By Roy Grundmann
A significant other to Michael Haneke is a definitive number of newly-commissioned paintings that covers Haneke’s physique of labor in its entirety, catering to scholars and students of Haneke at a time whilst curiosity within the director and his paintings is soaring.
Introduces essentially the most vital administrators to have emerged at the worldwide cinema scene long ago fifteen years.
Caters to scholars and students of Haneke at a time while curiosity within the director and his paintings is soaring.
Includes unique interviews with Michael Haneke, together with an interview dialogue of his most up-to-date movie, The White Ribbon.
Considers subject matters, themes, and topics that experience shaped the nucleus of the director’s life’s paintings: the destiny of ecu cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance.
Features severe examinations of l. a. Pianiste, Time of the Wolf, 3 Paths to the Lake and Caché, among others.
Table of contents:
Notes on Contributors.
Introduction: Haneke’s Anachronism (Roy Grundmann).
Part I serious and Topical ways to Haneke’s Cinema.
1 Performative Self-Contradictions: Michael Haneke’s brain video games (Thomas Elsaesser).
2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).
3 Infectious photos: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and movie (Vinzenz Hediger).
4 monitoring Code Unknown (Tom Conley).
5 Michael Haneke and the recent Subjectivity: structure and picture (Peter Eisenman).
6 video games Haneke performs: fact and function (Brigitte Peucker).
7 Figures of Disgust (Christa Blümlinger).
8 with out song: On Caché (Michel Chion).
9 combating the Melodramatic situation: Haneke’s Polemics (Jörg Metelmann).
10 “Mourning for the Gods who've Died”: The position of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).
Part II the tv Films.
11 A depression hard work of affection, or movie edition as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A examining of Lemmings (Peter Brunette).
13 diversifications on issues: Spheres and house in Haneke’s edition (Monica Filimon and Fatima Naqvi).
14 Projecting hope, Rewriting Cinematic reminiscence: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).
15 (Don’t) glance Now: Hallucinatory paintings background in Who used to be Edgar Allan? (Janelle Blankenship).
16 paperwork and visible type (Brian Price).
Part III The German-Language Theatrical Features.
17 buildings of Glaciation: Gaze, standpoint, and Gestus within the motion pictures of Michael Haneke (Georg Seeßlen).
18 The Void on the middle of items: Figures of identification in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).
19 find out how to Do issues with Violences (Eugenie Brinkema).
20 among Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).
21 Hollywood Endgames (Leland Monk).
Part IV The French-Language Theatrical Features.
22 category clash and concrete Public house: Haneke and Mass Transit (Barton Byg).
23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).
24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché (Kevin L. Stoehr).
25 The Unknown Piano instructor (Charles Warren).
26 Discordant wants, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).
27 Civilization’s unending Shadow: Haneke’s Time of the Wolf (Evan Torner).
28 The Intertextual and Discursive Origins of Terror in Michael Haneke’s Caché (T. Jefferson Kline).
Part V Michael Haneke Speaks.
29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).
30 Violence and the Media (Michael Haneke).
31 the area that's identified: An Interview with Michael Haneke (Christopher Sharrett).
32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).
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Additional resources for A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)
While this process was contingent on the specific national histories of the medium,29 it clearly came to assume a trans-European dynamic. Some broader characteristics of this transition are glossed in exemplary form in 71 Fragments’ depiction of the Brunners, the couple that adopt Marian. After watching Marian’s Romanian refugee story on the news, they spring into action and seek him out. Their decision thus appears to have a democratic, humanitarian, and public sphere-oriented character. Their construction as viewers codifies them as “socially responsible” citizens, except that the social is now no longer the realm of the nation but of Europe.
The more traditional of these two topics, a civilizational critique coupled with a focus on children, has been a staple of art cinema since Italian neo-realism. It finds renewed focus through Haneke’s interrogation of the ethics of parenting, which his films further link to an investigation of the decline of institutions of learning. Their failure, in turn, points to a crisis of pedagogy and signals deeper impoverishments on the level of the cultural imaginary. 28 The Seventh Continent’s child protagonist, Evi, rebels against the world’s indifference by claiming to have lost her ability to see, which prompts insensitivity and indignance from her teacher and triggers punishment from her mother.
At the same time, however, Haneke’s own dialectical use of film and of cinema history in Fraulein – by juxtaposing its protagonist’s jouissance to post-war broken masculinity (see Nagl, this volume) even when she is identified as an instrument in disseminating illusion),21 by abruptly switching from black-and-white to color stock in order to mark this illusionism, and by ending with an excerpt from the Nazi spectacle Münchhausen ( Josef von Báky, 1943, starring Albers and filmed in color) – indicates Haneke’s conviction that film is a (however limited) tool for critical reflection.