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Informationen zum Autor Roy Grundmann is Associate Professor of Film Studies, and Film Studies Program Director in the Department of Film and Television, Boston University. He is co-editor of the multi-volume Blackwell History of American Film . Klappentext Michael Haneke is one of the most notable directors to have emerged on the global cinema scene in the past fifteen years. After gaining international attention in the 1990s with a string of iconoclastic films that analyze the dysfunctional state of Western society, Haneke has since established himself as one of art cinema's most creative, controversial, and eloquent social commentators. A Companion to Michael Haneke is the definitive collection of newly commissioned works exploring Haneke's work in its entirety - from his early work in television and theater, through his prodigious cinematic output, to his 2009 triumph at Cannes. The volume brings together essays by some of the foremost scholars in film studies, as well as interviews with the director himself. Considering the themes that have formed the nucleus of Haneke's work - intergenerational dysfunction and social alienation, colonialism and citizenship, surveillance and pornography, mass culture and media violence, the Companion offers a critical examination of Haneke's oeuvre - from Three Paths to the Lake and Lemmings to Benny's Video , The Piano Teacher , Caché , Funny Games , and the 2009 Palme d'Or winner, The White Ribbon . Designed for comparative literature scholars, students of film studies, Germanists, and today's movie lovers, the Companion to Michael Haneke showcases this enigmatic and complicated director with unprecedented depth and breadth. Zusammenfassung A Companion to Michael Haneke is a definitive collection ofnewly-commissioned work that covers Haneke's body of work in itsentirety, catering to students and scholars of Haneke at a timewhen interest in the director and his work is soaring. Inhaltsverzeichnis Notes on Contributors viii Acknowledgments xiv Introduction: Haneke's Anachronism 1 Roy Grundmann Part I Critical and Topical Approaches to Haneke's Cinema 51 1 Performative Self-Contradictions: Michael Haneke's Mind Games 53 Thomas Elsaesser 2 Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke's Caché 75 Thomas Y. Levin 3 Infectious Images: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and Film 91 Vinzenz Hediger 4 Tracking Code Unknown 113 Tom Conley 5 Michael Haneke and the New Subjectivity: Architecture and Film 124 Peter Eisenman 6 Games Haneke Plays: Reality and Performance 130 Brigitte Peucker 7 Figures of Disgust 147 Christa Blümlinger 8 Without Music: On Caché 161 Michel Chion 9 Fighting the Melodramatic Condition: Haneke's Polemics 168 Jörg Metelmann 10 "Mourning for the Gods Who Have Died": The Role of Religion in Michael Haneke's Glaciation Trilogy 187 Gregor Thuswaldner Part II The Television Films 203 11 A Melancholy Labor of Love, or Film Adaptation as Translation: Three Paths to the Lake 205 Fatima Naqvi 12 Michael Haneke and the Television Years: A Reading of Lemmings 227 Peter Brunette 13 Variations on Themes: Spheres and Space in Haneke's Variation 243 Monica Filimon and Fatima Naqvi 14 Projecting Desire, Rewriting Cinematic Memory: Gender and German Reconstruction in Michael Haneke's Fraulein 263 Tobias Nagl 15 (Don't) Look Now: Hallucinatory Art History in Who Was Edgar Allan? 279 Janelle Blankenship 16 Bure...
