The Cinema of Michael Haneke: Europe Utopia by Ben McCannThe Cinema of Michael Haneke: Europe Utopia by Ben McCann

The Cinema of Michael Haneke: Europe Utopia

EditorBen McCann, David Sorfa

Paperback | May 29, 2012

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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.

Ben McCann 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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Title:The Cinema of Michael Haneke: Europe UtopiaFormat:PaperbackDimensions:256 pages, 8.75 × 1 × 0.68 inPublished:May 29, 2012Publisher:Columbia University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1906660298

ISBN - 13:9781906660291

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Table of Contents

AcknowledgementsContributorsIntroduction, by Ben McCann and David Sorfa1. Domestic Invasion: Michael Haneke and Home Audiences, by Catherine Wheatley2. Acting, Performance and the Bressonian Impulse in Haneke's Films, by Ben McCann3. Ethical Violence: Suicide as Authentic Act in the Films of Michael Haneke, by Lisa Coulthard4. Thinking the Event: The Virtual in Michael Haneke's Films, by Oliver C. Speck5. Michael Haneke and the Politics of Film Form, by Temenuga TrifonovaSpace6. Glocal Gloom: Existential Space in Haneke's French-Language Films, by Kate Ince7. The Vacant Vacationer: Travel as Symptom and Antidote in Michael Haneke, by Christopher Justice8. Cosmopolitan Exteriors and Cosmopolitan Interiors: The City and Hospitality in Haneke's Code Unknown, by Paula E. GeyhUnseen Haneke9. The Early Haneke: Austrian Literature on Austrian Television, by Deborah Holmes10. Tracing K: Michael Haneke's Film Adaptation of Kafka's Das Schloß, by Willy RiemerGlaciation11. Attenuating Austria: The Construction of Bourgeois Space in I, by Benjamin Noys12. Supermodernity, Sick Eros and the Video Narcissus: Benny's Video in the Course of Theory and Time, by Mattias FreyFunny Games13. The Ethical Screen: Funny Games and the Spectacle of Pain, by Alex Gerbaz14. Superegos and Eggs: Repetition in Funny Games (1997, 2007), by David Sorfa15. From Culture to Torture: Music and Violence in Funny Games and The Piano Teacher, by Landon PalmerThe Piano Teacher16. Images of Con,nement and Transcendence: Michael Haneke's Reception of Romanticism in The Piano Teacher, by Felix W. Tweraser17. Two Meanings of Masochism in the Language of the Art Critic, by Iuliana Corina VaidaHidden18. Subject to Memory? Thinking after Hidden, by Nemonie Craven Roderick19. Digital Cinema and the 'Schizophrenic' Image: The Case of Michael Haneke's Hidden, by Ricardo Domizio20. Hidden Shame Exposed: Hidden and the Spectator, by Tarja LaineThe White Ribbon21. The White Ribbon in Michael Haneke's Cinema, by John OrrFilmographySources and BibliographyIndex

Editorial Reviews

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. Following a string of successful, and highly provocative films that have won significant critical acclaim and no little commercial success, Haneke has become one of the most debated auteurs of recent years. Sorfa and McCann have assembled an impressive array of scholars in this volume, which both provides a timely and accessible introduction to Haneke's work for those as yet unfamiliar with him, and makes a significant contribution to high-quality scholarship on the director. A valuable addition to the Directors' Cuts series, it is sure to become a well-thumbed tome on library bookshelves around the world.