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 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 while curiosity within the director and his paintings is soaring.
Includes unique interviews with Michael Haneke, together with an interview dialogue of his most up-to-date movie, The White Ribbon.
Considers issues, themes, and matters 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 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 pictures: 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 picture (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 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 edition as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A analyzing of Lemmings (Peter Brunette).
13 adaptations on topics: Spheres and area in Haneke’s edition (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 paintings heritage in Who was once Edgar Allan? (Janelle Blankenship).
16 paperwork and visible sort (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 id in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).
19 the right 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 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: l. a. Pianiste (The Piano instructor) (Jean Ma).
27 Civilization’s unending 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).
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)
Glaciation on the Big Screen: First World Malaise and European Anxiety Haneke’s first three theatrical features that constitute what has come to be known as his glaciation trilogy – The Seventh Continent (1989), Benny’s Video (1992), and 71 Fragments of a Chronology of Chance (1994) – were made in the years leading up to Austria’s accession to the EU. In this light, it seems apposite to also read these films for the ways in which they reflect anxieties about Europe’s political restructuring, as well as for their skepticism towards the terms on which this restructuring proceeded.
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.
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. This is nowhere more the case than in Haneke’s cinema. His presence behind the camera and at festivals has ensured that his films, notwithstanding their stylistic hybridity, are being received within the institution of art cinema, as were Bresson’s and Godard’s.
A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors) by Roy Grundmann