Michael Haneke is one of the most important directors working in Europe today, with films such as
Funny Games (1997),
Code Unknown (2000), and
Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke’s films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of
The Seventh Continent (1989) and
Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke’s cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke’s films. It examines the director’s central themes and preoccupations—bourgeois alienation, modes and critiques of spectatorship, the role of the media—and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of
The Piano Teacher (2001), and the 2007 shot-for-shot remake of
Funny Games.
Jadual kandungan
Acknowledgements
Contributors
Introduction, by Ben Mc Cann and David Sorfa
1. Domestic Invasion: Michael Haneke and Home Audiences, by Catherine Wheatley
2. Acting, Performance and the Bressonian Impulse in Haneke’s Films, by Ben Mc Cann
3. Ethical Violence: Suicide as Authentic Act in the Films of Michael Haneke, by Lisa Coulthard
4. Thinking the Event: The Virtual in Michael Haneke’s Films, by Oliver C. Speck
5. Michael Haneke and the Politics of Film Form, by Temenuga Trifonova
Space
6. Glocal Gloom: Existential Space in Haneke’s French-Language Films, by Kate Ince
7. The Vacant Vacationer: Travel as Symptom and Antidote in Michael Haneke, by Christopher Justice
8. Cosmopolitan Exteriors and Cosmopolitan Interiors: The City and Hospitality in Haneke’s Code Unknown, by Paula E. Geyh
Unseen Haneke
9. The Early Haneke: Austrian Literature on Austrian Television, by Deborah Holmes
10. Tracing K: Michael Haneke’s Film Adaptation of Kafka’s Das Schloß, by Willy Riemer
Glaciation
11. Attenuating Austria: The Construction of Bourgeois Space in I, by Benjamin Noys
12. Supermodernity, Sick Eros and the Video Narcissus: Benny’s Video in the Course of Theory and Time, by Mattias Frey
Funny Games
13. The Ethical Screen: Funny Games and the Spectacle of Pain, by Alex Gerbaz
14. Superegos and Eggs: Repetition in Funny Games (1997, 2007), by David Sorfa
15. From Culture to Torture: Music and Violence in Funny Games and The Piano Teacher, by Landon Palmer
The Piano Teacher
16. Images of Con, nement and Transcendence: Michael Haneke’s Reception of Romanticism in The Piano Teacher, by Felix W. Tweraser
17. Two Meanings of Masochism in the Language of the Art Critic, by Iuliana Corina Vaida
Hidden
18. Subject to Memory? Thinking after Hidden, by Nemonie Craven Roderick
19. Digital Cinema and the ‘Schizophrenic’ Image: The Case of Michael Haneke’s Hidden, by Ricardo Domizio
20. Hidden Shame Exposed: Hidden and the Spectator, by Tarja Laine
The White Ribbon
21. The White Ribbon in Michael Haneke’s Cinema, by John Orr
Filmography
Sources and Bibliography
Index
Mengenai Pengarang
Ben Mc Cann is lecturer in French studies at the University of Adelaide. David Sorfa is senior lecturer in film studies at Liverpool John Moores University and managing editor of the journal,
Film-Philosophy.
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