2021-present                Professor of French, Head of School of Languages and Cultures, University of Queensland.

2018-2020                    Professor of French, Project 1 Lead, Program Architecture 2, Office of the DVC(A), University of Queensland.

Responsible for leading a major, cross-University program of work designed to deliver a program, major and course management dashboard to assess the sustainability of UQ’s portfolio, design and implement consistent program design principles and lead a working group to formulate and implement the for-credit dimensions of a signature learning experience.

2014-2017                    Associate Professor, Deputy Head of School, Reader in French. School of Languages and Cultures, University of Queensland.

2009-2013                    Associate Professor, Reader in French. School of Languages and Comparative Cultural Studies, University of Queensland.

2005-2008                    Senior Lecturer in French, French Program Coordinator, SLCCS, UQ.

2003-2004                    Senior Lecturer in French and Head of French Discipline, School of Humanities, University of Adelaide.

2002                             Lecturer in French, CESGL, University of Adelaide.

1999-2001                    Associate Lecturer in French, CESGL, University of Adelaide.


2017                 Admitted (following election) as a Fellow of the Australian Academy of the Humanities.

2017                 Admitted as Senior Fellow of the Higher Education Academy.

2014                 Team Leader and Recipient of an Office of Learning and Teaching Citation for Outstanding Contribution to Student Learning.

Award made to the French Team, University of Queensland (Associate Professor Greg Hainge, Dr Béatrice Atherton, Dr Joe Hardwick, Dr Barbara E. Hanna, Dr Amy Hubbell and Dr Juliana De Nooy), for scholarly pedagogical approaches and innovative use of technologies that have global reach and real world relevance.


2016-present    Elected member of the University of Queensland’s Senate.

2016-present    Elected member of Academic Board Standing Committee, UQ.

2010-present    Elected member of Academic Board, UQ.

2016-present    Member of UQ Senate Governance Committee.

2016-present    Senate member on Senate Student Academic Appeals Committee

2018-present    Member of UQ Senate Residential Colleges Working Group.

2020-present    Deputy Chair and Member of UQ’s Age-Friendly University Steering Committee.

2020-2021        Member of UQ’s Product Pricing and Strategy Working Group.

2019-present    Member of UQ’s Alternative Credentials Working Party.

2020-present    Member of UQ’s HEA Management Board

2021-present    Member of UQ’s Cultural Inclusion Council

Editorial and advisory board duties.

1998-present    Editorial Board Member and (since 2015) Editor-in-chief, Culture, Theory and Critique (a Taylor and Francis journal).  

2014-present    Series co-editor (with Paul Hegarty) for the Bloomsbury Academic book series, “ex:centrics”.

2018-present    Advisory board member, Media : Art : Write : Now, an series of the Open Humanities Press,

2008-present     Member of the editorial board, Contemporary French Civilization (a Liverpool UP journal).

2008-present    Associate Editor (2008-13) and Editor (2014-), French Screen Studies (formerly Studies in French Cinema) (a Taylor and Francis journal).

2005-present    Member of the editorial board, Études Céliniennes.

2021-present    Member of the editorial board, H-France.

2017-present    H-France, expert book review advisory panel member.

2010-present    Member of the International Advisory Committee, Corps: Revue interdisciplinaire.

2009-present    Editorial Advisory Board, Altitude.

2004                 Elected council member, Experimental Art Foundation, Adelaide.

2003                 Co-opted council member, Experimental Art Foundation, Adelaide.

Service and affiliations to scholarly organisations

2010-2013        Immediate Past President of the Australian Society for French Studies.

2006-2010        President of the Australian Society for French Studies.

2000-present    Australia and New Zealand representative of the Société d’Études Céliniennes.

1999-2006        Executive Committee member and Publications Editor of the Australian Society for French Studies.


1.1 Sole-authored monographs:

  1. Philippe Grandrieux: Sonic Cinema (New York: Bloomsbury Academic, 2017).
  2. Noise Matters: Towards an Ontology of Noise (New York: Bloomsbury Academic, 2013).
  3. Capitalism and Schizophrenia in the Later Novels of Louis-Ferdinand Céline: D’un … l’autre (New York: Peter Lang, 2001), 276 p.

1.2 Edited collections:

  1. Greg Hainge and Richard Iveson, eds. “Immediacy, causality, plasticity: Catherine Malabou and the future undoing of philosophy”, a special issue of Culture, Theory and Critique 61.1 (2020)
  2. Greg Hainge, ed. “Art Matters”, a special issue of Culture, Theory and Critique 57.2 (2016)
  3. Greg Hainge, Costica Bradatan and Matthew Lamb, eds. “Mimesis and Culture”, a special issue of Culture, Theory and Critique 54.2 (2013)
  4. Greg Hainge and Wayne Cristaudo, eds. “The God Who Would Not Die: Theological Remnants in 20th Century Thought”, a special double issue of Culture, Theory and Critique 52.2&3 (2011)
  5. Greg Hainge, Barbara E. Hanna and Juliana de Nooy, eds. “Tekhne, Technique, Technologie”, a special number of Australian Journal of French Studies 48.2 (2011)
  6. Greg Hainge, Dimitris Vardoulakis and Clare Monagle, eds. “The Politics of Nothing”, a special number of Culture, Theory and Critique 51.2 (2010)
  7. Greg Hainge, ed. “The Histor(/icit)y of Theory”, a special number of Culture, Theory and Critique 49.1 (2008)
  8. Greg Hainge and Paul Hegarty, eds. “Noise”, a special number of Culture, Theory and Critique 46.1 (2005)
  9. Fascism and Aesthetics, a special number of Renaissance and Modern Studies, 42 (1999 edition, published 2001)
  10. Isidoro Pisonero Del Amo, Greg Hainge and Ma José Gámez, eds. Proceedings of the 4th Hispanic Studies Postgraduate Conference (London: Embajada de España, Consejería de Educación y Ciencia, 1996)

2.1 Chapters in collected volumes (sole-authored unless specified):

* indicates invited articles/chapters

  1. * ‘Distortion’, in Sound Affects: A User’s Guide, edited by Sharon Jane Mee and Luke Robinson (forthcoming 2021/22)
  2. * ‘Mass + Intensity = Infinite Density’, in Dead Silence 2, edited by Lawrence English (Brisbane: Room 40, forthcoming 2021)
  3. * ‘Sound is Silence’, in The Oxford Handbook of Sound Art, edited by Jane Grant, John Matthias, David Prior (New York: Oxford University Press, forthcoming 2021)
  4. * ‘Painting with Numbers: The Fine Art of Digital Chronophotography’, in Scott Barley: Sleep Has Her House (forthcoming 2021)
  5. * ‘Anti Social Media Social Music’, in Audiosphere: Sound Experimentation 1980-2020 [exhibition catalogue] (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2020), pp.129-137
  6. * ‘When is a door not a door? Transmedia to the nth degree in David Lynch’s Multiverse’, in Transmedia Directors: artistry, industry and new audiovisual aesthetics, ed. by Carol Vernallis, Lisa Perrott and Holly Rogers (New York: Bloomsbury Academic, 2020), 271-284.
  7. * ‘The Uncanny Hinterland of Things: On Chambers’ An Atmospherics of the City and Speculative Realism’, in Still Loitering: Australian Essays in Honour of Ross Chambers, ed. by Valentina Gosetti and Alastair Rolls (Oxford: Peter Lang, 2020), 83-97.
  8. * ‘Neither Here Nor There: Lynch Dissolves’, in David Lynch: Between Two Worlds (Brisbane: Queensland Art Gallery / Gallery of Modern Art, 2015), 30-41
  9. * ‘Material Music: Speculations on Non-Human Agency in Music’, in Music’s Immanent Future, ed. by Sally Macarthur (Aldershot: Ashgate Publishers, 2016), pp.207-18
  10. ‘Unlocking The Cage With/in The Key of Silence’, in Dead Silence, ed. by Lawrence English (Brisbane: Room40, 2012), 53-56.
  11. * ‘Red Velvet: Lynch’s Cinemat(ograph)ic Ontology’, in David Lynch, ed. by François-Xavier Gleyzon (Prague: Litteraria Pragensia: 2010), pp.24-39
  12. ‘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
  13. * ‘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
  14. * ‘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
  15. ‘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
  16. * ‘Allegorical Geographies: Topographical Transposition and Allegorical Function in Louis-Ferdinand Céline’s Aesthetic Spaces’, in Discursive Geographies: Writing Space and Place in French, ed. by Jeanne Garane (Amsterdam: Rodopi, 2005), pp.25-38
  17. ‘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
  18. * ‘Is Pop Music?’, in Deleuze and Music, edited by Ian Buchanan and Marcel Swiboda (Edinburgh University Press, 2004), pp.36-53
  19. * ‘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
  20. * ‘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’, in Actualité de Céline (Tusson: Du Lérot, 2001), pp.143-158
  21. ‘When the End is the Means; Becoming-Music in Louis-Ferdinand Céline’s German Trilogy’, in Dialogues, 2, ed. by Ann Amherst and Katherine Astbury (Exeter: Elmbank Publications, 1999), pp.77-83
  22. ‘Quand je ne peut être autre; Féerie pour une autre fois de Louis-Ferdinand Céline’, in Le Moi littéraire, ed. by Russell King, Essais sur la Littérature Française et Francophone, 1 (Nottingham: University of Nottingham, Department of French, 1999), pp.85-93

2.2. Refereed journal articles (sole-authored unless specified):

  1. * ‘“Un film français et fier de l’être”: Gaspar Noé’s Climax in its Context’, Australian Journal of French Studies 58.1 (2021), 100-113.
  2. * ‘Rapt in Destructive Plasticity: Demonlover and the annihilation of cinematic form, French Screen Studies (forthcoming 2021).
  3. * ‘Delirium, Disruption and Death: On Stéphane Vanderhaeghe’s Charøgnards’, Electronic Book Review (2020), available online:
  4. * ‘Blanchot and the Resonant Spaces of Literature, Sound, Art and Thought’, Angelaki: Journal of the Theoretical Humanities 23.3 (2018), 94-111
  5. * ‘L’Art (immersif) des bruits’, Corps: Revue interdisciplinaire 13(2016), 151-161
  6. Cadrage exquis: Reframing Jean-Jacques Beineix’s Diva’, Australian Journal of French Studies 52.2(2015), 112-126
  7. * with Alistair Rolls, “The Larrikin as Hero (in French Studies)”, Australian Journal of French Studies 51.2/3 (2014), 270-281
  8. * ‘To Have Done With the Perspective of the (Biological) Body: Gaspar Noe´’s Enter the Void, Somatic Film Theory and the Biocinematic Imaginary’, Somatechnics, 2.2 (2012), 305-324
  9. ‘A full face bright red money shot: Incision, wounding and film spectatorship in Marina de Van’s Dans ma peau’, Continuum: Journal of Media & Cultural Studies, 26.4 (2012), 565–577
  10. * ‘Celine chez les fils de la Perfide Albion: Les etudes céliniennes dans le contexte universitaire Anglophone depuis 1961’, Etudes Céliniennes 7 (2012), 5-19
  11. * (co-authored with Jason Cullen), ‘Formulating God: The Ongoing Place of Theology in the Philosophy of Gilles Deleuze’, in ‘The God Who Would Not Die: Theological Remnants and Traces of a Hidden God in Twentieth Century French Thought’, Culture, Theory and Critique, 52.2&3 (2011), 303-319
  12. (co-authored with B. Hanna and J. de Nooy) ‘Tekhnè, Technique, Technology’, Australian Journal of French Studies 48.2 (2011), 121-28
  13. * (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
  14. * ‘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
  15. * ‘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; made available in a special free online anniversary issue of AJFS containing the 10 most important and influential articles in the journal’s 50 year history, and reprinted with a new preface by the author in Australian Journal of French Studies 51.2/3 (2014), 235-250
  16. ‘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
  17. * ‘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
  18. ‘Unfixing the Photographic Image: Photography, Indexicality, Fidelity and Normativity’, Continuum: Journal of Media & Cultural Studies 22.5 (2008), 715-730
  19. * ‘Vinyl is Dead, Long Live Vinyl: The Work of Recording and Mourning in the Age of Digital Reproduction’, Culture Machine 9 (2007). <;
  20. ‘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
  21. * ‘The Architect’s Scalpel: The Monstrous Digital Futures of Alexa Wright’s Precious’, Social Semiotics 17.3 (2007),  327-340
  22. * ‘Le corps concret: Of Bodily and Filmic Material Excess in Philippe Grandrieux’s cinema’, Australian Journal of French Studies 44.2(2007), 153-171
  23. ‘Tempest in Another Time: Shakespeare, Greenaway, Céline’, Romanic Review 97.1 (2006), 15-32
  24. ‘“Pagan Poetry”, Piercing, Pain and the Politics of Becoming’, Scan 1.3 ‘Bodily (Trans)Formations’ (2004) <; (11/01/05)
  25. ‘No(i)stalgia: On the Impossibility of Recognising Noise in the Present’, Culture, Theory and Critique 46.1 (2005), 1-10
  26. ‘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
  27. ‘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), <;
  28. ‘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
  29. Platonic Relations: The Problem of the Loop in Contemporary Electronic Music’, m/c: a journal of media and culture 5.4 (2002), <; (08/08/2002)
  30. ‘Come on Feel the Noise: Technology and its Dysfunctions in the Music of Sensation’, To The Quick 5 (2002), 42-58
  31. ‘Seeing Silence: Filmic and Acoustic Convergences in the Work of Thierry Knauff and Francisco López’, Culture, Theory and Critique 43.2 (2002), 155-170
  32. ‘A Whisper or a Scream? Experimental Music Sounds a Warning for the Future of Theory’, Continuum: Journal of Media and Cultural Studies 16.3 (2002), 285-298
  33. ‘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
  34. ‘The Art of Automythography: The Role of Myth in Louis-Ferdinand Céline’s German Trilogy’, New Comparison 32 (2001), 53-65.

 2.3 Sole-authored refereed conference publications

  1.  ‘L’insoutenable pesanteur de l’être et l’esthétique imperceptible: l’épisode de la brique dans Rigodon’, Pesanteur et légèreté selon Céline; Actes du XIIIe colloque international Louis-Ferdinand Céline, Prague (Paris: Société d’Études céliniennes, 2001), pp.181-192
  2. ‘Céline; classique anti-classique’, in Classicisme de Céline; Actes du XIIe colloque international Louis-Ferdinand Céline (Paris: Société d’Études céliniennes, 1999), pp.155-167
  3. ‘The Atomic Construction of Pablo Neruda’s Littérature Engagée: The Dialectical Poetics of Canto general’, in 4th Hispanic Studies Postgraduate Conference, ed. by Isidoro Pisonero Del Amo, Ma José Gámez Fuentes and Greg Hainge (London: Embajada de España, Consejería de Educación y Ciencia, 1996), pp.69-77

2.4   Editorial introduction

  1. Greg Hainge and Richard Iveson, “Immediacy, causality, plasticity: Catherine Malabou and the future undoing of philosophy”, Culture, Theory and Critique 61.1 (2020), 1-3
  2. ‘Art Matters: Philosophy, Art History and Art’s Material Presence’, Art Matters, a special number of Culture, Theory and Critique 57.2 (2016), 137-141
  3.  ‘Editor’s Introduction’, Fascism and Aesthetics, a special number of Renaissance and Modern Studies, 42 (1999 edition, published 2001), 1-4

2.5 Translation

  1. Federico Bravo, ‘Transtextuality in the Work of César Vallejo: “en mis falsillas encañona…”: From a Verbal to a Textual Etymon’, co-trans. by Greg Hainge, in The Poetry and Poetics of César Vallejo: The Fourth Angle of the Circle,ed. by A. Sharman (Lampeter: Edwin Mellen Press, 1997), pp.17-25
  2. Manuela Morgaine, ‘Meurtrière – A Philippe Grandrieux Performance’. Translated by Greg Hainge. Available online:

2.6 Other

– ‘Times Like These: Philippe Grandrieux in Hong Kong’, 4:3, 27 October 2019, available online:

– ‘Philippe Grandrieux à Hongkong, ou quand l’art nous parle de la violence du monde’, The Conversation, 26 November 2019, available online:

– ‘Paris Attacks: Let Beauty and Culture Strengthen our Resolve’, The Australian 25 November 2015.

– (co-authored with Jon Simons), ‘A Letter of Thanks to a Man of Letters: Mark Millington and Culture, Theory and Critique’, Culture, Theory and Critique 56.3 (2015), 263-265.

– ‘Blue movies: Diva, The Smurfs 2 and the Ontology of Cinema’, in Sight and Sound, Web Exclusive, available online:

– ’13 rounds with Merzbow: An Interview with Masami Akita’, Goth Nation 4 (August-October 2003).

– ‘Of Flying Pigs and Falling Manna’, Campus Review 11.35 (Sept. 12-18 2001), 16 (opinion piece on the crisis in the Australian University Sector)

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