Olivia Landry’s research in contemporary German culture, film, literature, and theater focuses on performance, the body, and transnational and LGBTQI narratives. Her first book manuscript, Movement and Performance in Berlin School Cinema, explores the contemporary film movement the Berlin School through a recalibration of the body, movement, spectacle, sensation, and spectatorship in cinema. Olivia’s second book project, Theater of Anger, examines the aesthetic, cultural, and political stakes of anger in contemporary transnational theater in Germany.
Olivia completed her Ph.D. at Indiana University in 2014. From 2014 to 2016, she was a Kenneth P. Dietrich School of Arts and Sciences postdoctoral fellow at the University of Pittsburgh. After that, Olivia spent a year at Stanford University as the William H. Bonsall Acting Assistant Professor of German. She has taught a wide range of courses in language, literature, film, and culture.
Courses taught at Lehigh:
Intermediate German I & II
German through Graphic Novels
German Theater Performance
German Horror Films
Movement and Performance in Berlin School Cinema (Indiana University Press, 2019).
"Pre-Face, Sur-Face, Inter-Face, Post-Face: The Horror Story of Goodnight Mommy," Discourse 41:1 (Wayne State University Press, forthcoming 2019).
"Torlasco's 'Philosophy in the Kitchen': Image, Domestic Labor, and the Gendered Embodiment of Time," co-authored with Christinia Landry, New Review of Film and Television Studies (Taylor & Francis, forthcoming 2019).
"Searching for a Storyteller, Remediating the Archive: Philip Scheffner's The Halfmoon Files," New German Critique 46:3 (Duke University Press, forthcoming 2019).
"Anger as Theatrical Form in Sasha Marianna Salzmann's Zucken," in Postdramatisches Theater als transkulturelles Theater. Eine transdisziplinäre Annäherung, eds. Teresa Kovacs and Koku G. Nonoa (Forum Modernes Theater, Tübingen: Narr Francke Attempo Verlag, 2018): 335-348.
“On the Politics of Love and Trans-Migrant Theater in Germany,” TSQ: Transgender Studies Quarterly 5:1 (Duke University Press, 2018): 30-48.
“Color/blindness and Sheri Hagen’s Auf den zweiten Blick,” Black Camera: An International Journal 9:1 (Indiana University Press, 2017): 62-79.
“A Body without a Face: The Disorientation of Trauma in Phoenix (2014) and New Holocaust Cinema,” Film-Philosophy 21:2 (Edinburgh University Press, 2017): 188-205.
“‘Don’t Panic I’m Islamic’: Voicing Resistance through Documentary,” in Framing Islam: Faith, Fascination, and Fear in Twenty-First-Century German Culture, special issue of Colloquia Germanica, eds. Anna Faye Stewart and Heidi Dorothea Denzel, 47:1-2 (A. Franke Verlag, 2014): 83-106. (appeared in 2017)
“Greek Dispossession Staged, or When Street Politics Meets the Theater,” TRANSIT: A Journal of Travel, Migration and Multiculturalism in the German-speaking World 10:2 (online, 2016).
“Jewish Joke Telling in Muttersprache Mameloschn: Performing Queer Intervention on the German Stage,” Women & Performance: A Journal of Feminist Theory 26:1 (Taylor & Francis, 2016): 36-54.
“‘Wir sind alle Oranienplatz!’ Space for Refugees and Social Justice in Berlin,” in The New Berlin, special issue of Seminar: A Journal of Germanic Studies, eds. Karin Bauer and Jennifer Hosek, 51:4 (University of Toronto Press, 2015): 398-413.
“Dance and the Theatricality of Berlin School Cinema,” The Germanic Review: Literature, Culture, Theory 89:1 (Taylor & Francis, 2014), 1–19.
“German Youth Against Sarrazin: Nurkan Erpulat’s Verrücktes Blut and Clash as Political Theatre of Experience,” in 51 Jahre türkische Gastarbeitermigration in Deutschland, special issue of Jahrbuch Türkisch-deutsche Studien 3, eds. Seyda Ozil, Michael Hofmann, Yasemin Dayıoglu-Yücel, (Vandenhoeck & Ruprecht, 2012), 105–121.
“Verbal Performance in Dorothea Tieck’s Translation of Shakespeare’s Sonnets,” Women in German Yearbook 28, eds. Margaret Lamb-Faffelberger and Elizabeth Ametsbichler, (University of Nebraska Press, 2012), 1–22.
“Rethinking Migration: The Intervention of Theater,” in Forum: Migration, Germany Quarterly, ed. Carl Niekerk, 90:2 (Wiley Press, 2017): 222-224.