This past fall, the College significantly elevated its entertainment industry profile, hosting a series of campus events tailor-made for students, like myself, interested in making careers in Hollywood. In just 10 weeks, students were able to attend a guest lecture featuring Lionsgate vice chairman Michael Burns, listen to Malcolm McDowell discuss his starring role in “A Clockwork Orange” and, through the Dartmouth Film Society’s 75th anniversary celebrations, network with alumni in entertainment.
More than just providing fantastic student programming, this high level of quality has the potential to reenergize the College’s film program and create an even stronger legacy for Dartmouth in the entertainment world. By facilitating more communication between Dartmouth undergraduates and successful entertainment professionals, the College has a prime opportunity to elevate its status to that of a leading film and media school.
At face value, the events from this past fall all share one quality: highlighting success. These guests came to campus as Hollywood conquering heroes. In an industry like entertainment — notorious for its job scarcity and unpredictability — coming face-to-face with studio executives and creative leaders offered clarity. The guests from this past fall have spent years working in industries that many undergraduates aspire to join. The fact that they came to Hanover at all has already helped break down the myth that it’s near-impossible to “break into the industry.”
At a more pragmatic level, these events provided concrete, actionable advice that has been scarce for young adults seeking careers in television or film. For example, visitors shared wisdom on what to look for in certain companies, where to apply, who to talk to, what strategies to adopt and how to navigate the complexities of Hollywood. Guests like Burns offered hope and, best of all, insight.
At an academic level, the College’s fall programming also addressed gaps in Dartmouth’s film curriculum. While the department focuses on technique and theory — necessary subjects of a traditional film education — these events underscored the business side of entertainment, a perspective that is far too often overlooked in academia. Burns, for instance, emphasized that the entertainment business is still a business, and projects that generate revenue are, well, the most likely to succeed. On the other hand, Emmy-winning director and producer Alice Mathias ’07 noted the difference between starting in the mailroom of a talent agency — which typically provides sound experience for those looking to work in entertainment business — as opposed to starting as a production assistant on a television or film shoot, which might be a more beneficial route for those interested in the creative aspects of Hollywood. These talks advised students to couple creativity with calculated business education.
Hopkins Center for the Arts film and media head Johanna Evans deserves praise for coordinating these outstanding events. Still, the Hop also has the chance to maintain the high bar it set in the fall of 2024 and build Dartmouth’s reputation as a destination for film and media. The College may never acquire the entertainment business profile of the University of Southern California or New York University — schools regarded as gold-standard institutions for Hollywood-oriented students. However, if the College stays the course, it can certainly inch closer.
As an individual incredibly grateful for these event opportunities, I encourage the film studies department to consider regularly inviting speakers like those featured this past fall, presenting students with ongoing access to firsthand knowledge and practical insights from seasoned entertainment professionals.
Opinion articles represent the views of their author(s), which are not necessarily those of The Dartmouth.
