessary controversy and NYU deals with sexual assault reports appropriately. “You’re falling into one of the unfortunate foils of modern journalism where it becomes a ‘Gotcha’ or ‘How can I create controversy?’” Sexton said. “We try to get the most accurate data we can, so I think that we have clean data.” CAS junior Kenzi Abou-Sabe asked Sexton about student safety and sexual assault on the Abu Dhabi
TOWN HALL continued on PG. 3
REVIEW
Romance features stunning visuals By JAKE NEVINS Contributing Writer
Often, the very essence of a filmmaker is apparent in his or her movies. A work can reveal a director in the throes of creative development, at a professional zenith or even at an artistic standstill. Sometimes, viewers see the filmmaker at a sophomoric stage of a directorial rise, with the film hinting at a virtuosity that perhaps remains untapped. This phase can be enjoyable for viewers, as is the case with Josephine Decker’s latest, “Thou Wast Mild and Lovely.” The film assumes a contemporary Faulknerian atmosphere, taking place in Kentucky with characters that exhibit the kind of primal
sexuality so frequently found in the novelist’s Southern gothic stories. There is something indelibly poetic about the film, too, particularly Decker’s use of voice-over, which has all the whimsy of a fairy tale without the cutesy youthfulness. Akin (Joe Swanberg) has just begun summer work on a farm owned by Jeremiah (Robert Longstreet), a phlegmatic patriarch. Jeremiah lives there with his daughter Sarah (Sophie Traub), a vision in rustic ruin. Their odd dynamic may invite speculation about incest, but it more aptly lends itself to archetypal fatherdaughter subordination, which is still just as creepy. Akin has conveniently left his wedding ring in the car, clearly too distracted by his daydreams about Sarah to notice the tan-
line his marriage vow has left on his finger. What follows is a film purposefully short on dialogue, but redeemed by constant glances between Akin and Sarah that transmit, quite viscerally, their most libidinous desires. It seems to be Decker’s point that these stares are more a testament to human nature than an indicator of any intimate connection between the two. Several scenes are interspersed with shots of the farm animals that seem to suggest a parallel between them and the characters, at times animalistic and hyper-erotic. There is a spirit evoked by their body language that itself feels like dialogue.
LOVELY continued on PG. 5