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Title
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Music Department Applied Studios Student Recital, Student Recital
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Description
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Concert program for recital on December 7, 2006. Holly Edlin, organ; Bryan Williams, trombone; Louis Gulino, piano; David Churchman, piano; Victor Colussi, violin; Rebecca Mwase, mezzo soprano; and Ben Kim, piano.
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Date Created
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2006
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PID
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grinnell:4238
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Title
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Music Department Applied Studios Student Recital, Student Recital
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Description
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Concert program for recital on November 30, 2006. Elena Rubin, mezzo soprano; Lindsey Martin, piano; Rebecca Mwase, mezzo soprano; Ben Kim, piano; Harsha Sekar, banjo; Christopher Farstad, guitar; Katherine Jarvis, vocals; David D’Angelo, tenor; Hannah Yourd, piano; Katherine Jarvis, alto; Allie Kieffer, piano; Emma Jerndal, flute; Patrick Busch, piano.
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Date Created
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2006
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PID
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grinnell:4235
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Title
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Music Department Applied Studios Student Recital, Student Recital
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Description
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Concert program for recital on November 21, 2006. Erin McBurney, soprano; Ivy Hsieh, piano; Maggie Johnson, flute; Allie Kieffer, piano; Laura Glapa, mezzo soprano; Brian Ewing, piano; Katherine Jarvis, alto; Ali Conlon, alto; and Gabriel Espinosa, piano.
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Date Created
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2006
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PID
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grinnell:3598
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Title
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Music Department Applied Studios Student Recital, Student Recital
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Description
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Concert program for recital on November 2, 2006. Seungmae Seo, violin; Hannah Yourd, piano; Scott Slinker, violin; Allie Kieffer, piano; Caitlin Monaghan, soprano; Brian Ewing, piano; Chris LeBailly, piano; and Amelia Randich, clarinet.
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Date Created
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2006
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PID
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grinnell:4234
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Title
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New Queer Cinema Today: Film and the critique of neoliberalism, Film and the critique of neoliberalism
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Description
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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.
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Date Created
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2012
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PID
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grinnell:3419