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2023
With a career spanning almost five decades, Michael Haneke (b. 1942– ) has received international recognition and praise only since the early 2000s. This increasing recognition is evidenced by his film Amour (2012), which won the Cannes Film Festival Palme d’Or, the Best Foreign Language Oscar from the Academy of Motion Picture Arts and Sciences, the ...
Lisa Coulthard, Michael Stringer
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With a career spanning almost five decades, Michael Haneke (b. 1942– ) has received international recognition and praise only since the early 2000s. This increasing recognition is evidenced by his film Amour (2012), which won the Cannes Film Festival Palme d’Or, the Best Foreign Language Oscar from the Academy of Motion Picture Arts and Sciences, the ...
Lisa Coulthard, Michael Stringer
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2022
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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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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Happy End? Michael Hanekes Altersfilme
Psychoanalyse im Widerspruch, 2018Der Beitrag untersucht auf der Basis der filmpsychoanalytischen Methode (Hamburger, 2018) zwei Filme von Michael Haneke über das Alter, die auch als Altersfilme gelesen werden können: Amour (F 2012) und Happy End (F,D,A 2017). Die Analyse geht von den (bewußten und unbewußten) Zuschauerreaktionen aus, wie etwa die kontroverse Diskussion im Publikum und
Andreas Hamburger +1 more
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2011
Michael Haneke, 1942 in München geboren und in Wien aufgewachsen, versteht sich als Regisseur, der seine Zuschauer beunruhigen will. Für seinen "Das weiße Band" (2009) ist er 2010 für einen Oscar nominiert worden. Haneke, der seine Drehbücher selbst verfasst, gehört zu den international renommierten deutschsprachigen Regisseuren.
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Michael Haneke, 1942 in München geboren und in Wien aufgewachsen, versteht sich als Regisseur, der seine Zuschauer beunruhigen will. Für seinen "Das weiße Band" (2009) ist er 2010 für einen Oscar nominiert worden. Haneke, der seine Drehbücher selbst verfasst, gehört zu den international renommierten deutschsprachigen Regisseuren.
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Michael Haneke's New(s) Images
Art Journal, 2008To 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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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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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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Figures du dégoût chez Michael Haneke
Austriaca, 2007Figuren des Ekels bei Michael Haneke Die Unzerstörbarkeit der von Freud benannten zivilisatorischen Ekelschranken ist Grundlage der Filme von Michael Haneke, darin den Provokationen der Wiener Aktionisten nicht unverwandt : Beide zielen auf Transgression ab, und zwar über das Motiv des Degoutanten, gebunden an elementare Akte und Materien des ...
Blümlinger, Christa, Tautou, Alexis
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Mediated Invisibility: Michael Haneke
2007In 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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