Ph.D. Birkbeck College, University of London (Film), 2004
M.A. University of Western Ontario (Art History), 1999
B.A. University of Western Ontario (Political Science and Visual Arts), 1997
Cinematic installation art, new media, cultural memory and nostalgia in visual culture, the relationships between film and the visual arts, contemporary American cinema.
The Fifties: 1970 to the Present
This research is concerned with the various ways in which the Fifties (as a construct that is somewhat mythic, largely nostalgic and, to a point – I would argue – historical) has been mobilized in visual culture since the 1970s. My research into the social, cultural and political implications of this construct is motivated and structured by several interconnected questions: What sort of entity is this category we call the Fifties? How do we begin to make sense of something that pervades so many aspects of life? Something recognizable, identifiable and thus generating a degree of consensus about what it is, but at the same time rife with contradiction and ambiguity. Something fluid, evolving, and existing in multiple forms and used in the service of multiple agendas. How do we circumscribe the Fifties, or justify the parameters used to include its constituent parts? And if indeed a working definition or general ontology is possible, how might we set about assessing its functions and significance, historically and historiographically speaking? Part of this project involves identifying and analyzing some of its key manifestations including the ‘Lounge Fifties’, ‘McCarthyite Fifties’, ‘(Meta)cinematic Fifties’, ‘Levittownesque Fifties’, etc.
Screening Nostalgia: Populuxe Props and Technicolor Aesthetics in Contemporary American Film (Oxford: Berghahn Books, January 2009); Paperback, 2011.
Hitchcock and Contemporary Art. New York: Palgrave MacMillan, in press, forthcoming 2014.
“The Future of History in Dennis Potter’s Cold Lazarus”, in Tobias Hochscherf and James Leggott, eds. British Science Fiction Film and Television, McFarland, 2011.
“Complicating Camelot: Nostalgia and Deliberate Archaism in MadMen” in Scott F. Stoddart ed. Analyzing MadMen: Critical Essays on the Television Series, McFarland, 2011.
“The Vestiges of Vertigo in Contemporary Art: Cindy Bernard, David Reed and Douglas Gordon,” in Douglas Cunningham ed. The San Francisco of Alfred Hitchcock's Vertigo: Place, Pilgrimage, and Commemoration, Scarecrow, 2011.
“Cinema and the Visual Arts.” In Oxford Bibliographies in Cinema and Media Studies. Ed. Krin Gabbard. New York: Oxford University Press, 2012.
“David Reed: Thinking Through Cinema,” Conspiracies of Illusion: Projections of Time and Space, ed. Mark Cheetham, McMaster Museum of Art, 2012. (Exhibition Catalogue)
Sprengler, C. “‘In a Hundred Years of Cinema…’: Cultural Memory and Musealization in Harun Farocki’s Workers Leaving the Factory in Eleven Decades,” in Gabriele Muller and Peter McIsaac, “Exhibiting the German Past: Museums, Film, Musealization,” University of Toronto Press, 2015.
Sprengler, C. “Past Failures and Future Promises: Mark Lewis’ Children’s Games, Heygate Estate”, in Bridget Elliott, ed. Breaking and Entering: The House Cut, Spliced and Haunted, McGill-Queens, 2015.
Sprengler, C. “Modern Art and Retromediated Histories: Pleasantville and Far From Heaven” in Jilly Boyce Kay, Cat Mahoney, Charley Meakin, and Caitlin Shaw, eds. Mediated Pasts: Memory and Visual Culture. McFarland, forthcoming 2016.
Co-curators: Mark Cheetham, Andy Patton, Christine Sprengler, Conspiracies of Illusion: Projections of Time and Space, August 28 – November 3, 2012, McMaster Museum of Art, Hamilton, Ontario.
Supervisor/Committee Member (PhD)
Miriam Jordan, Plastic Bodies: Dialogism and the Moving Image in Contemporary Visual Art, (Chief Supervisor), completed 2012
Matthew Smith, Confessional Art,(Committee Member), completed 2012
Stephanie Radu, House Museums,(Committee Member), completed 2014
Trista Mallory,Contested Representations (Committee Member), completed 2015
Sophie Quick, Committee Member, in progress
Chief Supervisor (MA MFA)
Marina Folescu, On Stillness and Movement in Videos by Bill Viola, Mark Lewis, and Stacey Lancaster, (MA) completed 2005
Brendan Fernandes, The Kenyan Safari Lodge: Fantasizing about an Authentic Vacation Culture (MFA) completed 2005 [Co-supervision]
Iuliana Strambeanu, Cinematic Experiments in Multimedia Installations by Janet Cardiff, Doug Aitken, and Pierre Huyghe (MA) completed 2006
Dagmara Genda, Identity and Exile (MFA) completed 2007 [Co-supervision]
Rima Puteris, The Absent Body: Ana Mendieta and Janine Antoni, (MA) completed 2008
Sonja Peters, At the Scene, On the Screen, and Beyond: Experiences and Representations of Coney Island in Early Twentieth Century Photography and Film (MA, Visual Arts), completed 2009
Caitlin Shaw, Retrochic and Thatchers Skeletons: The Eighties in Contemporary British Film, (MA, Film Studies), completed 2010
Stephanie Radu, Sarah Lucas: Food for Thought, (MA), completed 2010
Melissa Ruhloff, Re-inventing the Group of Seven, (MA, Visual Arts), completed 2012
Sophie Quick, Putting in Time: Long-Durational Performance Spectatorship (MA, Visual Arts), completed 2012
Amy Gaizauskas, A Wishy-Washy, Sort-of Feeling: Episodes in the History of the Wishy-Washy Aesthetic,(MA, Visual Arts), completed 2014
Matthew Purvis, (MA, Visual Arts), co-supervison, completed 2015