Michael Haneke's Cinema : : The Ethic of the Image / / Catherine Wheatley.

• Superior document: Title is part of eBook package: De Gruyter Berghahn Books Complete eBook-Package 2000-2013
• VerfasserIn: Wheatley, Catherine,
• Place / Publishing House: New York; , Oxford : : Berghahn Books, , [2009]; ©2009
• Year of Publication: 2009
• Language: English
• Series: Film Europa ; 7
• Physical Description: 1 online resource (234 p.)
• Other title: Frontmatter --; CONTENTS --; LIST OF ILLUSTRATIONS --; DECLARATION --; A NOTE ON THE TITLES --; ACKNOWLEDGEMENTS --; INTRODUCTION --; Chapter 1 THE LAST MORALIST? --; Chapter 2 NEGOTIATING MODERNISM Der Siebente Kontinent, Benny’s Video, 71 Fragmente einer Chronologie des Zufalls --; Chapter 3 THE ETHICS OF AGGRESSION: Funny Games --; Chapter 4 EMOTIONAL ENGAGEMENT AND NARRATIVITY Code inconnu, La Pianiste, Le Temps du loup --; Chapter 5 SHAME AND GUILT Caché --; CONCLUSION --; Appendix I MICHAEL HANEKE FILMOGRAPHY --; Appendix II MICHAEL HANEKE AT THE BOX OFFICE --; BIBLIOGRAPHY --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780857455468; 9783110998283
• DOI: 10.1515/9780857455468
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Catherine Wheatley.

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 considered in detail. Particular attention is given to what the author terms Michael Haneke’s ‘ethical cinema’ and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke’s films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.