Associate Professor Greg Hainge

Dr Greg Hainge
Dr Greg Hainge

BA Hons (Nottingham), MA (Nottingham), PhD (Nottingham)

Reader in French

Office: Gordon Greenwood Building (#32) 435
Phone: (+61 7) 3365 2282 
Email:  g.hainge@uq.edu.au

Having previously worked at the University of Adelaide, Greg arrived at the University of Queensland in 2005.

A leading specialist on Louis-Ferdinand Céline, Greg continues to conduct research into the works of France’s most infamous writer whilst maintaining active research in many other fields, namely film, critical theory, university policy, experimental music and popular music. His main research project at the present time is an examination of the phenomenon of noise as it is manifested in cultural products and philosophy.

Greg teaches across a broad range of courses in the French program, including cultural options in French literature and cinema. He is also a regular contributor to courses in the World Literatures and Cultures major. He has supervised theses on Bacon, Burroughs, Robbe-Grillet, European auteur cinema, Deleuze and Heavy Metal.

Teaching:
 
  • Intermediate and Advanced levels in French
  • French cinema and literature
  • French Theory / Continental Philosophy.
Subjects taught include:
 
  • Le cinéma en français
  • Doing Things with French Theory
  • Francophone Cultures
  • Books that Shook the World
  • Textes et modernités.
Research interests:
 
  • 20th-century French literature (especially Céline)
  • Continental Philosophy (especially Deleuze and Guattari)
  • French cinema,
  • experimental electronic music
  • non-mainstream popular music
  • American cinema (Coen Brothers, David Lynch)
  • Noise.
Current research projects:
 
  • Noise Matters: Towards an Ontology of Noise.
Selected recent publications:
 
Sole-authored book: 
 
  • Capitalism and Schizophrenia in the Later Novels of Louis-Ferdinand Céline; D'un … l'autre (New York: Peter Lang, 2001), 276 p.
Chapters in collected volumes: 
  • co-authored with Jason Cullen, ‘Formulating God: the generation of Deleuze's methodology out of his relationship with theology’, in The Hidden God and Traces of the Sacred: Theological Remnants in 20th Century Thought, edited by Wayne Cristaudo and Phillip Tolliday (Adelaide: Australian Theological Forum Press: forthcoming 2010). 
  • ‘Red Velvet: Lynch’s Cinemat(ograph)ic Ontology’, in David Lynch, ed. by François-Xavier Gleyzon (Prague: Literaria Pragensia: forthcoming 2010).
  • ‘No Sympathy for the Devil or Lobby Music: Spaces of Disjunction in Barton Fink, The Shining, and Muzak’, in Moving Pictures/Stopping Places: Hotels and Motels on Film, ed. by Dave Clarke (Lanham: Lexington Books, 2009), pp.255-276.
  • ‘L’Invention du Troisième Peuple: The Utopian Vision of Philippe Grandrieux’s Dystopias’, in Nowhere is Perfect: French and Francophone Utopias/Dystopias, ed. by John West-Sooby (Newark: University of Delaware Press: 2008), pp.228-239.
  • ‘Interdisciplinarity in Rhizome Minor: On Avoiding Rigor Mortis Through a Rigorous Approach to Jazz, Metal, Wasps, Orchids and Other Strange Couplings’, in Rhizomes: Connecting Languages, Cultures and Literatures. Approaches to Interdisciplinary Research in Language Studies, ed. by Nathalie Ramière and Rachel Varshney (Newcastle: Cambridge Scholars Press, 2006), pp.2-12.
  •  ‘To(rt)uring the Minotaur: Radiohead, Pop, Unnatural Couplings and Mainstream Subversion’, in Strobe-Lights and Blown Speakers: The Music and Art of Radiohead, edited by Joseph Tate (Aldershot: Ashgate Publishers, 2005), pp.62-84.
  • ‘Allegorical Geographies: Topographical Transposition and Allegorical Function in Louis-Ferdinand Céline’s Aesthetic Spaces’, Discursive Geographies: Writing Space and Place in French, ed. by Jeanne Garane (Amsterdam: Rodopi, 2005), pp.25-38
  • ‘Weird or Loopy? Specular Spaces, Feedback and Artifice in Lost Highway’s Aesthetics of Sensation’, in The Cinema of David Lynch: American Dreams, Nightmare Visionsed. by Annette Davison & Erica Sheen (London: Wallflower Press, 2004), pp.136-150. 
  • ‘Is Pop Music?’, in Deleuze and Music, edited by Ian Buchanan and Marcel Swiboda (Edinburgh University Press, 2004), pp.36-53. 
  • ‘The Death of Education, a Sad Tale: Of Anti-pragmatic Pragmatics and the Loss of the Absolute in Australian Tertiary Education’, in Innovation and Tradition: Arts, Humanities and the Knowledge Economy, ed. by Jane Kenway, Elizabeth Bullen and Simon Robb (New York: Peter Lang, 2004), pp.35-45.
  • ‘Le fol amour du Dr Destouches, ou comment j'ai appris à ne plus m'en faire et à lire les pamphlets: Louis-Ferdinand Céline et Stanley Kubrick’, Actualité de Céline (Tusson: Du Lérot, 2001), pp.143-158. 
Sole-authored refereed journal articles:
  • (co-authored with Kane X Faucher) ‘Une voix déplacée : La ventriloquie chez Céline, ou, Pour en finir avec le jugement historique’, Études Céliniennes 5 (2010), 71-93.
  • ‘Airport Music: Muzak, “Non-lieux” and Film Sound in Stephanik’s Stand by and Lioret’s Tombés du ciel’’, Studies in French Cinema 9.3 (2009), 201-214.
  • ‘Three Non-Places of Supermodernity in the History of French Cinema: 1967, 1985, 2000. Playtime, Subway and Stand-by’, Australian Journal of French Studies 45.3 (2008), 197-211.
  • ‘The Unbearable Blandness of Being: The Everyday and Muzak in Barton Fink and Fargo’, Post Script: Essays in Film and the Humanities 27.2 (2008), 38-47
  • ‘A Tale of (at least) Two Hiroshimas: Nobuhiro Suwa’s H Story and Alain Resnais’s Hiroshima mon amour’, Contemporary French Civilization 32.2 (2008), 147-174
  • ‘Unfixing the Photographic Image: Photography, Indexicality, Fidelity and Normativity’, Continuum: Journal of Media & Cultural Studies 22.5 (2008), 715-730.
  • ‘Vinyl is Dead, Long Live Vinyl: The Work of Recording and Mourning in the Age of Digital Reproduction’, Culture Machine 9 (2007). <http://culturemachine.tees.ac.uk/frm_f1.htm> ‘Of Glitch and Men: The Place of the Human in the Successful Integration of Failure and Noise in the Digital Realm’, Communication Theory 17 (2007), 26–42. 
  •  ‘The Architect’s Scalpel: The Monstrous Digital Futures of Alexa Wright’s Precious’, Social Semiotics 17.3 (2007), 327-340.
  •   ‘Le corps concret: Of Bodily and Filmic Material Excess in Philippe Grandrieux’s cinema’, Australian Journal of French Studies 44.2(2007), 153-171.
  •  ‘Tempest in Another Time: Shakespeare, Greenaway, Céline’, Romanic Review 97.1 (2006), 15-32. 
  • ‘“Pagan Poetry”, Piercing, Pain and the Politics of Becoming’, Scan 1.3 ‘Bodily (Trans)Formations (2004) <http://scan.net.au/scan/journal/display_article.php?recordID=43> (11/01/05).
  • ‘No(i)stalgia: On the Impossibility of Recognising Noise in the Present’, Culture, Theory and Critique 46.1 (2005), 1-10. 
  • ‘The Language of Suffering: The Place of Pain in Louis-Ferdinand Céline’s Féerie pour une autre fois’, L’Esprit créateur 45.3 (2005), 18-28.
  • ‘The Sound of Time is not tick tock: The Loop as a Direct Image of Time in Noto’s Endless Loop Edition (2) and the Drone Music of Phill Niblock’, Invisible Culture 8 (2004), http://www.rochester.edu/in_visible_culture/Issue_8/hainge.html
  • ‘Le Prologue de Guignol’s band comme porte vers l’espace lisse, ou, chronique manquée d’une réussite à venir’, Essays in French Literature 40 (2003), 57-79.
  • ‘Platonic Relations: The Problem of the Loop in Contemporary Electronic Music’, in m/c: a journal of media and culture 5.4 (2002), <http://www.media-culture.org.au/0208/platonic.html> (08/08/2002).
  • ‘Come on Feel the Noise: Technology and its Dysfunctions in the Music of Sensation’, To The Quick 5 (2002), 42-58.
  • ‘Seeing Silence: Filmic and Acoustic Convergences in the Work of Thierry Knauff and Francisco López’, Culture, Theory and Critique 43.2 (2002), 155-170.
  • ‘A Whisper or a Scream? Experimental Music Sounds a Warning for the Future of Theory’, in Continuum: Journal of Media and Cultural Studies 16.3 (2002), 285-298. ‘Impossible Narratives: Colonial Spaces of Dissolution in Voyage au bout de la nuit and To Have and to Hold’, Australian Journal of French Studies 38.2(2001), 253-271.
  • ‘The Art of Automythography: The Role of Myth in Louis-Ferdinand Céline’s German Trilogy’, New Comparison 32 (2001), 53-65.
Other activities and Service:
  • President of the Australian Society for French Studies.
  • Culture, Theory and Critique, editorial board.
  • Études Céliniennes, editorial board.
  • Contemporary French Civilization, editorial board.
  • Corps: Revue interdisciplinaire, editorial board.
  • Associate Editor of Studies in French Cinema.
  • Altitude Editorial Advisory Board.
  • Australia and NZ Representative of the Société d'Études Céliniennes.

On this site