By Roy Grundmann
A better half 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 the most vital 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 particular interviews with Michael Haneke, together with an interview dialogue of his latest movie, The White Ribbon.
Considers topics, 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 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 ways 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 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 track: On Caché (Michel Chion).
9 scuffling with 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 diversifications on subject matters: 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 background in Who was once Edgar Allan? (Janelle Blankenship).
16 paperwork and visible sort (Brian Price).
Part III The German-Language Theatrical Features.
17 constructions 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 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 wishes, Violent Refrains: los angeles 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).
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Extra resources for A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)
INTRODUCTION: HANEKE’S ANACHRONISM 27 They constitute the filmmaker as post-new wave, post-national, post-metaphysical craftsman, whose auteurism manifests itself in film historical knowledge, in consummate professionalism, and in artistic bravado – by which is meant the ability to demonstrate virtuoso command of the medium and to deliver tour-de-force cinematic experiences (Elsaesser 2005: 51). In Haneke’s case, it was particularly the Cannes International Film Festival that became a highly propitious forum for defining and promoting the auteur’s evolving qualities, at the same time that it helped create his persona as one of the last greats.
Their ideologically and historiographically obfuscating effect can be read as Haneke’s interpretation of Adorno’s culture industry argument. At the same time, however, Haneke’s own dialectical use of film and of cinema history in Fraulein – by juxtaposing its protagonist’s jouissance to post-war broken masculinity (see Nagl, this volume) even when she is identified as an instrument in disseminating illusion),21 by abruptly switching from black-and-white to color stock in order to mark this illusionism, and by ending with an excerpt from the Nazi spectacle Münchhausen ( Josef von Báky, 1943, starring Albers and filmed in color) – indicates Haneke’s conviction that film is a (however limited) tool for critical reflection.
It finds renewed focus through Haneke’s interrogation of the ethics of parenting, which his films further link to an investigation of the decline of institutions of learning. Their failure, in turn, points to a crisis of pedagogy and signals deeper impoverishments on the level of the cultural imaginary. 28 The Seventh Continent’s child protagonist, Evi, rebels against the world’s indifference by claiming to have lost her ability to see, which prompts insensitivity and indignance from her teacher and triggers punishment from her mother.