By Roy Grundmann
A significant other 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 international 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 unique interviews with Michael Haneke, together with an interview dialogue of his latest movie, The White Ribbon.
Considers topics, 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 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 serious 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 photographs: 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 out tune: On Caché (Michel Chion).
9 combating 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 hard work 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 house 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 artwork heritage in Who was once Edgar Allan? (Janelle Blankenship).
16 forms and visible kind (Brian Price).
Part III The German-Language Theatrical Features.
17 buildings of Glaciation: Gaze, viewpoint, and Gestus within the movies of Michael Haneke (Georg Seeßlen).
18 The Void on the heart of items: Figures of identification 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 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 identified: An Interview with Michael Haneke (Christopher Sharrett).
32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).
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Additional info for A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)
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.
One of the particularities of Haneke’s cinema is that the individual and combined deployment of these tools lifts them out of the contexts of the various cinematic movements they are associated with and puts them to new use. The best examples are the long take and the static camera shot: Both are stylistic staples of Haneke’s theatrical features. But while the long take is often associated with realism (and, thus, with art cinema and the documentary tradition), Haneke’s use of it significantly marginalizes its realist function in favor of different aesthetic and philosophical interests.
Johanna’s recycling of Albers’s walk through the rubble thus falls short of having any disruptive effect on its 1950s viewers. Haneke contrasts this mise-en-abyme of amnesia to the return of Johanna’s husband from a Soviet POW camp – a return so belated and incommensurate with what the character has gone through that it turns him into a real-life anachronism, a ghost from the past who wanders the present but who, unlike Albers, cannot be assimilated to this present. In this sense, the films that Johanna shows in her movie theater are identified with postwar amnesia, prosperity, and Americanization.
A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors) by Roy Grundmann