a) Postgraduate Education

1995-1998         Doctor of Philosophy (French),University of Nottingham.

1994-1995         MA in Modern Languages (French and Spanish) by Research, University of Nottingham.

b) Undergraduate Education

1990-1994         University of Nottingham, Joint BA Honours in Modern Languages (French and Spanish), double first grade with distinction in spoken French.


20111-present      Associate Professor. Reader in French, School of Languages and Comparative Cultural Studies,University of Queensland.

2010-11      Associate Professor. Head of School, School of Languages and Comparative Cultural Studies,University of Queensland.

2009-2010          Associate Professor, Reader in French. Director of Studies, 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.


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

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

1998-present   Editorial Board member, Culture, Theory and Critique.

2008-present   Editorial board member Contemporary French Civilization.

2005-present   Editorial board member, Études Céliniennes.

2008-present   Associate Editor and Australasian representative for the society and academic journal Studies in French Cinema.

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

2009-present   Editorial Advisory Board for the academic journal, Altitude.

2004    Elected council member, Experimental Art Foundation, Adelaide.

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


Faculty Level

2007                Acting Faculty Associate Dean (Teaching and Learning).

School Level

2010-present   Elected member of Academic Board, UQ.

2010-2011   Head of School, SLCCS, UQ.

2009-2010   Director of Studies, SLCCS, UQ.

2009-2010       Chair of the Brisbane Universities Languages Hub Operational Committee, UQ

2009-2011   Member of the BULH Executive Steering Committee.

2005-2009       French Program co-ordinator, UQ.

2005-2006       Honours co-ordinator, SLCCS, UQ.


1.1 Sole-authored book:

Noise Matters: Towards an Ontology of Noise (New York: Bloomsbury Academic, 2013)

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: 

Greg Hainge, Costica Bradatan and Matthew Lamb, eds. “Mimesis and Culture”, a special issue of Culture, Theory and Critique 54.2 (2013).

Greg Hainge, ed. Culture, Theory and Critique 53.1 (2012)

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).

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).

Greg Hainge, Dimitris Vardoulakis and Clare Monagle, eds. “The Politics of Nothing”, a special number of Culture, Theory and Critique 51.2 (2010)

Greg Hainge, ed. “The Histor(/icit)y of Theory”, a special number of Culture, Theory and Critique 49.1 (2008)

Greg Hainge and Lisa Walsh, eds. Culture, Theory and Critique 47.2 (2006)

Greg Hainge and Paul Hegarty, eds. “Noise”, a special number of Culture, Theory and Critique 46.1 (2005)

Fascism and Aesthetics, a special number of Renaissance and Modern Studies, 42 (1999 edition, published 2001)

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)

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

‘Red Velvet: Lynch’s Cinemat(ograph)ic Ontology’, in David Lynch, ed. by François-Xavier Gleyzon (Prague: Litteraria Pragensia: 2010), pp.24-39.

‘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. byJohn 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’, in 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 Visions ed. 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’, in Actualité de Céline (Tusson: Du Lérot, 2001), pp.143-158.

‘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

‘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

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

‘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.

‘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.

‘Celine chez les fils de la Perfide Albion: Les etudes céliniennes dans le contexte universitaire Anglophone depuis 1961’, Etudes Céliniennes 7 (2012), 5-19.

(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.

(co-authored with B. Hanna and J. de Nooy) ‘Tekhnè, Technique, Technology’, Australian Journal of French Studies 48.2 (2011), 121-28.

(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). <;

‘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) <; (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), <;

‘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’, m/c: a journal of media and culture 5.4 (2002), <; (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’, 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.

3.1 Sole-authored refereed conference publications

‘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

‘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

‘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

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