By Roy Grundmann
A spouse 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 some of the most very important administrators to have emerged at the international 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 particular interviews with Michael Haneke, together with an interview dialogue of his newest movie, The White Ribbon.
Considers topics, themes, and matters 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 serious 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 severe and Topical methods 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 picture (Vinzenz Hediger).
4 monitoring Code Unknown (Tom Conley).
5 Michael Haneke and the hot 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 tune: On Caché (Michel Chion).
9 battling 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 model as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A studying of Lemmings (Peter Brunette).
13 diversifications on topics: 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 artwork heritage in Who used to be Edgar Allan? (Janelle Blankenship).
16 forms and visible variety (Brian Price).
Part III The German-Language Theatrical Features.
17 constructions of Glaciation: Gaze, viewpoint, 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 easy methods 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 classification 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 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 recognized: 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)
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.
But if one looks at the films themselves as an index of such national identification, and particularly at the way this identification is filtered through the director’s imaginary relation to the paternal and the filial, we see the second reason why Oedipal issues in Haneke’s films play themselves out differently from the new wave films. In contrast to Wenders, Herzog, and Truffaut, Haneke does not imagine himself on one level with his filial characters. With the exception of Lemmings, their purpose is not to become more or less direct stand-ins for the director himself, and, as it were, to invite the audience to empathize with him through them.
71 Fragments effectively uses its depiction of foster care to trace the contrast between a society’s aspiration to care for its young and the massive, irreversible damages caused by the limitations of this system of care. However, the film compares the stories of two children – the deeply damaged Austrian orphan girl, Anni, who is pursued by a bourgeois couple for adoption, and the Romanian refugee boy, Marian, whom the couple eventually favors over Anni – not only to explore the ethical dilemmas and pitfalls inherent in the system of foster parenting, but also to meditate on the inescapability of injustice as a philosophical conundrum.
A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors) by Roy Grundmann