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Death Images in Michael Haneke’s Films
PhilosophiesAlthough meditating on death has long been a central philosophical practice and is gaining prominence in modern European public discourse, certain misconceptions still persist. The Austrian filmmaker Michael Haneke does not shy away from confronting real
Susana Viegas
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La cinta blanca (Michael Haneke)
Vivat Academia, 2010 Reseña.
Jesús Miguel Sáez-González
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El otro en el espejo: "Amour" de Michael Haneke
Área Abierta, 2015 El último largometraje de Michael Haneke, Amour (2012), nos brinda una poética lúcida y desesperada de esa última estación humana que supone la vejez y la descomposición corpórea, pero también un bello y triste relato sobre ese fenómeno tan paradoxal ...
Sergio García Guillem
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Losing Touch: A Theology of Death for Michael Haneke’s Amour
Religions, 2016 This proposed theology of death for Michael Haneke’s Amour, a fraught but poignant piece of cinema, will employ Martin Heidegger’s existentialism to reframe the ethical structure of the film and apply a “lived theology” rejoinder to its perceived ...
Taylor Worley
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Estéticas da diversão nos "mortos-vivos" contemporâneos
Psicologia USP, 2015 O presente ensaio visa refletir sobre a diversão com uma estética da violência nos cult moviese alguns de seus efeitos na subjetividade contemporânea. Toma por base o referencial psicanalítico cotejado com a perspectiva crítica de Theodor Adorno. O texto
Marília Etienne Arreguy
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« Caché » de Haneke : un récit d'anamnèse à double tranchant
Relief: Revue Électronique de Littérature Francaise, 2012 Les ratonnades du 17 octobre 1961 à Paris forment une page noire dans l’Histoire récente de la France. Le cinéaste autrichien Michael Haneke n’est pas le premier a avoir choisi cet épisode de répression violente pour thème d’une œuvre de fiction.
Désirée Schyns
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Perspectival truth: Michael Haneke’s «The castle» and the fragmentation of the real
Lebenswelt: Aesthetics and Philosophy of Experience, 2020 Haneke’s 1997 adaptation of Franz Kafka’s Das Schloß (The Castle) is thus far his last work for television[1]. Although «the Austrian film almanac lists» it «as a feature film» and it «was released in Austrian cinemas before its television première ...
Claudio Rozzoni
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Funny Frames: The Filmic Concepts of Michael Haneke, by Oliver C. Speck
Alphaville: Journal of Film and Screen Media, 2012 The films of Michael Haneke have become some of the most dissected and carefully analysed films in both film theory and film criticism alike. For this reason, it would be easy to assume that another book on Michael Haneke would most likely be a ...
Jeremiah Ambrose
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Michael Haneke y la perversión del ‘remake’ [PDF]
Parole Rubate, 2021 The two films that Austrian director Michael Haneke has produced under the same title, “Funny Games”, in 1997 and 2007, focus on the display of violence.
José Manuel Mouriño
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Rezension: Pasolini – Haneke: Filmische Ordnungen von Gewalt
Medienimpulse, 2016 In der Ausgabe "Pasolini-Haneke: Filmische Ordnungen von Gewalt", der von Jens Schröter herausgegebenen medien- und kulturwissenschaftlichen Zeitschrift "Navigationen" nehmen sich die zehn AutorInnen dieses Hefts dem filmischen Schaffen von Pier Paolo ...
Raffaela Rogy
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