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Economies of Greed in Late Pynchon: America and the Logic of Capital & [Non]Style is Feeling: Direct Tenderness from Sirk and Fassbinder to Haynes

Cultural Studies PhD Salon Seminar Series
Date:
Thursday, September 13, 2018 - 7:30 PM to 9:00 PM
Building:
Bagnani Hall
Room:
101
Cost:
Free
Cultural Studies PhD Salon Seminar Series

Hanjo Berressem, University of Cologne
Economies of Greed in Late Pynchon: America and the Logic of Capital

This talk reads Pynchon’s late work Bleeding Edge as a dark allegory of the logic of infinite greed and entitlement that pervades 20th century America. In the light of Pynchon’s allegorical anger about how America has dealt with 9/11, this talk revisits the early assessment of Pynchon’s works as Jeremiads. 

Hanjo Berressem teaches American Literature at the University of Cologne. In addition to over 100 articles on contemporary American fiction, media studies, the interfaces of art and science as well as ecology, he has published books on Thomas Pynchon (Pynchon’s Poetics: Interfacing Theory and Text, 1992), Witold Gombrowicz (Lines of Desire: Reading Gombrowicz’s Fiction with Lacan, 1998) and on the notion of Eigenvalue (Eigenvalue: On the Gradual Contraction of Media in Movement / Contemplating Media in Art [Sound | Image | Sense], 2018). Two new books, Gilles Deleuze’s Luminous Philosophy and Félix Guattari’s Schizoanalytic Ecology, will be published in 2019.

Nadine Boljkovac, Falmouth University
[Non]Style is Feeling: Direct Tenderness from Sirk and Fassbinder to Haynes

Style, or nonstyle as Gilles Deleuze suggests, exposes the foreign within the familiar. Douglas Sirk, Rainer Werner Fassbinder and Todd Haynes reveal characters-cum-prisoners trapped within ‘normativity.’ At the same time, their films envision alternative trajectories for the women effecting lasting reverberations, a feeling of events for the characters and us.

Nadine Boljkovac (PhD, University of Cambridge) is a Falmouth University Senior Lecturer, a 2018 Visiting Fellow, Center for Transformative Media, Parsons School of Design, and a 2018-19 Research Fellow, Morphomata International Center for Advanced Studies, University of Cologne. Her monograph in progress, Beyond Herself: Feminist (Auto)Portraiture and the Moving Image, follows Untimely Affects: Gilles Deleuze and an Ethics of Cinema (2013). Recent peer-reviewed works appear in ‘Materialising Absence in Film and Media,’ a Screening the Past Special Dossier (co-edited with S. Walton, 2018), The Anthem Handbook of Screen Theory (eds Tom Conley & Hunter Vaughan, 2018) and Interdisciplinary Articulations (2018).

Posted on August 30, 2018