By Roy Grundmann
A better half 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 very important administrators to have emerged at the worldwide cinema scene some time past fifteen years.
Caters to scholars and students of Haneke at a time whilst curiosity within the director and his paintings is soaring.
Includes specific interviews with Michael Haneke, together with an interview dialogue of his most modern movie, The White Ribbon.
Considers subject matters, 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 serious and Topical methods 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 photographs: 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: 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 function of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).
Part II the tv Films.
11 A depression exertions of affection, or movie version as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A studying of Lemmings (Peter Brunette).
13 adaptations 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 was once 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 the 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 type 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: l. a. 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).
Bookmarked and searchable. Black and white images
Thanks to dubjazz @ KG for description and add.
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Extra info for A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)
If The Seventh Continent depicts the institution’s lack of understanding towards the child, Benny’s Video shows how the inadequacy of its structures invite the child’s abuse of them, as evident in Benny’s bully behavior and his cynical repurposing INTRODUCTION: HANEKE’S ANACHRONISM 21 of choir practice. 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.
Yet, the films articulate their critiques in ways that differ from many of the television films. 24 But this claim also begs qualification. The glaciation trilogy continues Haneke’s critical exploration of the dynamics by which guilt and denial are passed from the parental generation to that of the children. Situated within the private sphere of the family, these dynamics no less constitute a form of historical amnesia. And while the focus on the family, on one level, transcends national specificity, on another level, the films imply relevance to a particular group of countries – Austria, Germany, and, in Haneke’s more recent films, France.
As Naqvi argues, the film acknowledges what has been identified as the utopian strain in Roth’s writing – a rebellious response against the country’s reconstitution as a republic along the lines of “a limiting, exclusivist bourgeois model”17 – which may be said to offset the novelist’s reactionary side. The film features historical footage of Emperor Franz Joseph’s 1916 funerary procession and of World War I trench battles, explosions, and crosses of unknown soldiers, but not for the mere purpose of historical illustration.
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