In Michael Haneke: Intermedial Void Christopher Rowe provides a new framework in which to interpret the films of Michael Haneke, including Funny Games, Caché, and others, and to show how the concept of intermediality can be used to expand the possibilities of film and media studies, tying the two more closely together.
The two primary goals of this ambitious study are to provide a new framework in which to interpret the films of Michael Haneke, including Funny Games, Caché, and others, and to show how the concept of intermediality can be used to expand the possibilities of film and media studies, tying the two more closely together. Christopher Rowe argues that Haneke’s practice of introducing nonfilmic media into his films is not simply an aspect of his interest in society’s oversaturation in various forms of media. Instead, the use of video, television, photography, literary voice, and other media must be understood as modes of expression that fundamentally oppose the film medium itself. The “intermedial void” is a product of the absolute incommensurability of these media forms as perceptual and affective phenomena. Close analysis of specific films shows how their relationship to noncinematic media transforms the nature of the film image, and of film spectatorship.
| Acknowledgments |
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vii | |
| Introduction Haneke and the Media Question |
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1 | (40) |
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Chapter 1 The Non-Image: Der siebente Kontinent |
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41 | (20) |
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Chapter 2 The Film of the Video: Benny's Video and Funny Games |
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61 | (34) |
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Chapter 3 Audiovisual Fragmentation and the Event: 71 Fragmente einer Chronologie des Zufalls and Code inconnu |
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95 | (36) |
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Chapter 4 Adaptation as an Intermedial Practice: Haneke's Television Adaptations, Das Schloβ, and La pianiste |
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131 | (32) |
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Chapter 5 The Intermedial Dynamics of Shame: Cache |
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163 | (32) |
| Conclusion Haneke's Intermedial Realism |
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195 | (6) |
| Appendix Plot Summaries and Credits of Relevant Haneke Films |
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201 | (6) |
| Notes |
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207 | (40) |
| Bibliography |
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247 | (10) |
| Index |
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257 | |
Christopher Rowe received his Ph.D. in Screen and Cultural Studies from the Universityof Melbourne in 2014.
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