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A Review of “Michael Haneke”

Quarterly Review of Film and Video, 2010
Although Michael Haneke has been making feature-films for over 20 years, and worked extensively in television for 15 years before that, critical scholarship in English on the director has been slow...
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MICHAEL HANEKE'S CINEMA

2009
Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke’s films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke’s eight feature films are ...
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Haneke, the Long Take, Realism

Framework: The Journal of Cinema and Media, 2006
To begin with, while the cinema used to make one situation produce another situation, and another, and another, again and again, and each scene was thought out and immediately related to the next (the natural result of a mistrust of reality), today, when we have thought out a scene, we feel the need to "remain " in it, because the single scene itself ...
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Haneke’s Amour and the Ethics of Dying

2013
Since the late 1990s, film as a medium has been enmeshed in routine proclamations of its own imminent end. The cinema, increas-ingly seen as culturally and technologically moribund, has acquired a certain aura of mortality that perhaps it did not have before.1 To be sure, the history of the art has produced several indelible scenes and figurations of ...
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Michael Haneke

2023
Lisa Coulthard, Michael Stringer
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Mediated Invisibility: Michael Haneke

2007
In the figurations of victimhood under discussion, there is a discernible dissatisfaction with standard sociological, psychoanalytic, anthropological, and psychological models.1 For many artists and thinkers, these explanatory paradigms seem remarkably incommensurate to the violence that often accompanies perceptions of victimhood (even when violence ...
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Michael Haneke and the Discontents of European Culture

Framework: The Journal of Cinema and Media, 2006
At the risk of being perceived as pointlessly creating a straw man out of a very distinguished critic, I would like to preface these remarks on Michael Haneke by commenting first on Robin Wood's thoughts in Sexual Politics and Narrative Film concerning the nature of fascism and what he terms, borrowing from Norman O. Brown, the struggle of life against
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Concealed Childhoods in Michael Haneke's Caché

Film Matters, 2017
Abstract
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Michael Haneke’s cinema: the ethic of the image

Studies in European Cinema, 2014
When Benny’s Video (Michael Haneke, Austria/Switzerland, 1992) was shown at the ICA in 1992, it raised the hope that it might mark the beginning of a revival for German-language cinema in the UK.
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Michael Haneke's New(s) Images

Art Journal, 2008
To thinking belongs the movement aswell as the arrest of thoughts. Where thinking comes to a stand-still in a constellation saturated with tensions-there the dialectical image appears.
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