Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-07-18T14:38:48Z No. of bitstreams: 1 2016_SâmellaMichellyFreitasRusso.pdf: 1952313 bytes, checksum: 12075d1b0d54482c3da2efa0d772e8e8 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-08-23T19:56:20Z (GMT) No. of bitstreams: 1 2016_SâmellaMichellyFreitasRusso.pdf: 1952313 bytes, checksum: 12075d1b0d54482c3da2efa0d772e8e8 (MD5) / Made available in DSpace on 2016-08-23T19:56:20Z (GMT). No. of bitstreams: 1 2016_SâmellaMichellyFreitasRusso.pdf: 1952313 bytes, checksum: 12075d1b0d54482c3da2efa0d772e8e8 (MD5) / Tendo a fragmentação e a elipse como métodos estruturantes no modo de contar histórias, a literatura de Franz Kafka e o cinema de Michael Haneke instauram narrativas enigmáticas. Eleito o romance O Castelo como ponto de partida, o filme homônimo dirigido por Haneke busca a materialização imagética da linguagem protocolar kafkiana, convergindo para o seu cinema literário. Propomos então realizar uma reflexão crítica e analítica da transposição midiática orquestrada pelo diretor alemão do romance inacabado de Kafka. Respondendo à imensa crítica do escritor, intentamos estabelecer uma leitura literal do texto romanesco, evitando as exegeses que tendem a condicionar a tônica de sua literatura. Em seguida, acessando toda a filmografia do diretor, foi possível conjeturar panoramas, a fim de investigar de que maneira a prosa kafkiana serve de substrato na edificação de sua controversa estética. Walter Benjamin, Theodor Adorno, Roberto Calasso e Milan Kundera conduziram a trajetória analítica da obra literária, especialmente por se tratar de teóricos que teceram importantes contribuições para a compreensão da prosa do autor tcheco. Com o intuito de delinear as vicissitudes desse encontro interartístico entre escritor e diretor e a tônica dialógica daquilo que chamamos de “cinema de liberdade”, recorremos essencialmente a Mikhail Bakhtin e à Estética da Recepção, além de Roland Barthes e Robert Stam. Nessa arena dialógica das artes, ao absterem-se de decretar a palavra final sobre aquilo que é escrito ou mostrado, escritor e diretor se encontram na edificação de linguagens verbais e imagéticas que provocam o ativismo de leitores e espectadores. _________________________________________________________________________________________________ ABSTRACT / Having the fragmentation and the ellipse as structuring methods in the way of storytelling, both Franz Kafka’s literature and Michael Haneke’s cinema manage to set enigmatic narratives. With the novel The Castle elected as starting point, the homonymous movie directed by Haneke aims an imagetic materialization of the solemn Kafkaesque writing, converging to his literary cinema. This proposal intends to set forth a critical and analytical reflection on the mediatic transposition of the unfinished Kafka’s novel orchestrated by the German director. Responding to the overwhelming criticism of the writer, we seek to establish a literal reading of his novelistic text while avoiding the exegesis that tend to constrain his literature’s keynote. After accessing the entire filmography of the director, it was possible to conjecture viewpoints in order to investigate in which way the Kafkaesque prose serves as substrate to his contentious aesthetics. Walter Benjamin, Theodor Adorno, Roberto Calasso and Milan Kundera conducted the literary work’s analytic path, mainly for being scholars responsible for offering important contributions for the comprehension of the Czech author’s prose. Seeking to outline the vicissitudes of this interartistic meeting between writer and director, and the dialogic keynote of that which we call “freedom cinema”, we turn essentially to Mikhail Bakhtin and the Reception Aesthetics, besides Roland Barthes and Robert Stam. In this artistic dialogical arena, by refusing to state the final meaning of what is written or shown, both writer and director work together to build verbal and imagetic languages that provoke the activism of readers and viewers.

Made available in DSpace on 2015-05-22T12:37:06Z (GMT). No. of bitstreams: 1 000468692-Texto+Completo-0.pdf: 27638414 bytes, checksum: a053973c7f82bd9ac613bafb3e6fe00a (MD5) Previous issue date: 2015 / This dissertation analises the work of the austrian director Michael Haneke, placing it as a cinematographic representation of the liquid discomfort. To do so, first, it makes a historical and social survey about the elements that compose the liquid discomfort. Then, it studies is forming concepts, through the work of Jean Braudillard and, mainly, through the liquid theory of Zygmunt Bauman, characterizing the liquid discomfort from those theories. From that point, it brings Haneke as an author, to allow the use of his cinematography in terms of filmic representation of the liquid discomfort. As a methodological model of analysis, it bases in Aumont and Dubois to create an hybrid method of a more fluid and essay-like way: the narrative analysis. Supported in this progression, it analyses Haneke's first two feature films comercially distributed in screening rooms, The seventh continent (1989), and Benny’s video (1992), with the intent of showing its hipothesis. / Esta dissertação analisa a obra do diretor austríaco Michael Haneke, posicionando-a como uma representação cinematográfica do mal-estar líquido. Para isso, em um primeiro momento, faz um levantamento histórico e social a respeito dos elementos que compõem o mal-estar líquido. Posteriormente, estuda seus conceitos formadores, através do trabalho de Jean Baudrillard e, principalmente, da teoria líquida de Zygmunt Bauman, caracterizando o mal-estar líquido a partir dessas teorias. Em seguida, traz a figura de Haneke como autor, para possibilitar a utilização de sua cinematografia em termos de representação filmográfica do mal-estar líquido. Como um modelo metodológico de análise, se baseia em Aumont e Dubois para criar um método híbrido de análise mais ensaística e fluida: a análise narrativa. Apoiada nesta progressão, parte para a análise dos dois primeiros longas-metragens de Haneke lançados comercialmente em salas de exibição, sendo eles O sétimo continente (1989) e O vídeo de Benny (1992), com o intuito de demonstrar suas hipóteses

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-05-15T17:48:35Z No. of bitstreams: 1 468692 - Texto Completo.pdf: 27638414 bytes, checksum: a053973c7f82bd9ac613bafb3e6fe00a (MD5) / Made available in DSpace on 2015-05-15T17:48:35Z (GMT). No. of bitstreams: 1 468692 - Texto Completo.pdf: 27638414 bytes, checksum: a053973c7f82bd9ac613bafb3e6fe00a (MD5) Previous issue date: 2015-03-26 / This dissertation analises the work of the austrian director Michael Haneke, placing it as a cinematographic representation of the liquid discomfort. To do so, first, it makes a historical and social survey about the elements that compose the liquid discomfort. Then, it studies is forming concepts, through the work of Jean Braudillard and, mainly, through the liquid theory of Zygmunt Bauman, characterizing the liquid discomfort from those theories. From that point, it brings Haneke as an author, to allow the use of his cinematography in terms of filmic representation of the liquid discomfort. As a methodological model of analysis, it bases in Aumont and Dubois to create an hybrid method of a more fluid and essay-like way: the narrative analysis. Supported in this progression, it analyses Haneke's first two feature films comercially distributed in screening rooms, The seventh continent (1989), and Benny?s video (1992), with the intent of showing its hipothesis. / Esta disserta??o analisa a obra do diretor austr?aco Michael Haneke, posicionando-a como uma representa??o cinematogr?fica do mal-estar l?quido. Para isso, em um primeiro momento, faz um levantamento hist?rico e social a respeito dos elementos que comp?em o mal-estar l?quido. Posteriormente, estuda seus conceitos formadores, atrav?s do trabalho de Jean Baudrillard e, principalmente, da teoria l?quida de Zygmunt Bauman, caracterizando o mal-estar l?quido a partir dessas teorias. Em seguida, traz a figura de Haneke como autor, para possibilitar a utiliza??o de sua cinematografia em termos de representa??o filmogr?fica do mal-estar l?quido. Como um modelo metodol?gico de an?lise, se baseia em Aumont e Dubois para criar um m?todo h?brido de an?lise mais ensa?stica e fluida: a an?lise narrativa. Apoiada nesta progress?o, parte para a an?lise dos dois primeiros longas-metragens de Haneke lan?ados comercialmente em salas de exibi??o, sendo eles O s?timo continente (1989) e O v?deo de Benny (1992), com o intuito de demonstrar suas hip?teses

Die Problematik der Darstellung eines Serienmörders in der Fiktion, liegt darin, daß es bereits bei der Konstruktion eines realen Serienmörders insofern Schwierigkeiten gibt, als daß er selbst sich als jemand der Realität übergeordnet betrachtet. Damit gestaltet sich die Porträtierung des fiktiven Gegenstückes anders herum und reflektiert die Identität des wahren Mörders. Dieses wird aufgezeigt anhand der fiktiven Figuren Hans Beckert aus Fritz Langs M – Eine Stadt sucht einen Mörder (1931), Jean-Baptiste Grenouille aus Patrick Süskinds Das Parfüm (1985) und Peter und Paul aus Michael Hanekes Film Funny Games (1997). Jeder dieser vier Mörder zeichnet sich dadurch aus willens zu sein sowohl körperliche als auch realitätseinschränkende Grenzen zu überschreiten. Das Morden steht dabei im Zentrum, dem wiederum eine Selbstkonstruktion zu Grunde liegt. Untermalt wird dies durch der Fiktion allein möglichen Ausstattung der Täter mit besonderen Fähigkeiten der Imagination die Realität zu entziehen.

No description available.

Within the field of cinema studies, the question of visual representation is a fundamental pillar. An immense volume of theoretical work has been written on the subject, with various academic approaches such as feministic, postcolonial and gay/lesbian. Yet there is a large social group that seems to have been overlooked within the representational discourse: the elderly. This group of people appears to be a blind spot on the multicultural retina, too often neglected within the area of cultural studies. But as the baby boomer generation, who has always redefined the different stages of life (youth, adulthood, middle age), is entering old age, things are slowly changing. Utilizing a post-structural framework, this essay investigates the visual representation of elderly within the cinematic landscape of the western world. Since the subject is somewhat uncharted territory, a broad interdisciplinary approach is necessary where modern social gerontology meets the field of cinema studies. In a cultural context, social grouping based on age implies a distinct position versus the normative, compare to other types of minorities. Changes of sex, skin colour or sexual preference are uncommon, whereas changing age is the fate of every human being. The elderly as the “the Other” is thus every man’s future destiny. This rather unique position carries an immanent paradox since the only way to avoid the periphery in question is death. As a philosophical counterpoint to this rather dystopian outlook, Gilles Deleuze’s theory of becoming is brought into the discussion. The theoretical part of the essay ends with the ontology of age, a historical review of the field of gerontology and the concept of ageism. After a descriptive section, where contemporary examples of film and other media with old age as a main theme are identified, the analytical part of the essay ensues. With the French sociologist Pierre Bourdieu as a theoretical frame of reference, a close reading of the films Avalon (Axel Petersén, 2011), About Schmidt (Alexander Payne, 2002) and RED (Robert Schwentke, 2010) are performed, emphasising aging identity and imposed age-normative behaviour. The semiotics of the aged body is discussed through Jacques Lacans mirror stage and Julia Kristevas abject theory, exemplified by the works of Donigan Cumming. The final part of the essay concerns the great eternal questions within film philosophy: life, death, time and memory, which for the elderly are not merely philosophical concerns but rather notable existential realities. Using Deleuze as a philosophical toolbox, these grand topics are illuminated with examples from The Curious Case of Benjamin Button (David Fincher, 2008), Amour (Michael Haneke, 2012) and Ingmar Bergmans classical works, such as Smultronstället (1957), Saraband (2003) and Gycklarnas afton (1953).

This study investigates certain existential themes found in the work of Austrian director Michael Haneke. As such the focus is on the existential philosophy of Martin Heidegger, specifcally Heidegger’s notion of Being as always being-towards-death. There are six flms under discussion – the three flms comprising his Vergletscherung-trilogie (Der Siebente Kontinent, Benny’s Video and 71 Fragmente einer Chronologie des Zufalls), and his later flms Funny Games, La Pianiste, and Caché. Michael Haneke has been lauded as “Austria’s most esteemed and most controversial active flmmaker” (Frey 2003:1), a director whose work transgresses the boundaries of mainstream flm in terms of both its form and content. In fact, the director argues, he is responsible for “rap[ing] the spectator to independence”. Haneke’s work features a solid measure of existential themes, examining the alienation and isolation of the individual, the despair brought on by the monotony of modern society, and the seeming meaninglessness of man’s existence. This study aims to show that much of Haneke’s existential thought can be drawn back to Heidegger’s concept of Being, and the various ways in which Being is constituted. Focusing particularly on the notion of Being as being-towards-death, two other constitutive elements are also included – Being as always being-in-the-world and Being as always being-with-others. Being-in-the-world is examined on two fronts, looking at Haneke’s treatment of the public space, and of the domestic setting of the home. Beingwith- others is likewise elucidated in terms of the perspective Haneke offers on society as Heidegger’s Das Man, and the more intimate relationships within the family unit. By coupling these elements with Heidegger’s notions of thrownness, anxiety and the nothing, this study thus investigates how Haneke’s rendition of being-in-the-world and being-withothers inevitably, and fundamentally, means being-towards-death. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

"FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" ist der Versuch, eine Geschichte medialer Schmerzlust zu rekonstruieren – in etwa von 1789 bis heute. Neben klassischer SM-Literatur sind es Spielfilme wie VIDEODROME (1983), FALSCHER BEKENNER (2005), THE HURT LOCKER (2008) oder SHORTBUS (2006), in denen modernes Schmerzlust-Empfinden und -Begehren offenbar wird. Die Untersuchung richtet sich dabei auf Konzepte technoimaginärer Wunsch- und Höllenmaschinen, dynamisierte Ich-Apparate, wie sie Donatien-Alphonse-François de Sade, Leopold und Wanda von Sacher-Masoch, Ernst Kapp, Sigmund Freud, Daniel Paul Schreber, Jacques Lacan, Gilles Deleuze und Félix Guattari, David Cronenberg, Michael Haneke, Kathryn Bigelow u.v.a. im Medienumfeld ihrer Zeit individuell erleben und auf ihre je eigene Art – meist sehr fantasiereich – bearbeiten. Der vorliegende Entwurf, medienarchäologische Spurensicherung und gleichsam Test-Spiel, ist vor allem eine Einladung zum Mitmachen: Beim obsessiven Durchschreiten virtueller (Alptraum-)Welten und realer Körper negative und positive Lust zu erfahren, sich neuen Sinnesreizqualitäten zu öffnen, um schließlich Mehr-Lust und -Wissen zu erwerben. Anti-Ödipus als interaktives Video(bei)spiel. Als Analysetools haben sich Erkenntnisse aus der (strukturalen) Psychoanalyse, der (technischen) Medienwissenschaft, (Film-)Philosophie, der Gender-, Gewalt-, Fetisch- und (kulturwissenschaftlichen) Spieltheorie als hilfreich erwiesen, um dem Geheimnis und Rätsel sadomasochistischer Schmerzlust – und ihrer crash-Medien – ein wenig näher zu kommen. / "FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" aims to reconstruct a history of pleasure and gratification through pain in the media since the end of the eighteenth century. In addition to classical sado-masochistic literature, the thesis focuses on movies in which modern forms of experiencing and desiring pain such as VIDEODROME (1983), I AM GUILTY (2005), THE HURT LOCKER (2008) and SHORTBUS (2006) manifest themselves. Central to the study are concepts of techno-imaginary wish machines and infernal devices, dynamised ego-apparatuses, that are experienced and expressed through the media of their time by writers, philosophers, psychoanalysts and film directors such as Donatien-Alphonse-François de Sade, Leopold and Wanda von Sacher-Masoch, Ernst Kapp, Sigmund Freud, Daniel Paul Schreber, Jacques Lacan, Gilles Deleuze and Félix Guattari, David Cronenberg, Michael Haneke and Kathryn Bigelow. The present study, an attempt to secure the medial evidence and try it out at the same time, is meant most of all as an invitation to participate: to experience positive desire and lust while obsessively progressing through virtual worlds of dreams and nightmares and the real world of the human body, to open oneself to new experiences in order to gain both new knowledge and new desires. Anti-Oedipus as a textual videogame. The analytical tools employed in this study include findings from (structural) psychoanalysis, media sciences, (movie) philosophy, gender theory, the theory of violence, fetish theory and game theory as applied in cultural studies. They have proven to be very helpful in illuminating at least some aspects of the mystery that is the sado-masochist desire for pain.