University of Vermont

The College of Arts and Sciences

Film and Television Studies

HilaryNeroni

Faculty - Hilary Neroni

Hilary Neroni

Hilary Neroni, Associate Professor

  • Ph.D., 1999, University of Southern California, School of Cinema-Television
  • M.A., 1995, University of Southern California, School of Cinema-Television
  • B.A., 1991, Clark University
  • (C.V. (PDF)
Area of expertise

representations of gender and race in contemporary American film, violence in film, women directors, documentary film/video, feminist theory, psychoanalysis, and Marxism

Contact Information

Email: Hilary.Neroni@uvm.edu
Office: 311 Old Mill

Spring Office Hours: Wednesdays 10:00-12:00, and by appointment

Hilary Neroni teaches courses in film theory, history and production. Her areas of interest include representations of gender and race in contemporary American film, violence in film, women directors, documentary film/video, feminist theory, psychoanalysis, and Marxism. She has published essays on women directors (in particular Jane Campion and Claire Denis) and on issues surrounding gender and violence in the cinema.

Selected Publications:

book jacketThe Subject of Torture: Psychoanalysis, Biopolitics, and Media Representations. New York: Columbia University Press, 2014 (forthcoming)

The Violent Woman The Violent Woman: Femininity, Narrative, and Violence in Contemporary American Cinema (SUNY Press, 2005)

“Revelation, Not Resolution: Claire Denis’s Bastards and the Perversion of Patriarchy,” in Cinematic Cuts, edited by Sheila Kunkle (forthcoming)

“Following the Impossible Road to Female Passion: Psychoanalysis, the Mundane, and the Films of Jane Campion.” Discourse (March 2013).

Violence in Cinema.” In Oxford Bibliographies in Cinema and Media Studies. Ed. Krin Gabbard. New York: Oxford University Press, Spring 2012.

“Documenting the Gaze: Psychoanalysis and Judith Helfand’s Blue Vinyl and Agnes Varda’s The Gleaners and I,” Quarterly Review of Film and Video 27.3, (2010)

“The Nonsensical Smile of the Torturer: documentary form and the logic of enjoyment,” Studies in Documentary Film 3.3, (2009).

“Jane Campion’s Jouissance: Holy Smoke and Feminist Film Theory” in Lacan and Contemporary Film. Eds. Sheila Kunkle and Todd McGowan (The Other Press, 2004).

“Lost in Fields of Interracial Desire: Claire Denis’ Chocolat (1988),”Kinoeye 3.7 (June 2003).

“Expressions of Masculinity: Violence in American Film,”Journal for the Psychoanalysis of Culture and Society 5.2 (Fall 2000).

Selected Presentations:

Reinventing the Critique of Ideology: The biopolitical body, Agamben, and the psychoanalytic subject” ACLA 2009 Annual Conference, Harvard University, Cambridge, March 27, 2009

“The Bare Life Fantasy: Agamben, Jack Bauer, and the imperative to torture” The Association for the Psychoanalysis of Culture and Society 2008 Annual Conference, Rutgers University, New Jersey, October 25, 2008.

“The Female Combatant and Her Father: Cultural Anxiety in Alias and Veronica Mars,” The Association for the Psychoanalysis of Culture and Society 2007 Annual Conference, Rutgers University, New Jersey, November 3, 2007.

“Theorizing the Female Auteur,” The World Picture Conference, Oklahoma State University, Stillwater, October 25, 2007.

“The Stain in the Feminist Image: Introducing the Lacanian Gaze to Documentary Film,” The Association For the Psychoanalysis of Culture and Society, Rutgers University, New Jersey, October 20-22, 2006.

“Buffy’s Collective: Linear Narrative and The Power of a United Femininity,” The Society for Cinema Studies 2006 Conference, Vancouver, British Columbia, March 5, 2006.

“The Ubiquity of the Gaze in Jane Campion’s In the Cut,” The Thirty-Fourth Annual 20th Century Literature and Culture Conference, Louisville, Kentucky, February 24, 2006.

“Theorizing the Particulars of Documentary Form,” Visible Evidence XII, Montreal, Canada, August 22, 2005.

“Lost in Claire Denis’ Fields of Desire: Interracial Relationships in Chocolat,”The Society for Cinema and Media Studies, Minneapolis, MN, March 9, 2003.

“The Exigency of Racism in the Western: Bad Day at Black Rock and The Absent Signifier,” The American West(s) in Film, History, and Television, Kansas City, MO, November 7, 2002.

“Was Betty Boop a Feminist?: Changing Gender Roles and Other Subtexts in House Cleaning Blues (1937),” 14th Annual Society for Animation Studies Conference, Glendale, California, September 27, 2002.

“Feminist Jouissance as Feminist Politics,” Seventh Annual APCS Conference for Psychoanalysis and Social Change, Rutgers University, New Jersey, November 10, 2001.