PD Dr. phil. habil. Martin Holtz

Privatdozent

Lehrstuhl für Anglophone Literatur und Kultur

Ernst-Lohmeyer-Platz 3
17489 Greifswald

Telefon +49 3834 420 3351 (Sekretariat)
martin.holtzuni-greifswaldde

Vita
03/2022 Umhabilitation, Graz University (Venia legendi: Amerikanistik)
03/2020 – Assistant Professor, American Literature and Film, Department for American Studies, University of Graz, Austria
04/2010 – 03/2018,
08/2018 – 02/2019 		Assistant Professor, Anglophone Literature and Culture, Department for British and American Studies at the University of Greifswald
04/2018 – 07/2018 Stand-in Professor, Anglophone Literature and Culture, Department for British and American Studies, Greifswald University
12/2017 Habilitation, Greifswald University, Thesis: “War as Action: Constructions of Agency in American Literature on the War of Independence, 1775-1860” (Venia legendi: Anglophone Literary and Cultural Studies)
10/2008 – 03/2009 Lecturer, American Studies, Department for British and American Studies, Jena University
10/2007 – 09/2008 Teaching assignments, Department for British and American Studies, Greifswald University
09-10/2007, 09-10/2014, 09–10/2016 Guest lecturer at Widener University, Chester, Pennsylvania (USA)
10/2006 – 11/2009 PhD student at Greifswald University, Thesis: "American Cinema in Transition: The Western in New Hollywood and Hollywood Now" (summa cum laude), supervisor: Prof. Dr. Hartmut Lutz
10/2001 – 06/2006 Student of British/American Studies and Mathematics at Greifswald University, M.A. Thesis "Hollywood at the End of the 20th Century: The Matrix, Fight Club, and American Beauty"
11/2000 – 8/2001 Compulsory Military Service
1994 – 2000 Friedrich-Ludwig-Jahn-Gymnasium (High School), Greifswald
1988 – 1994 Erwin-Fischer-Schule (Elementary School), Greifswald
1982 Born in Greifswald
Publikationen / Publications

Books

  • Constructions of Agency in American Literature on the War of Independence: War as Action, 1775-1860. London, New York: Routledge, 2019.
  • American Cinema in Transition: The Western in New Hollywood and Hollywood Now. Frankfurt: Peter Lang, 2011.

Articles 

  • “The Sounds of War: Reflections on WWI Films of 1930”. Aesthetics of Early Sound Film. Daniel Wiegand (ed.). Amsterdam UP, 2023. 243-260.

  • “Mad Max and the Western”. Studies in Australasian Cinema (2023). Advance article. <https://doi.org/10.1080/17503175.2023.2256610>.

  • “Environmental Change in Poetic Documentary Film”. The Place of Poetics Within Documentary Filming: The Art of Fact. Keith Marley (ed.). Newcastle upon Tyne: Cambridge Scholars, 2023. 154-170.

  • “Adaptation as Emancipation in Edward Albee’s Lolita”. Adaptation (2023). Advance article. <https://doi.org/10.1093/adaptation/apad022>.

  • “The ‘Corkscrew’ Journey of an Adaptation: Cultural Mobility in Hammett, Kurosawa, Leone, and Hill”. Adaptation 15.3 (2022): 348-365. (first published as advance article 2021).  <https://doi.org/10.1093/adaptation/apab021>.

  • “The Female Avenger in Post-9/11 Westerns”. Women in the Western. Sue Matheson (ed.). Edinburgh UP, 2020. 223-241.

  • “Sheila Heti”. Kritisches Lexikon zur fremdsprachigen Gegenwartsliteratur. Sebastian Domsch et al. (Hg.). 111. Nachlieferung. München: edition text + kritik, 2020. 24 S. Nachdruck in Kanadische Gegenwartsliteratur. Sebastian Domsch (Hg.). München: edition text + kritik, 2020. 97-120.

  • „Edward Albee“. Kritisches Lexikon zur fremdsprachigen Gegenwartsliteratur. Sebastian Domsch et al. (Hg.). 107. Nachlieferung. München: edition text + kritik, 2019. 24 S.

  • “The Relationship between Nature and Technology in Three New Deal Documentaries: The Plow that Broke the Plains, The River, and The City”. Modernities and Modernization in North America. Ruth Mayer, Ilka Brasch (eds.). Heidelberg: Winter, 2018. 289-305.

  • “Machines in the Garden: Technology and the Western in the 1960s and 70s”. A Fistful of Icons: Essays on Frontier Fixtures of the American Western. Sue Matheson (ed.). Jefferson: McFarland, 2017. 198-212.
  • “Westerns and War Films: American Sniper as a Genre Hybrid”. Studia Filmoznawcze (Film Studies) 38 (2017). 105-119.
  • “The Western in Times of War: Open Range and Seraphim Falls as Post-9/11 Films”. Violence and Open Spaces: The Subversion of Boundaries and the Transformation of the Western Genre. Stefanie Müller, Christa Buschendorf, Katja Sarkowsky (eds.). Heidelberg: Winter, 2017. 93-105.
  • “Adaptation: Interpretation”. Film. Bild. Wirklichkeit.: Reflektion von Film – Reflexion im Film. Hg. Thomas Metten und Michael Meyer. Köln: Herbert von Halem, 2016. 246-264. 
  • “‘You Must Pay for Everything in This World One Way or Another’: The Economics of Justice in True Grit”. The Post-2000 Film Western. Marek Paryz, John Leo (eds.). Houndmills: Palgrave Macmillan, 2015. 36-50.
  • “The ConMan and the Close-Up: Imposture in Paul Thomas Anderson’s There Will Be Blood”. Fake Identity?: The Impostor Narrative in North American Culture. Caroline Rosenthal, Stefanie Schäfer (eds.). Frankfurt: Campus, 2014. 177-191.
  • “The Pathological Protagonist in Recent Films by Martin Scorsese”. American Lives. Alfred Hornung (ed.). American Studies: A Monograph Series 234. Heidelberg: Winter, 2013. 507-520.
  • “The Proposition”. Teaching Contemporary Literature and Culture 3: Film Part II. Susanne Peters, Klaus Stierstorfer, Dirk Vanderbeke, Laurenz Volkmann (eds.). Trier: WVT, 2013. 527-541.
  • „Die Frontier als Konfliktraum im Western“. Störungen im Raum – Raum der Störungen. Christoph Gansel, Pawel Zimniak (Hg.). Heidelberg: Winter, 2012. 267-288.
  • “Genre Pastiche and Gender Performance in Contemporary Hollywood Westerns: Cold Mountain, Deadwood, and Brokeback Mountain”. Explorations and Extrapolations: Applying English and American Studies. Alexander Brock, Uwe Küchler, Anne Schröder (eds.). Münster: LIT Verlag, 2011. 55-78.
  • “John Ford’s Indians and Their Relevance for Today”. North America in the 21st Century: Tribal, Local, and Global. Kerstin Knopf (ed.). Trier: WVT, 2011. 305-322.
  • “Guter Cowboy, schlechter Cowboy”. Filmkalender 2010. Mark Stöhr (Hg.). Marburg: Schüren, 2009. n.p.
  • “Deadwood: Amerika zwischen Wildnis und Zivilisation”. Was bisher geschah: Serielles Erzählen im zeitgenössischen amerikanischen Fernsehen. Sascha Seiler (Hg.). Köln: Schnitt – Der Filmverlag, 2008. 68-79.

Reviews

Vorträge / Presentations

  • "The Meta-Cinema of Paul Verhoeven's Hollywood Films". Paul Verhoeven@85. Bangor (UK). 8.Sep.2023.

  • “Recovering Edward Albee’s Lolita”. Reconnecting and Recovering: the second virtual joint conference of the Literature/Film Association and the Association of Adaptation Studies. 16.Feb.2023.

  • “The Limits of Empowerment: The Woman in Arms in Kayla Williams’s Memoir Love My Rifle More Than You (2005)”. Ladies in Arms: Representations of Shooting Women in Contemporary Popular Culture. Wien. 19.Oct.2022.

  • “‘All Is Clear, Open, Fluent’: The Sea in Revolutionary War Fiction”. Appalling Ocean, Verdant Land: America and the Sea: ASANOR Conference 2022. Bodø. 30.Sep.2022.

  • “Flying over a Lynching: Constructions of Group Identity in Ralph Ellison’s ‘A Party Down at the Square’”. Flyover Fictions. Innsbruck. 27.May.2022.

  • “Mad Max and the Western”. Distant Shores: International Perspectives on the Australian New Wave. London (Online). 30.Oct.2021.

  • “Between Reverence and Rejection: Age and Youth in the Vietnam Era Western”. Lonely Are the Brave: The Western and Post-War America. Norwich (Online). 17.Jun.2021.

  • “The ‘Corkscrew’ Journey of an Adaptation”. Journeys: Memory and Migration: Association of Adaptation Studies Annual Conference. Edinburgh (Online). 10.Jun.2021.

  • “The Sounds of War: Reflections on American War Films of 1930”. Aesthetics of Early Sound Film: Media Change Around 1930. Zürich (Online). 4.Jun.2021.

  • “Order vs. Chaos in Spartacus”. Spartacus@60: An Online Symposium. 21.Dec.2020.

  • “Constructions of Agency in Catharine Maria Sedgwick’s The Linwoods (1835)”. Catharine Maria Sedgwick Society Webinar. 28.Aug.2020.

  • “Environmental Change in Poetic Documentary Film”. Cultural Responses to Environmental Change. Greifswald. 8.Nov.2019.
  • “The Soldier Group in the Combat Film: Agency and Ideology”. U.S. Culture as Popular Culture: 66. Jahrestagung der DGfA. Hamburg. 14.Jun.2019.
  • “The Female Avenger in Post-9/11 Westerns”. Guest lecture in seminar „How the West Was Won – and Lost“. Jena. 14.Jan.2019.
  • “Grenzüberschreitung als Kriegsmetapher in Sicario”. Grenzüberschreitendes Kino: 23. Internationales Bremer Symposium zum Film. Bremen. 28.Apr.2018.
  • “When Camp Takes Over: Two Musical Numbers in Strictly Ballroom and The Adventures of Priscilla: Queen of the Desert and What They Tell Us About Australian Cinema”. When the Music Takes Over: Musical Numbers in Film and Television. Salzburg. 9.Mar.2018.
  • “The Relationship between Nature and Technology in Three New Deal Documentaries: The Plow that Broke the Plains, The River, and The City”.Modernities and Modernization in North America: 64 Jahrestagung der DGfA. Hannover. 10.Jun.2017.
  • “Der Western seit 9/11”. Guest lecture for Nordamerikafreunde e.V. Greifswald. 7.Okt.2015.
  • “‘You Must Pay for Everything One Way or Another’: The Economics of Revenge in True Grit’”. Reflections on Revenge. Leicester (UK). 4.Sep.2015.
  • “War and Agency in Stephen Crane’s and John Huston’s The Red Badge of Courage”. Guest lecture in exchange program with Widener University. Chester, PA (USA). 17.Sep.2014.
  • “Narrative Situation and Agency in Stephen Crane’s and John Huston’s The Red Badge of Courage”. Film Adaptation: A Dialogue Among Approaches: International Conference. Greifswald. 19.Apr.2013.
  • “The Western as Transnational Genre”. Popular Culture on the Move: Transnational Aspects of the Popular in America through the Centuries: An International and Interdisciplinary Workshop. Oldenburg. 12.Okt.2012.
  • “The Pathological Protagonist in Recent Films by Martin Scorsese”. American Lives: 59. Jahrestagung der DGfA. Mainz. 2.Jun.2012.
  • “The ConMan and the Close-Up: Imposture in Paul Thomas Anderson’s There Will Be Blood”. Fake Identities?: Impostors, ConMen, Wannabes in North American Culture: An International Symposium. Jena. 26.Apr.2012.
  • “The Western since 9/11”. Guest lecture in seminar „How the West Was Won: The American Western“. Jena. 1.Feb.2012. Guest lecture in series „Culture Vultures“. Szczecin. 23.Mai.2012. Guest lecture in exchange program with Widener University. Chester, PA (USA). 15.Sep.2016.
  • „Die Frontier als Konfliktraum im Western“. Störungen im Raum – Raum der Störungen: Wissenschaftliche Tagung am Zentrum für Deutschsprachige Gegenwartsliteratur und Medien. Zielona Gora (Polen). 24.Feb.2011.
  • “The Western as a Reflection of Contemporary America”. Guest lecture in exchange program with Widener University. Chester, PA (USA). 17.Sep.2007.
  • “David Cronenberg’s A History of Violence: A Canadian’s Look at the USA”. Greifswald Canadian Studies Conference. Greifswald. 4.Mai.2007.
Lehrveranstaltungen / Courses taught
  • SS 23: PS "Introduction to Literary Studies I (Poetry)", PS "The American Horror Film"
  • WS 22/23: PS "Introduction to Literary Studies II (Prose and Drama)", PS "New Hollywood"
  • SS 22: PS "Introduction to Film Studies", PS "Introduction to Literary Studies I (Poetry)"
  • WS 21/22: PS "The American Film Musical", PS "Introduction to Literary Studies II (Prose and Drama)"
  • SS 21: PS "Introduction to Film Studies", PS "Introduction to Literary Studies II (Prose and Drama)"
  • WS 20/21: PS "Introduction to Literary Studies I (Poetry)", PS "Introduction to Film Studies", PS "Mark Twain: Tom Sawyer and Huckleberry Finn" (alle Graz), S "Adaptations: Literature into Film" (Greifswald)
  • SS 20: PS "Introduction to Literary Studies I (Poetry)" (Graz)
  • WS 19/20: S "Alfred Hitchcock", HS "Sexualität und Gender im amerikanischen Film"
  • WS 18/19: HS “American Feminist Literature”, S “Stanley Kubrick”
  • SS 18: VL “Introduction to Literary Studies”, S “African American Literature”, S “American Renaissance: Literature in the Age of Romanticism”, S “The American Film Musical”
  • WS 17/18: PS “American Realism and Naturalism”, S “The American Horror Film”
  • SS 17: VL “Introduction to Literary Studies”, PS “Mark Twain: Tom Sawyer and Huckleberry Finn”, S “Race and Racism in American Literature”
  • WS 16/17: Module Course “American Documentary Film” (Widener University), PS “American Poetry”, S “The Western”
  • SS 16: VL “Introduction to Literary Studies”, S “The American Civil War in Literature”, S “Documentary Film”
  • WS 15/16: S “Australian Film”, S “The American Revolution in Literature”
  • SS 15: VL “Introduction to Literary Studies”
  • WS 14/15: Seminar “Labor and Class Politics in American Film” (with Rachel Batch, Widener University), PS “The American Dream in Literature”
  • SS 14: S “American Literature and Film in the 1960s”
  • WS 13/14: S “African American Literature”
  • SS 13: VL “Introduction to Literary Studies”, S “American Literature and Film in the 1950s”, PS “American Realism and Naturalism”
  • WS 12/13: VL “Introduction to Literary Studies”, S “Literature of the American South”, S “Global Shakespeare” (with Conny Loder)
  • SS 12: S “American Gothic Fiction”, S “Herman Melville: Moby Dick”, HS “The Politics of Gender and Sexuality in Hollywood Cinema”
  • WS 11/12: PS “American Poetry”, S “Nature in Canadian Literature”, HS “Race and Racism in American Literature and Film”
  • SS 11: S “America’s Wars in Literature and Film”, S “Modernism: American Literature between the World Wars”, S “The City in American Literature and Film”
  • WS 10/11: VL “Introduction to Literary Studies”, PS “The Frontier in American Literature and Film”, HS “Adaptations: Literature into Film”
  • SS 10: PS “Huckleberry Finn and American Realism”, PS “American Renaissance: Literature in the Age of Romanticism”, HS “New Hollywood”
  • WS 08/09: PS “American Woman Writers” (Jena)
  • SS 08: PS “American Film Genres”
  • SS 07: Module Course “A History of Western Films” (Widener University)
Arbeitsbereiche
  • amerikanische Literatur und Film
Mitgliedschaften / Memberships
  • Deutsche Gesellschaft für Amerikastudien
  • Gesellschaft für Medienwissenschaften