Search results | Digital Grinnell

Title: Cycles, Soundscapes, An Electronic Musician’s Guide to Kinetic Sound Sculpture: The Conceptual Development of Cycles, Cycles and Soundscapes, Sound Sculpture and Electronic Music
Description: Consists of the Music 495 Senior Project proposal and the products of the project including the program from the public performance, movies, photos, music and text.
Date Created: 2002
PID: grinnell:3859

Title: Dona nobis pacem, Ensemble recital
Description: Program from concert on December 9, 2006, with works by Ralph Vaughan Williams, Britten, Tormis and Gorecki.
Date Created: 2006
PID: grinnell:3480

Title: Historical Changes in the Skunk River Channel, North and South forks of the Skunk River, 1832-2004
Description: This project characterizes the historical changes to the channels of the North and South branches of the Skunk River.
Date Created: 2009
PID: grinnell:3416

Title: Iowa: Lines, Borders, Boundaries, Boundaries, Lines, Borders
Description: Paper reporting on Mentored Advanced Project; 2 MAP posters; recital poster and program; 3 WAV sound recordings
Date Created: 2001
PID: grinnell:3417

Title: Landscapes of affect : exploring the concept of safe space and identity formation at Grinnell College, Exploring the concept of safe space and identity formation at Grinnell College
Description: Explores issues of identity formation at Grinnell College during the years 2007-2010 during which time several homophobic incidents took place.
Date Created: 2010
PID: grinnell:3418

Title: New Queer Cinema Today: Film and the critique of neoliberalism, Film and the critique of neoliberalism
Description: In 1992, B. Ruby Rich coined the term New Queer Cinema to describe a cycle of films in the late 1980s and early 1990s that broke with conventional cinematic practices to show rethought subjectivities, generic subversions, and revised histories. New Queer Cinema, however, saw little of the same bursts of innovative directors and their films after 1992. This lag in revolutionary filmmaking left many evaluating queer cinema’s current state, even mourning the supposed end of New Queer Cinema. In this paper, I argue that queer filmmaking is not void of revolutionary potential; it is more that the driving force behind these films has changed. Instead of acting in opposition to a conservative government that failed to respond to the AIDS crisis, current queer work resists the normalizing effects of today’s neoliberal government. A cycle study of recent queer films reveals this driving revolutionary force.
Date Created: 2012
PID: grinnell:3419