On Michael Haneke PDF
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S E D CINEMA AND TELEVISION STUDIES P O R H I C R “Michael Haneke is one of the most important film directors working today. This collection offers a E D full spectrum of responses to his work, ranging from detailed formal analyses of his films to broad A VI N A considerations of the philosophical and political issues that these films raise. ON MICHAEL D D HANEKE is indispensable, both as a guide to the filmmaker’s artistry and as a commentary on R N H H the malaise in Western civilization that his films reveal.” O O STEVEN SHAVIRO, DeRoy Professor of English at Wayne State University D J E S “Michael Haneke is one of the most distinct—and distinctly controversial—directors at work today. ON MICHAEL HANEKE responds to that controversy by asking an impressive range of con- ON MICHAEL tributors to think critically about the art of his cinema and its challenge to some of the impasses in contemporary studies in film. Impeccably—and creatively—edited, this volume is an invaluable HA NEKE addition both to the growing literature on Haneke’s work and, crucially, to the ongoing discussion O O oVfI CthKe Yex LpeErBieEncAeU o, fp trhoef easusdoior voisf uEanlg fliieslhd aatt tthhee Ubneigvienrnsiintgy ooff Sthues stwexenty-first century.” RA :REVOC N N “OanNd hMisItoCrHy AarEeL in tHeArwNoEveKnE. I ias ma ecsopmepceialllilnyg i mapnrde stismeedl yw citohl lwechtaiot nis o mf aedses aoyfs Hina nwehkiec’hs afinlmim tahle aonrdy CSIRF ON IM D human worlds; of his embrace of the long take; of his features that exploit the gaze in eerily unset- A H C N tling ways; of his reflections on history as it is at once occluded and recalled. Written elegantly S DN H A T E and with care, the essays address different—but always interrelated—facets of his cinema. This FE C NA A I book is a first of its kind.” C R TOM CONLEY, Abbott Lawrence Lowell Professor in the Departments of Romance Languages PAL E P C N Z and Visual/Environmental Studies at Harvard University NY L A NI IKS BRI BRIAN PRICE is assistant professor of screen studies at Oklahoma State University and author NUF H Y N B Y A of Neither God Nor Master: Robert Bresson and the Modalities of Revolt and co-editor of Color, AG D the Film Reader. EM N E S T 91( E DI 79 E JOHN DAVID RHODES is senior lecturer in literature and visual culture at the University of C( .) K Sussex and author of Stupendous, Miserable City: Pasolini’s Rome and co-editor of The Place of O U R E the Moving Image. Price and Rhodes are founding co-editors of the journal World Picture. ET S Y O F CONTRIBUTORS: Patrick Crowley, Scott Durham, Mattias Frey, Rosalind Galt, Christophe HP O Koné, Tarja Laine, Michael Lawrence, Hugh S. Manon, Fatima Naqvi, Brigitte Peucker, Brian Price, OT F E Bert Rebhandl, John David Rhodes, Christopher Sharrett, Meghan Sutherland S T C ) O V CONTEMPORARY APPROACHES TO FILM AND TELEVISION SERIES GISED RE N B Y C H A N WAYNE STATE UNIVERSITY PRESS G J A E L DETROIT, MICHIGAN 48201–1309 E E (cid:83)(cid:85)(cid:76)(cid:70)(cid:72)(cid:9)(cid:85)(cid:75)(cid:82)(cid:71)(cid:72)(cid:86)(cid:3)(cid:70)(cid:89)(cid:85)(cid:3)(cid:80)(cid:72)(cid:70)(cid:75)(cid:3)(cid:21)(cid:16)(cid:21)(cid:24)(cid:17)(cid:76)(cid:81)(cid:71)(cid:71)(cid:3)(cid:3)(cid:3)(cid:20) (cid:22)(cid:18)(cid:23)(cid:18)(cid:20)(cid:19)(cid:3)(cid:3)(cid:3)(cid:20)(cid:20)(cid:29)(cid:23)(cid:19)(cid:3)(cid:36)(cid:48) On Michael haneke Contemporary Approaches to Film and Television Series A complete listing of the books in this series can be found online at wsupress.wayne.edu General Editor Barry Keith Grant Brock University Advisory Editors Tom Gunning Robert J. Burgoyne University of Chicago Wayne State University Thomas Leitch Caren J. Deming University of Delaware University of Arizona Anna McCarthy Patricia B. Erens New York University School of the Art Institute of Chicago Walter Metz Peter X. Feng Southern Illinois University University of Delaware Lisa Parks Lucy Fischer University of California– University of Pittsburgh Santa Barbara Frances Gateward Ursinus College S e D O h r D i v a D n h O J On Mi chael h a n e k e D n a e c i r P n a i r b y b D e t i D e Wayne State UniverSity PreSS DetrOit © 2010 by Wayne State University Press, Detroit, Michigan 48201. All rights reserved. No part of this book may be reproduced without formal permission. Manufactured in the United States of America. Library of Congress Cataloging-in-Publication Data On Michael Haneke / edited by Brian Price and John David Rhodes. p. cm. — (Contemporary approaches to film and television series) Includes bibliographical references and index. ISBN 978-0-8143-3405-8 (pbk. : alk. paper) 1. Haneke, Michael—Criticism and interpretation. I. Price, Brian, 1970– II. Rhodes, John David, 1969– PN1998.3.H36O52 2010 791.43023’3092—dc22 2009051052 ISBN 978-0-8143-3699-1 (e-book) Contents Acknowledgments vii Introduction 1 Brian Price and John David Rhodes Part 1. ViolenCe and Play Brigitte Peucker Games Haneke Plays: Reality and Performance 15 Brian Price Pain and the Limits of Representation 35 tarja laine Haneke’s “Funny” Games with the Audience (Revisited) 51 Michael lawrence Haneke’s Stable: The Death of an Animal and the Figuration of the Human 63 Part 2. Style and MediuM John david rhodes The Spectacle of Skepticism: Haneke’s Long Takes 87 Hugh S. Manon “Comment ça, rien?”: Screening the Gaze in Caché 105 Fatima naqvi and Christophe Koné The Key to Voyeurism: Haneke’s Adaptation of Jelinek’s The Piano Teacher 127 v CONTENTS Mattias Frey The Message and the Medium: Haneke’s Film Theory and Digital Praxis 153 Meghan Sutherland Death, with Television 167 Bert rebhandl Haneke’s Early Work for Television 191 Part 3. Culture and ConFliCt Christopher Sharrett Haneke and the Discontents of European Culture 207 rosalind Galt The Functionary of Mankind: Haneke and Europe 221 Scott durham Codes Unknown: Haneke’s Serial Realism 245 Patrick Crowley When Forgetting Is Remembering: Haneke’s Caché and the Events of October 17, 1961 267 Contributors 281 Index 285 vi acknowledgments Earlier versions of the essays by Mattias Frey, Brian Price, John David Rhodes, and Christopher Sharrett were published in a dossier on Michael Haneke in Framework 47, no. 2 (2006). The editors would like to thank Rosalind Galt and Scott Krzych for their help with the preparation of this manuscript. We would also like to thank Jane Hoehner and Annie Martin of Wayne State University Press for their unflagging support and commitment to this project. vii Benny’s Video (1992): The view from Benny’s camera as it records his parents’ dis- cussion about what to do with the body. Brian Price and John David Rhodes Introduction We are tempted to consider the cinema of Michael Haneke with what might be the too-convenient discourses supplied to us by the accidents of his birth, the arc of his work and life, and the facts of the age—his age and ours. His most fully realized work for the cinema began to appear toward the tail end of the last century, at exactly the moment that the cinema celebrated—or marked, in any case—its first one hundred or so years. His most recent films (we write in 2009) have been singled out as some of the most puzzling, disturbing, rewarding, and controversial works of art of the new century. His cinema, in many ways, seems to be both the beginning and the end of something. Haneke’s own birth year (1942) and birthplace (Austria) would seem to offer us a rather convenient, possibly overdeter- mined, context for thinking about his cinema’s meditation on human violence and historical trauma. His student engagements with literature and philosophy and his movement from the theater to the moving image (televisual and cinematic) describe the familiar contours of a distinctively European school of auteur, while his early focus on a national (Austrian) literary, linguistic, and cultural context and his eventual movement toward a polyglot, transnationally funded and acted cinema map neatly onto the radical political, cartographic, and demographic redefinition of Europe during the years of his (ongoing) productivity. In many senses, Haneke’s career is consubstantial with its era: his works are immersed in the an- tinomies and agonies of the contemporary world, and they also provide a profound critical distance or remove from the same.1 1
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