By Roy Grundmann
A spouse to Michael Haneke is a definitive choice 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 probably the most very important administrators to have emerged at the worldwide cinema scene long ago fifteen years.
Caters to scholars and students of Haneke at a time whilst curiosity within the director and his paintings is soaring.
Includes unique interviews with Michael Haneke, together with an interview dialogue of his most modern movie, The White Ribbon.
Considers issues, themes, and topics that experience shaped the nucleus of the director’s life’s paintings: the destiny of eu cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance.
Features serious examinations of los angeles 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 severe and Topical techniques to Haneke’s Cinema.
1 Performative Self-Contradictions: Michael Haneke’s brain video games (Thomas Elsaesser).
2 5 Tapes, 4 Halls, desires: 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 movie (Peter Eisenman).
6 video games Haneke performs: truth and function (Brigitte Peucker).
7 Figures of Disgust (Christa Blümlinger).
8 with out tune: On Caché (Michel Chion).
9 scuffling with the Melodramatic : Haneke’s Polemics (Jörg Metelmann).
10 “Mourning for the Gods who've Died”: The function of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).
Part II the tv Films.
11 A depression exertions of affection, or movie model as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A interpreting of Lemmings (Peter Brunette).
13 diversifications on topics: Spheres and house in Haneke’s version (Monica Filimon and Fatima Naqvi).
14 Projecting wish, Rewriting Cinematic reminiscence: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).
15 (Don’t) glance Now: Hallucinatory artwork background in Who was once Edgar Allan? (Janelle Blankenship).
16 paperwork and visible kind (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 heart of items: Figures of id in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).
19 the best way 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 area: 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 wishes, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).
27 Civilization’s never-ending 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)
The broader parameters are set, but the configuration of the internal components is difficult to figure out. ). This dynamic also applies to the media, and it does so in two ways: The advent of cable and satellite TV has significantly eroded the sway of many a state-sponsored TV channel, whose national domain has found itself invaded by the programming of other nations, as well as by domestic and foreign regional networks31 or the private channels of further splintered special interest communities.
In Funny Games (1997), structure is diegetically inscribed through the game format, but also identifies the film as an artifact (albeit through a very specific device – the breaking of the fourth wall). Haneke’s later films also have parametric qualities. ). Events are imbued with similarity but become subject to stylistic deviation. 20 ROY GRUNDMANN Notwithstanding their similarities to Bordwell’s description of parametric cinema, I would argue that Haneke’s films are hybrids between different kinds of styles.
18 This structuring absence within the text represents a variant of anachronism that has implications for questions of spectatorship. It may be regarded as an ironic comment on Austria’s resistance to engaging with its past. Thus reconceptualized, anachronism prompts a meditation on the status of the nation as a precarious ideological construct, haunted as it is by the experience of loss, to which the formation of the nation and of nationalism must be regarded as reactions, but which they also seek to deny, as becomes evident through the revelation of the various structuring absences that tend to inform official national histories.