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Showing 1 to 9 of 9 (0.044 seconds)Spelling suggestions: "subject:"michael haneit""
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Ceci n'est pas un film visual perception in Michael Haneke's 'Caché' /Polley, Kerry A.. January 2009 (has links)
Title from first page of PDF document. Includes bibliographical references (p. 20-22).
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[pt] EMANCIPAR O ESPECTADOR?: DISTÂNCIAS E INTERVALOS NO CINEMA DE MICHAEL HANEKE / [en] EMANCIPATING THE SPECTATOR?: DISTANCES AND INTERVALS IN THE CINEMA OF MICHAEL HANEKE25 March 2021 (has links)
[pt] A partir dos movimentos de maio de 1968, a figura intelectual da emancipação toma conta da filosofia francesa: enquanto Jacques Rancière aposta na radical hipótese da igualdade das inteligências, Alain Badiou desenvolve uma teoria do acontecimento. Em comum, concernem a ambos processos de subjetivação, dentre os quais Badiou destaca quatro: amorosos, científicos, políticos e artísticos. Neste âmbito, o regime estético rancièriano e a inestética badiousiana oferecem aporte teórico para reformular as categorias segundo as quais se compreende a criação artística – em geral – e o cinema – em particular. No entendimento comum de uma arte contemporânea das relações, este trabalho aproxima os autores com o objetivo de pensar a obra do diretor austríaco Michael Haneke. Dividindo seus filmes em blocos temáticos – entre cinema e amor, entre cinema e ciência, entre cinema e política e entre cinema e outras artes –, investigam-se distâncias e intervalos pelos quais podem passar ideias e nos quais se formam espectadores como sujeitos igualitários. / [en] From May 68 on, the intellectual figure of emancipation takes over French philosophy: while Jacques Rancière bets on the radical hypothesis of the equality of intelligences, Alain Badiou develops the theory of the event. In unison, both are concerned with processes of subjectivation, amongst which Badiou highlights four types: amorous, scientific, political and artistic. In this last scope, the rancièrian aesthetic regime and the badiousian inaesthetics offer a theoretical approach to reformulate the categories within which art – in general – and cinema – in particular – are perceived. In the common understanding of contemporary art of relations, this work links the authors, intending to analyze the work of Austrian director Michael Haneke. Splitting his movies into thematic blocks – between cinema and love, between cinema and science, between cinema and politics and between cinema and other arts –, the investigation lies on the distances and intervals within which ideas pass and spectators form themselves as egalitarian subjects.
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«Vold» og VOLD : En studie av vold med utgangspunkt i Inglourious Basterds og Funny Games / «Violence» and VIOLENCE : A study of violence in Inglourious Basterds and Funny GamesThorvaldsen, Astrid January 2014 (has links)
No description available.
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Funny Games: o cinema cru de Michael HanekeSampaio, Livia 24 April 2015 (has links)
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Dissertação Final Depósito PDF.pdf: 2679458 bytes, checksum: fca3fc50fa17128a4f917dfb578a1208 (MD5) / Esta pesquisa aborda as estratégias narrativas e estéticas articuladas no filme Funny Games (1997), do diretor austríaco Michael Haneke, a fim de causar determinadas
sensações no espectador. Pretende-se identificar de que forma o estupor causado por este
filme, considerado violento e cruel, ao invés de sentenciar o Haneke a um provável
ostracismo, abriu as portas do disputado mercado internacional para seus filmes
posteriores, com a peculiaridade de ter um remake norte-americano, feito pelo próprio
diretor, dez anos depois. No primeiro momento serão analisados os elementos que dão
forma ao filme. Para o estudo da narrativa será priorizado o trabalho de Paul Ricoeur. As
abordagens de David Bordwell embasarão questões específicas da arte cinematográfica,
tanto relacionadas com a narrativa quanto com o estilo. Em seguida, serão apresentados
alguns dados sobre a recepção dos filmes de Michael Haneke para contextualizar a reação
do espectador de Funny Games no universo fílmico do diretor. Por fim, será feita a análise
deste filme, no âmbito de produção dos seus filmes austríacos, com o propósito de mostrar
que as emoções convocadas por Funny Games são fruto das estratégias calculadas com
precisão para impactar o público através de uma trama que coloca em evidência uma
prática perturbadora: a crueldade. Como resultado, pretende-se demonstrar que a
elaboração rigorosa de Haneke é a chave para manter e ampliar a visibilidade sobre seus filmes, que persistem nos temas indigestos. / This research addresses the narrative and aesthetic strategies in the film Funny
Games (1997), by the Austrian director Michael Haneke, articulated with the purpose of
causing certain sensations in the viewer. The aim is to identify how the stupor caused by
this film, considered violent and cruel, instead of sentencing Haneke to a probable
ostracism, opened the doors of the disputed international market for his later films, with the
peculiarity of having an American remake, made by the director himself, ten years later. At
first we will consider the elements that form the film. For the analysis of the narrative we
will prioritise the work of Paul Ricoeur. The approaches of David Bordwell will support
specific issues of the cinematic art, both related to the narrative as to the style. Then we
introduce some data on the reception of Michael Haneke’s films, to contextualise the
Funny Games viewer's reaction in the filmic universe of the director. Finally, we will
analyse the film, in the context of the production of Haneke’s Austrian movies, with the
purpose of showing that the emotions convened by Funny Games are the result of
strategies precisely calculated to impact the public through a plot that highlights a
disturbing practice: cruelty. With that, we intend to demonstrate that Haneke’s rigorous
development is the key to maintaining and increasing the visibility of his movies, that
persist with hard to digest, disturbing themes.
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Die Selbstkonstruktion Des Fiktiven Serienmörders Als Grundlage Der Narratologischen Grenzsetzung- Und ÜberschreitungAsmuss, Johanna 15 April 2010 (has links)
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.
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Ceci n’est pas un film: Visual Perception in Michael Haneke’s <i>Caché</i>Polley, Kerry A. 17 August 2009 (has links)
No description available.
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Den gamle och filmen : Om den nya generationen äldre och dess plats i det cinematiska rummet. En representationsstudie / The Old Man and the (C)inemaCordischi, Camilla January 2013 (has links)
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).
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Being-towards-death : Heideggerian ontology in selected films of Michael HanekeGouws, Anjo-Mari 09 October 2012 (has links)
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
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Funny gamesPühler, Simon 22 October 2014 (has links)
"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.
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