By Roy Grundmann

ISBN-10: 1405188006

ISBN-13: 9781405188005

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 while 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 some time past fifteen years.

Caters to scholars and students of Haneke at a time while curiosity within the director and his paintings is soaring.

Includes specific interviews with Michael Haneke, together with an interview dialogue of his most up-to-date movie, The White Ribbon.

Considers subject matters, issues, 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.

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Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

Part I severe 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 picture (Vinzenz Hediger).

4 monitoring Code Unknown (Tom Conley).

5 Michael Haneke and the hot Subjectivity: structure and movie (Peter Eisenman).

6 video games Haneke performs: truth and function (Brigitte Peucker).

7 Figures of Disgust (Christa Blümlinger).

8 with no tune: On Caché (Michel Chion).

9 struggling with 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 variation as Translation: 3 Paths to the Lake (Fatima Naqvi)

12 Michael Haneke and the tv Years: A analyzing of Lemmings (Peter Brunette).

13 diversifications on issues: Spheres and area in Haneke’s version (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 sort (Brian Price).

Part III The German-Language Theatrical Features.

17 buildings of Glaciation: Gaze, point of view, 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 how you can 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 wants, 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 realm that's recognized: An Interview with Michael Haneke (Christopher Sharrett).

32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

Filmography.

Index.

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Additional info for A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)

Sample text

The 1989 premiere of The Seventh Continent thus became a cumulative index of the anachronisms and ironies that mark Haneke’s status as auteur and representative of a national cinema. One of three Austrian films in the Cannes program, INTRODUCTION: HANEKE’S ANACHRONISM 11 it introduced Austria to the festival as a young filmmaking nation or, to cite the correlative rhetoric, a nation of young filmmakers (Horwath 1991: 12). Shot and produced in Austria with Austrian money and mostly Austrian actors, and made by a director who lived and had been raised in Austria, The Seventh Continent, on one level, seemed to tell the story of an average Austrian family living in an average Austrian town.

Yet, this codification is revealed as being mere sheen. The ethical dilemmas raised by the story suggest that the position of the Brunners in this scenario is rather closer to that of conventional, that is, private and personally motivated, consumers, whose choice of the boy is influenced by the same factors that would make them select a particular toy brand or a pet. It is contingent on psychological impulses, individual responses to marketing strategies (not the least those of Marian himself, who shrewdly understands that “going on TV” will increase his chances of finding new parents), as well as on their personal tastes, and the way the medium, which is now basically a commercial medium, can deliver consumers to specific products, whereby it eclipses other products in the process.

It reveals something about the construction of the trilogy’s implied spectator. It has often been stated that Haneke became rather disillusioned with television as an artistic medium – due to public television’s increasing unwillingness to ignore the ratings factor and produce artistically challenging films. But his first theatrical feature was still written for TV and with TV viewers in mind. Not the kinds of viewers who became known as channel surfers, but the TV viewers who considered themselves selective and demanding viewers, and who had been “abandoned” by TV in the same way Haneke felt he had been abandoned by TV as a demanding artist.

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