Hilfe
unsere Logo-Schwester "KinoEye" hat in ihrer neuen Ausgabe ein Special über Michael Haneke:
Zitat
Volume 4, Issue 1, 8 March 2004
Issue 14 in brief:
A SLAP IN THE FACE:
The films and philosophy of Michael Haneke
-- Michael Haneke interviewed
-- The diaster genre revived, Haneke style, in *Le Temps du loup*
-- Horror and sexuality in *La Pianiste*
-- Brechtian funny games in Haneke's 1997 "thriller"
-- Coming closer to reality with *Benny's Video*
-- Suicide and optimism in *Der siebente Kontinent*
-- plus archive links to two other Haneke articles
Please do forward this to anybody you think may be interested in *Kinoeye*
*************************************************
ISSUE 14 CONTENTS
*************************************************
The world that is known
Michael Haneke interviewed
Haneke's films document the failures of modern society on a variety of
levels. Christopher Sharrett talks to the director about his ongoing
critique of Western civilisation.
http://www.kinoeye.o...interview01.php
__________________________________________________
Long night's journey into day
Michael Haneke's *Le Temps du loup* (*The Time of the Wolf*, 2003)
In his latest film, Haneke turns his hand to the revived genre of the
disaster movie. As Adam Bingham explains, the director subverts our
expectations to create what is possibly the darkest film of 2003.
http://www.kinoeye.o...1/bingham01.php
__________________________________________________
The horror of the middle class
Michael Haneke's *La Pianiste* (*The Piano Teacher*, 2001)
Like many a horror film, *La Pianiste* shows that the most unsettling plots
are those where monsters arise from everyday middle-class life. Christopher
Sharrett looks at how Haneke portrays bourgeois sexuality in its most scary
form.
http://www.kinoeye.o.../sharrett01.php
__________________________________________________
"What are you looking at and why?"
Michael Haneke's *Funny Games* (1997)
In this Brechtian-influenced analysis of Michael Haneke's most controversial
film, Tarja Laine looks at how the director "manages to depict violence not
as entertainment or even as an innate part of life, but as inconsolable."
http://www.kinoeye.o.../01/laine01.php
__________________________________________________
Effects of the real
Michael Haneke's *Benny's Video* (1992)
*Benny's Video* shows the emotional detachment and unwillingness to
psychologize seen in the films of Robert Bresson. Brigitte Peucker looks at
how this postmodern bourgeois melodrama plays with representations of
reality to bring us closer to what is real.
http://www.kinoeye.o...1/peucker01.php
__________________________________________________
Life, or something like it
Michael Haneke's *Der siebente Kontinent* (*The Seventh Continent*, 1989)
Haneke's debut, a calm depiction of a Viennese family who form a suicide
pact, is not easy viewing, but, as Adam Bingham argues, the film is
optimistic in its refusal to console its audience.
http://www.kinoeye.o...ngham01_no2.php
__________________________________________________
Issue 14 in brief:
A SLAP IN THE FACE:
The films and philosophy of Michael Haneke
-- Michael Haneke interviewed
-- The diaster genre revived, Haneke style, in *Le Temps du loup*
-- Horror and sexuality in *La Pianiste*
-- Brechtian funny games in Haneke's 1997 "thriller"
-- Coming closer to reality with *Benny's Video*
-- Suicide and optimism in *Der siebente Kontinent*
-- plus archive links to two other Haneke articles
Please do forward this to anybody you think may be interested in *Kinoeye*
*************************************************
ISSUE 14 CONTENTS
*************************************************
The world that is known
Michael Haneke interviewed
Haneke's films document the failures of modern society on a variety of
levels. Christopher Sharrett talks to the director about his ongoing
critique of Western civilisation.
http://www.kinoeye.o...interview01.php
__________________________________________________
Long night's journey into day
Michael Haneke's *Le Temps du loup* (*The Time of the Wolf*, 2003)
In his latest film, Haneke turns his hand to the revived genre of the
disaster movie. As Adam Bingham explains, the director subverts our
expectations to create what is possibly the darkest film of 2003.
http://www.kinoeye.o...1/bingham01.php
__________________________________________________
The horror of the middle class
Michael Haneke's *La Pianiste* (*The Piano Teacher*, 2001)
Like many a horror film, *La Pianiste* shows that the most unsettling plots
are those where monsters arise from everyday middle-class life. Christopher
Sharrett looks at how Haneke portrays bourgeois sexuality in its most scary
form.
http://www.kinoeye.o.../sharrett01.php
__________________________________________________
"What are you looking at and why?"
Michael Haneke's *Funny Games* (1997)
In this Brechtian-influenced analysis of Michael Haneke's most controversial
film, Tarja Laine looks at how the director "manages to depict violence not
as entertainment or even as an innate part of life, but as inconsolable."
http://www.kinoeye.o.../01/laine01.php
__________________________________________________
Effects of the real
Michael Haneke's *Benny's Video* (1992)
*Benny's Video* shows the emotional detachment and unwillingness to
psychologize seen in the films of Robert Bresson. Brigitte Peucker looks at
how this postmodern bourgeois melodrama plays with representations of
reality to bring us closer to what is real.
http://www.kinoeye.o...1/peucker01.php
__________________________________________________
Life, or something like it
Michael Haneke's *Der siebente Kontinent* (*The Seventh Continent*, 1989)
Haneke's debut, a calm depiction of a Viennese family who form a suicide
pact, is not easy viewing, but, as Adam Bingham argues, the film is
optimistic in its refusal to console its audience.
http://www.kinoeye.o...ngham01_no2.php
__________________________________________________
Link: http://www.kinoeye.org
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