Robert Miklitsch
Professor
Film (noir, melodrama, gangster film, Hollywood musical), music (pop, jazz, classical), media (TV, video) and popular-cultural studies
Office: Ellis 319
Office Phone: 593-2801
Email: miklitsc@ohio.edu
Degrees
Ph.D., English. SUNY at Buffalo, Spring 1981
M.A., Writing Seminars, The Johns Hopkins University, 1977
B.A., University of Notre Dame, 1975
Publications
Books: In Press
Siren City: Sound and Source Music in Classic American Noir. Brunswick, NJ: Rutgers University Press, February, 2011. 300 pp.
Books
Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media (Albany: State University of New York Press, 2006). 262 pp.
From Hegel to Madonna: Towards a General Economy of “Commodity Fetishism” (Albany: State University of New York Press, 1998). 224 pp.
Books: Edited Collections: In Progress
Kiss the Blood off My Hands: Re-Screening Classic American Film Noir.
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Books: Edited Collections
Psycho-Marxism: Marxism and Psycho-Analysis Late in the Twentieth Century, ed. Robert
Miklitsch (Durham: Duke University Press, 1998). 280 pp.
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Book Chapters
“Audio-Noir: Audiovisuality in Neo-Modernist Noir,” Neo-Noir, ed. Mark Bould et. al
(London, UK: Wallflower Press, 2009): 28-43.
“Real Fantasies: Connie Stevens, Silencio, and Other Sonic Phenomena in Mulholland Drive,”
Lowering the Boom: Critical Studies in Film Sound, ed. Jay Beck and Anthony Grajeda
(Urbana, IL: University of Illinois Press, 2008): 233-248.
“Flesh for Fantasy: Aesthetics, the Fantasmatic, and Film Noir,” Traversing the Fantasy: Critical
Essays on Slavoj Zizek, ed. Geoff Boucher et al. (Aldershot, UK: Ashgate, 2005): 17-39
. “Beginnings and Endings: Mark Strand’s ‘Untelling,’” Poetry Criticism, ed. Larry Trudeau
Detroit: Gale, 2005): 29-42 [reprint].
“Difference: Roland Barthes’ Pleasure of the Text, Text of Pleasure,” Roland Barthes, ed. Mike
Gane and Nicholas Gane (Thousand Oaks, CA: Sage, 2003): 557-570 [reprint].
“Assembling a Landscape: The Poetry of Louise Glück,” The Twayne Companion to Literature
in English, ed. R.H.W. Dillard and Amanda Cockrell (New York: Twayne, 2003): 347-360
[reprint].
“The Politics of Teaching Literature,” Beyond the Corporate University, ed. Henry Giroux and
Kostas Myrsiades (Lanham, MD: Rowman & Littlefield, 2001): 267-285 [reprint].
“Punk Pedagogy, or Performing Contradiction: The Risks and Rewards of (Anti-) Transference,”
Education and Cultural Studies: Toward a Performative Practice, ed. Henry Giroux
and Patrick Shannon (New York: Routledge, 1997): 259-270 [reprint].
“News from Somewhere: Reading Raymond Williams’ Readers,” Cultural Materialism, ed.
Christopher Prendergast (Minneapolis: University of Minnesota Press, 1995): 71-90.
“The Politics of Teaching Literature,” Margins in the Classroom: Teaching Literature, ed. Kostas
and Linda Myrsiades (Minneapolis: University of Minnesota Press, 1994): 71-90
[reprint].
“Godard/Auden/Martini: Framing the Annunciation Scene,” Perspectives on Perception:
Philosophy, Art, and Literature, ed. Mary Ann Caws (New York: Peter Lang, 1989): 95-122.
“Incognito Lounge,” Contemporary Literary Criticism, ed. Daniel G. Marowski and Roger
Maturz (Detroit: Gale, 1989): 567-571 [reprint].
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Articles: In Progress
“The Noir Musical: Gene Kelly, Cover Girl, and the Pierrot Noir,” Music, Sound, and the
Moving Image (under consideration).
“Double (Audio- ) Vision: Musicality and Femininity in The Killers and Criss Cross” (under consideration).
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Articles: In Press
“Christmas Holiday: Robert Siodmak and the Noir Musical,” Senses of Cinema (forthcoming).
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Articles
“Audiophilia: Audiovisual Pleasure and Narrative Cinema in Jackie Brown,” Screen 45, No. 4
(Winter 2004): 287-304.
“Shot/Counter-Shot: Gender, Sexuality, and Postmodern Style in The Sopranos,” New Review
of Film and Television Studies 2, No. 2 (November, 2004): 16-29.
“Gen-X TV: Political-Libidinal Structures of Feeling in Melrose Place,” Journal of Film and
Video 55, No. 1 (Spring 2003): 16-29.
“Zizek and Popular Culture: Art for Lacan’s Sake,” Journal of Advanced Composition 21, No. 3
(Summer 2001): 605-612.
“Rock ‘n’ Theory: Theory, Autobiography, Cultural Studies, and the Death of Rock,” Postmodern
Culture 9, No. 2 (January 1999): [27 pp].
“Introduction,” Marxism and Psychoanalysis Late in the Twentieth Century, South Atlantic
Quarterly 97, No. 2 (Spring 1998): 227-234.
“‘Going through the Fantasy’: Screening Slavoj Zizek,” South Atlantic Quarterly 97, No. 2
(Spring 1998): 475-507.
“The Commodity-Body-Sign: Toward a General Economy of ‘Commodity Fetishism,’” Cultural
Critique 33 (Spring 1996): 5-40.
“The Rhetoric of Post-Marxism: Discourse and Institutionality,” Social Text 45 (Winter 1995):
165-199.
“Total Recall: Production, Revolution, Simulation Alienation-Effect,” Camera Obscura 32
(Summer 1995): 5-40.
“Sturm und Searle: Intervention, Transformation, Democratization,” Mediations 16, No. 2 (May
1992): 24-29.
“Troping Prostitution: Two or Three Things about Post-Marxism and Feminism,” Genders 12
(Winter 1991): 120-139.
“Performing Difference: Brecht, Galileo, and the ‘Regime of Quotations,’” Journal of Dramatic
Theory and Criticism 6, No. 1 (Fall 1991): 15-28.
“The Politics of Teaching Literature: The ‘Paedagogical Effect,’” College Literature 17, Numbers
2/3 (June/October 1990): 23-35.
“The Poppies of Practical Criticism: ‘Rabbi, Read the Phases of This Difference,’” Diacritics 17,
No. 2 (Summer 1987): 23-35.
“The Critic as Poet, Poet as Critic: Randall Jarrell, Deconstruction, and ‘Dirty Silence,’”
American Poetry 1, No. 2 (Winter 1984): 35-48.
“Difference: Roland Barthes’ Pleasure of the Text, Text of Pleasure,” Boundary 2, Vol. 12, No. 1
(Fall 1983): 101-114.
“Assembling a Landscape: The Poetry of Louise Glück,” The Hollins Critic 19, No. 4 (October
1982): 1-13.
“Praise: The Poetry of Robert Hass,” The Hollins Critic 19, No. 4 (October 1982): 1-13.
“Ut Pictura Poesis: Reduction in Contemporary American Painting and Poetry,” The American
Poetry Review 9, No. 6 (Winter1980): 18-32.
“‘A Postcard from the Volcano’: An Appreciation,” The Wallace Stevens Journal 3, Numbers ¾
(Spring 1979): 36-40.
“Beginnings and Endings: Mark Strand’s ‘Untelling,’” The Literary Review 21, No. 3 (Spring
1979): 357-373.
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Review Essays
“Lust, Fantasy, Male Hysteria: Clint Eastwood (Un-) Bound,” Minnesota Review 43/44 (Fall
1995): 118-135.
“Punk Pedagogy, or Performing Contradiction: The Risk and Rewards of (Anti-) Transference,”
The Review of Education, Pedagogy, and Cultural Studies 16, No. 1 (1994): 57-67.
“The Language of Literary History: Dead or Alive?,” The Yale Review 77, No. 1 (Autumn
1987): 103-114.
“News from Somewhere: On Raymond Williams,” Textual Practice 6, No. 1 (Spring 1992):
67-78.
“Self-Portrait in a Convex Mirror” (on John Ashbery), Contemporary Literature 21, No. 3
(Spring 1980): 118-135.
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Reviews
“Film Noir” (on Raymond Borde and Étienne Chaumeton’s Panorama of American Film Noir
and Paula Rabinowitz’s Black & White & Noir), Film Quarterly 57, No. 4 (Summer 2004):
66-68.
“From Classic Rock to Gangsta Rap” (on Anthony DeCurtis’ Rocking My Life Away), Southern
Review 33, No. 1 (Fall 2000): 117-120.
“Exotic Parodies: Subjectivity in Adorno, Said and Spivak” (Asha Varadharajan), Yearbook of
Comparative and General Literature 43 (1996 [1995]): 144-148.
“The Incognito Lounge” (Dennis Johnson), The Iowa Review 13, Numbers 3/4 (1982/83): 246-
250.