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      1. Kultur
      2. Scenkonst och film
      3. Film

      Companion to Michael Haneke

      AvRoy Grundmann,Roy Grundmann

      Häftad, Engelska, 2014

      Del i serien Wiley Blackwell Companions to Film Directors

      576 kr

      Beställningsvara. Skickas inom 5-8 vardagar. Fri frakt över 249 kr.

      Beskrivning

      A Companion to Michael Haneke With a new preface addressing the Academy award-winning film, Amour, this new-in-paper edition has established itself as the definitive collection on Michael Haneke—from his early work in television and theater, through his prodigious cinematic output, to his 2009 triumph at Cannes. A Companion to Michael Haneke brings together essays by leading film scholars, as well as interviews with the director himself, to probe the provocative and controversial themes that have formed the nucleus of Haneke’s work—intergenerational dysfunction and social alienation, colonialism and citizenship, surveillance and pornography, mass culture and media violence. The volume also offers a critical examination of the auteur’s oeuvre, including Three Paths to the Lake, Lemmings, Benny’s Video, The Piano Teacher, Caché, Funny Games, and the 2009 Palme d’Or winner, The White Ribbon.

      Produktinformation

      • Utgivningsdatum:2014-04-11
      • Mått:170 x 244 x 33 mm
      • Vikt:930 g
      • Format:Häftad
      • Språk:Engelska
      • Serie:Wiley Blackwell Companions to Film Directors
      • Antal sidor:656
      • Förlag:John Wiley and Sons Ltd
      • ISBN:9781118723487

      Utforska kategorier

      • Film inom Kultur

      Mer om författaren

      Roy Grundmann is Associate Professor of Film Studies, and Film Studies Program Director in the Department of Film and Television, Boston University. He is co-editor of the four-volume Blackwell History of American Film.

      Recensioner i media

      “The largest body of critical, theoretical, and historical work on Haneke so far assembled in one volume. The book’s thirty-two essays have been judiciously chosen and edited by Roy Grundmann, a first-rate scholar of against-the-grain cinema.”   - Film Quarterly

      Innehållsförteckning

      • Notes on Contributors viiiAcknowledgments xivIntroduction: Haneke's Anachronism 1Roy GrundmannPart I Critical and Topical Approaches to Haneke's Cinema 511 Performative Self-Contradictions: Michael Haneke's Mind Games 53Thomas Elsaesser2 Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke's Caché 75Thomas Y. Levin3 Infectious Images: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and Film 91Vinzenz Hediger4 Tracking Code Unknown 113Tom Conley5 Michael Haneke and the New Subjectivity: Architecture and Film 124Peter Eisenman6 Games Haneke Plays: Reality and Performance 130Brigitte Peucker7 Figures of Disgust 147Christa Blümlinger8 Without Music: On Caché 161Michel Chion9 Fighting the Melodramatic Condition: Haneke's Polemics 168Jörg Metelmann10 "Mourning for the Gods Who Have Died": The Role of Religion in Michael Haneke's Glaciation Trilogy 187Gregor ThuswaldnerPart II The Television Films 20311 A Melancholy Labor of Love, or Film Adaptation as Translation: Three Paths to the Lake 205Fatima Naqvi12 Michael Haneke and the Television Years: A Reading of Lemmings 227Peter Brunette13 Variations on Themes: Spheres and Space in Haneke's Variation 243Monica Filimon and Fatima Naqvi14 Projecting Desire, Rewriting Cinematic Memory: Gender and German Reconstruction in Michael Haneke's Fraulein 263Tobias Nagl15 (Don't) Look Now: Hallucinatory Art History in Who Was Edgar Allan? 279Janelle Blankenship16 Bureaucracy and Visual Style 301Brian PricePart III The German-Language Theatrical Features 32117 Structures of Glaciation: Gaze, Perspective, and Gestus in the Films of Michael Haneke 323Georg Seeßlen18 The Void at the Center of Things: Figures of Identity in Michael Haneke's Glaciation Trilogy 337Peter J. Schwartz19 How to Do Things with Violences 354Eugenie Brinkema20 Between Adorno and Lyotard: Michael Haneke's Aesthetic of Fragmentation 371Roy Grundmann21 Hollywood Endgames 420Leland MonkPart IV The French-Language Theatrical Features 43922 Class Conflict and Urban Public Space: Haneke and Mass Transit 441Barton Byg23 Multicultural Encounters in Haneke's French-Language Cinema 455Alex Lykidis24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché 477Kevin L. Stoehr25 The Unknown Piano Teacher 495Charles Warren26 Discordant Desires, Violent Refrains: La Pianiste (The Piano Teacher) 511Jean Ma27 Civilization's Endless Shadow: Haneke's Time of the Wolf 532Evan Torner28 The Intertextual and Discursive Origins of Terror in Michael Haneke's Caché 551T. Jefferson KlinePart V Michael Haneke Speaks 56329 Terror and Utopia of Form: Robert Bresson's Au hasard Balthazar 565Michael Haneke30 Violence and the Media 575Michael Haneke31 The World That Is Known: An Interview with Michael Haneke 580Christopher Sharrett32 Unsentimental Education: An Interview with Michael Haneke 591Roy GrundmannFilmography 607Index 619
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