By Roy Grundmann
A significant other to Michael Haneke is a definitive selection 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 vital administrators to have emerged at the worldwide 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 particular interviews with Michael Haneke, together with an interview dialogue of his latest movie, The White Ribbon.
Considers topics, subject matters, 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 severe 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 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 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: truth and function (Brigitte Peucker).
7 Figures of Disgust (Christa Blümlinger).
8 with out tune: On Caché (Michel Chion).
9 battling the Melodramatic : 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 exertions of affection, or movie version as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A examining of Lemmings (Peter Brunette).
13 adaptations on subject matters: Spheres and house 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 was once Edgar Allan? (Janelle Blankenship).
16 paperwork and visible variety (Brian Price).
Part III The German-Language Theatrical Features.
17 buildings of Glaciation: Gaze, point of view, and Gestus within the movies of Michael Haneke (Georg Seeßlen).
18 The Void on the middle 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 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 wants, 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 recognized: An Interview with Michael Haneke (Christopher Sharrett).
32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).
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Extra info for A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)
Its final, fictitious news sequence reports the shootings of several customers in a bank, a climactic act towards which the narrative moves, but which is already announced at the beginning in reference to the real-life event that inspired the film. Television’s position in 71 Fragments is thus supradiegetic: it functions as an external divider between some of the film’s narrative fragments, but it also links several of the film’s individual narrative strands by constituting their protagonists as television’s public, whereby it assumes a diegetic presence within the frame.
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. 26 They have elliptical narration, they encourage symbolic readings, and they feature privileged moments of character subjectivity. 27 When spectators of art films experience difficulties reconciling the films’ realism with the ambiguity of symbolism and point of view, they can, in classic art cinema fashion, mediate these contradictory elements by taking recourse to the fact that none of these are random because the auteur put them there.
In this as well as in some of Haneke’s other films, the expansive dynamic of this register establishes analogies and comparisons with contemporary Europe. But before considering these in greater detail, we need to acknowledge that Haneke’s TV films did not exclusively focus on Austria to illustrate the dynamics of historical amnesia. His film Fraulein also analyzed its German variant. Fraulein’s female protagonist, Johanna,20 runs a movie theater in which she projects prewar Disney movies, as well as postwar rubble films starring Hans Albers, whose popularity with German audiences extended from the Weimar period into the 1950s.
A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors) by Roy Grundmann