An Updated Outline Will Be Available in January

Home , Code Unknown, The Piano, Time of the Wolf

THE UNIVERSITY OF WESTERN ONTARIO

LONDON CANADA

DEPARTMENT OF FILM STUDIES

GRADUATE STUDIES

Winter 2014

FILM 9100B

PROVISIONAL RESEARCH METHODS COURSE

(an updated outline will be available in January)

Instructor: Janina Falkowska

Screening: Mon 1.30-4.30 P.M., UC 12

Lecture and Tutorial: Wed 1.30-3.30 PM, UC 12

Office hours: Thurs 11.00 – 12.00 P.M. and by appointment

Office number: University College, room 75

Or contact via email address [email protected]

Course description:

This seminar provides a practical introduction to the research methods involved in the study of film, its political and historical contexts, its reception in various countries and its theoretical interpretations. Students will read theoretical works at the same time and bring this discussion to the classroom. These sessions should help them develop their ideas about their research devoted to the thesis which they will present in early-April.

During the first six weeks of the course, the instructor will share research methods, research content, writing and editing experience with the students. The instructor will also reiterate major analytical and historical methodologies in film studies in the context of his/her own research work of the films of Michael Haneke, a prominent contemporary European director.

In the second part of the course students will begin to develop their own research projects directly related to the thesis. Each student will be responsible for programming films and readings based on their thesis project and leading a seminar on these materials. Students will also be responsible for drafting a short segment of the thesis as a seminar paper that they will later develop into a thesis prospectus. The work on the latter will involve developing a bibliography and mapping out the thesis prospectus’ major ideas and research methods, that is, producing a “cognitive map” of the entire thesis.

All the reading material for the course will be posted on MOODLE.

Grade Breakdown by assignment

1. Participation: 10% 2. Presentation no 1: 20% 3. Presentation no 2: 20% 4. Paper proposal and bibliography: 15% 5. Final Paper: 35%

Additionally, students will prepare a MA thesis proposal which will be presented to Film Studies faculty at the beginning of April.

Assignment guidelines with all the details spelled out will be distributed at the beginning of classes.

COURSE WORK Mondays: screenings

Wednesdays: lecture and tutorial

Dates of sessions:

I part of the course – films, readings and methodology chosen by the professor to illustrate the steps taken to do research work in her own area(s) of expertise

Session no 1

January 6th

Screening: Michael Haneke (Funny Games, 1997)

January 8th

Introduction to the course. Explanation of its rationale and of the course plan.

Part 1

Presentation of two areas of expertise of the Instructor:

Andrzej Wajda and his films – history and politics of Poland

Michael Haneke and his films – witness to change in Europe

General discussion of research methodology for major projects.

Part 2

Michael Haneke – research methodology in the analysis of the historical content presented in his work

Discussion of the main works (books, articles, web pages) used for the set up of the theoretical framework for research related to the approaches to history and ideology

Class reading:

Falcon, Richard. “The Discreet Harm of the Bourgeoisie (An Interview with Michael Haneke, director of Funny Games).” Sight and Sound 8, no. 5 (1998): 10-12.

Phillip, Frank. “Michael Haneke’s Film Funny Games and the Hollywood Tradition of Self- Referentiality.” Modern Austrian Literature 32, no. 4 (1999): 353-363.

Discussion of Works Cited no 1 in ANNEX

Session no 2

January 13th

Screening: Michael Haneke Code Inconnu (Code Unknown, 2000)

January 15

Part 1

Themes of fragmentation and alienation in the films of Michael Haneke

Class reading:

Wood, Robin. "In Search of the Code Inconnu." Cineaction 62 (2003), 41–49.

Falkowska, Janina. “Exasperating Miscommunications: The Cold Europe in Michael Haneke’s Films.” Special Issue of Canadian Review of Comparative Literature Central European Cinema Today: Beyond Words and Images (editors Waclaw M. Osadnik and Irene Sywenky), CRCL 34.3 (2007), 329-338.

Discussion of Works Cited no 2 in ANNEX

Part 2

Planning a chapter based on the discussion of an article about Michael Haneke

Session no 3

January 20

Screening: Michael Haneke Caché (Hidden 2005)

January 22

Part 1

Contemporary Europe in the eyes of Michael Haneke

Class reading:

Seshadri, Kalpana Rahita. “Spectacle of the Hidden: Michael Haneke’s Caché.” Nottingham French Studies 46, no. 3 (2007): 32-48.

Sharrett, Christopher. “The Horror of the Middle Class.” Kinoeye 4, no. 1 (2004), http://www.kinoeye.org/04/01/sharrett01.php (accessed April 30, 2008).

-----. “Michael Haneke and the Discontents of European Culture.” Framework 47, no. 2 (2006): 6-16.

Elizabeth Ezra and Jane Sillars, “Hidden in plain sight: bringing terror home” Screen 2007 48(2): 215-221.

Online ISSN 1460-2474

Discussion of Works cited no 3 in ANNEX

Part 2

Designing a cognitive map of the entire thesis based on the discussion of my book proposal devoted to Michael Haneke

Session no 4

January 27

Screening: Michael Haneke, Das weisse Band (The White Ribbon, 2009)

January 29

Part 1

Guilt of the father figure in Michael Haneke’s films. Discussion of Cache, The White Ribbon and earlier films made by Michael Haneke in view of this topic

Discussion of Works cited no 4 in ANNEX

Class reading:

Williams, James S. 2010. Aberrations of beauty: Violence and cinematic resistance in haneke's the white ribbon. Film Quarterly 63, (4): 48-55, https://www.lib.uwo.ca/cgi- bin/ezpauthn.cgi/docview/742392983?accountid=15115 (accessed December 20, 2013).

Falkowska, Janina “The Myth of the Father Figure, National Identity and Nostalgia in the films of Aleksandr Sokurov from Russia, Michael Haneke from Austria and Andrzej Wajda from Poland.” presented at Annual Conference of the European Cinema Research Forum (ECRF) European Cinema: Experiment, Mainstream and Praxis, Binghamton University (USA) July 9 – July 12, 2009. Details: Studies in European Cinema SEC 7 (1), Wilmington USA and Bristol UK : Intellect Ltd 2010, pp. 67-76.

Part 2

Discussion of the problems encountered on a particular project and analyzing the ways to solve them based on the analysis of all the films and their criticism seen in this part of the course

II PART OF THE COURSE - STUDENTS AND THEIR RESEARCH INTERESTS

Films and readings chosen by students:

One reading chosen by the instructor

One reading chosen by the student

The order of presentations, film choices for a particular session, essays and readings will be discussed at the beginning of Winter term

Student no 1 (focus on history, society viewed through a cinematic lens)

February 3 - screening

February 5 – session by a student followed by short remarks of a professor about the value of archival research for the analysis of historical film

((Detailed Notes about the session:

Student: probably Alexander

Student Presentation

*present a rationale for why you have chosen this particular reading for your presentation

*compare the article chosen by the instructor with reference to its usefulness for the work on the film

*explain which elements of this presentation would help you plan a topic for the final essay

Student no 2 (visual culture vs. historical consciousness)

February 10 - screening

February 12 – session by a student followed by short remarks of a professor about the structure of a chapter

((Notes:

Student: probably Charlotte

Student Presentation *present a rationale for why you have chosen this particular reading for your presentation

*compare the article chosen by the instructor with reference to its usefulness for your work on the film

*explain which elements of this presentation would help you plan a chapter by chapter project which you could treat as a template for your thesis and how would you expand your work beyond one chapter.

Winter Break

Student no 3 ( gender, sexuality)

February 24

February 26

((Notes:

Student: probably Joanna Smith

Student Presentation *present a rationale for why you have chosen this particular reading for your presentation

*compare the article chosen by the instructor with reference to its usefulness for your work on the film

Student no 4 (philosophy, history, religion, horror, international film)

March 3

March 5

((Notes: probably Sean Volk

Student Presentation *present a rationale for why you have chosen this particular reading for your presentation

*compare the article chosen by the instructor with reference to its usefulness for your work on the film

After the first round of students’ presentations you should start working on the thesis for your final essay.

WORK ON MA THESIS PRESENTATION

We will use your experience from the first round of presentations for the second round. During this round of presentations you will be advised how to apply everything we have learned so far to the crafting of your MA thesis presentation. In other words, treat the second presentation of the film chosen by you as a mock-up MA Thesis presentation.

Student no 1

March 10 – screening of the film chosen for the presentation

March 12 – discussion of the major points for the presentation followed by questions and comments of other students (involving play-acting as professors and members of the audience)

Student no 2

March 17 - screening of the film chosen for the presentation

March 19 - discussion of the major points for the presentation followed by questions and comments of other students (involving play-acting as professors and members of the audience)

Student no 3

March 24 - screening of the film chosen for the presentation

March 26 – discussion of the major points for the presentation followed by questions and comments of other students (involving play-acting as professors and members of the audience)

Student no 4

March 31- screening of the film chosen for the presentation

April 2 - screening of the film chosen for the presentation

April 7 - discussion of the major points for the presentation followed by questions and comments of other students (involving play-acting as professors and members of the audience)

Conclusion to the course. Discussion of the content and methodology of the course.

ANNEXES

------

No. 1

Bibliography - General works helpful in the set up of a theoretical framework for research and writing about Michael Haneke

Bakhtin, Mikhail. Problems of Dostoevsky’s Poetics. Ed. and trans. Caryl Emerson. Minneapolis: U of Minneapolis P, 1984. ———. Speech Genres and Other Late Essays. Eds. Caryl Emerson and Michael Holquist. Trans. V.W. McGee. Austin: U of Texas P, 1986. ———. The Dialogic Imagination: Four Essays. Ed. M. Holquist. Trans. C. Emerson and M. Holquist. Austin: U of Texas P, 1981. (excerpt from this source) Bhabha, Homi K. Nation and Narration. Ed. London and New York: Routledge, 1990. (excerpt from this source) Hjort, Mette, and Scott Mackenzie, eds. Cinema and Nation. London: Routledge, 2000. (excerpt from this source) Kracauer, Siegfried. From Caligari to Hitler. A Psychological History of the German Film. New Jersey: Princeton UP, 1947. White, Hayden. Metahistory. The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins UP, 1973. (excerpt from this source) ———. Theories of History. Papers Read at a Clark Library Seminar, March 6, 1976. Los Angeles: U of California P, 1978. ———. Tropics of Discourse. Essays in Cultural Criticism. Baltimore: Johns Hopkins UP, 1978. (excerpt from this source)

No. 2

Bibliography - Melancholia and mourning in Michael Haneke’s Films

Alaniz, José. Necrorama: Spectacles of Death and Dying in Late/Post-Soviet Russian Culture., 2004. Beumers, Birgit. Nikita Mikhalkov: Between Nostalgia and Nationalism, London: I.B. Tauris, 2005. Francis, Terri. Embodied Fictions, Melancholy Migrations: Josephine Baker's Cinematic Celebrity MFS Modern Fiction Studies, Volume 51, Number 4, Winter 2005, pp.824-845 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/mfs.2006.0010 For additional information about this article Access Provided by Western Ontario, Univ of at 05/23/12 8:25PM GMT http://muse. Jameson, Fredric. "History and Elegy in Sokurov." Critical Inquiry 33.1 (2006): 1-12. Kristeva, Julia. Crisis of the European Subject; translated by Susan Fairfield; with an introduction by Samir Dayal, 2000. Ross, Christine. The Aesthetics of Disengagement. Contemporary Art and Depression. Minneapolis: U of Minnesota P, 2006. Sanchez-Pardo, Esther. Cultures of the Death Drive. Melanie Klein and Modernist Melancholia. Durham: Duke UP, 2003. Sokurov, Aleksandr, and Don (translator) Swift. "Death, the Banal Leveller (on Tarkovsky)." Film Studies: An International Review 1 (1999): 64-9.

No. 3 Contemporary Europe in the eyes of Michael Haneke

Bonfiglio, Thomas Paul. "Dreams of Interpretation: Psychoanalysis and the Literature of Vienna." Literature in Vienna at the Turn of the Centuries. Continuities and Discontinuities around 1900 and 2000. Eds. Ernst Grabovszki and James Hardin. Rochester: Camden, 2003. 88–115. Freud, Sigmund. "Mourning and Melancholia." The Standard Edition of the Complete Psychological Works of Sigmund Freud. / translated from the German under the general editorship of James Strachey, in collaboration with Anna Freud, assisted by Alix Strachey and Alan Tyson, London: Hogarth Press, 1953-74. Riemer, Willy, ed. After Postmodernism. Austrian Literature and Film in Transition. Riverside: Ariadne, 2000. Ross, Christine. The Aesthetics of Disengagement. Contemporary Art and Depression. Minneapolis: U of Minnesota P, 2006. Sanchez-Sanchez-Pardo, Esther. Cultures of the Death Drive. Melanie Klein and Modernist Melancholia. Durham: Duke UP, 2003. Sorfa, David. "Uneasy Domesticity in the Films of Michael Haneke." Studies in European Cinema 3:2 (2006), 93–104. Wood, Robin. "In Search of the Code Inconnu." Cineaction 62 (2003), 41–49.

No. 4

Filmography: Michael Haneke

2012 Amour

2009 The White Ribbon

2007 Funny Games U.S.

2005 Caché

2003 Le temps du loup

2001 The Piano Teacher

2000 Code Unknown

1997 Funny Games

1997 The Castle

1995 Lumière and Company (documentary) (segment "Michael Haneke/Vienne")

1994 71 Fragments of a Chronology of Chance

1993 Die Rebellion (TV movie)

1992 Benny's Video

1991 Nachruf für einen Mörder (TV movie)

1989 The Seventh Continent

1986 Fraulein - Ein deutsches Melodram (TV movie)

1984 Wer war Edgar Allan? (TV movie)

1983 Variation - oder Daß es Utopien gibt, weiß ich selber! (TV movie)

1979 Lemminge (TV mini-series) – Verletzungen (1979) – Arkadien (1979)

1976 Sperrmüll (TV movie)

1976 Three Paths to the Lake (TV movie)

1974 After Liverpool (TV movie)

No 5

The Instructor’s publications relevant to the course:

PUBLICATIONS

Books Authored

Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema. Oxford, UK and New York: Berghahn Books, 2007. 340pp.

Nominated for the American Association for the Advancement of Slavic Studies ORBIS BOOKS PRIZE for Polish Studies in 2008.

The Political Films of Andrzej Wajda. Oxford, UK and Providence, US: Berghahn Books, 1996. 180pp.

Chapters in Refereed Books

PUBLISHED:

“Ashes and Diamonds.” 24 Frames: Central Europe. Ed. Peter Hames. London: Wallflower Press, 2004. 65-74.

“Polish Baroque in the Thick of Europe: The Reception of Andrzej Wajda’s Films.” Filmowe Swiaty Andrzeja Wajdy (Film Worlds of Andrzej Wajda). Ed. Piotr Sitarski and Ewelina Nurczynska-Fidelska. Krakow: Universitas, 2004. 358-375.

Papers in Refereed Journals

R “The Myth of the Father Figure, National Identity and Nostalgia in the films of Aleksandr Sokurov from Russia, Michael Haneke from Austria and Andrzej Wajda from Poland.” presented at Annual Conference of the European Cinema Research Forum (ECRF) European Cinema: Experiment, Mainstream and Praxis, Binghamton University (USA) July 9 – July 12, 2009. Details: Studies in European Cinema SEC 7 (1), Wilmington USA and Bristol UK : Intellect Ltd 2010, pp. 67-76.

“Exasperating Miscommunications: The Cold Europe in Michael Haneke’s Films.” Special Issue of Canadian Review of Comparative Literature Central European Cinema Today: Beyond Words and Images (editors Waclaw M. Osadnik and Irene Sywenky), CRCL 34.3 (2007), 329-338.

Publications Appearing as Refereed Conference Proceedings:

R“Carnivalesque in European cinemas” presented at the 13th International Mikhail Bakhtin conference held at the University of Western Ontario, July 28 to August 1, 2008. In: Polyuha, Mykola, Clive Thomson and Anthony Well, eds. Proceedings of the Thirteenth International Mikhail Bakhtin Conference. (Working Title) London, Ontario: Mestengo Press, 2012. “Interdisciplinary Collection.”

“The Road to New European Identities in Austrian Cinema.” The Image of the Road in Literature, Media and Society: Selected Papers, 2005 Conference. Society for the Interdisciplinary Study of Social Imagery. Ed. Will Wright and Steven Kaplan. Pueblo, California: Colorado State University, 2005.

No 6

MICHAEL HANEKE – GENERAL BIBLIOGRAPHY

Aknin, Laurent. “Haneke’s Video.” Avant Scène Cinéma 558 (2007): 3-6.

Alion, Yves. “Caché: Un Film de Michael Haneke.” Avant Scène Cinéma 558 (2007): 1-86.

-----. “Entretien avec Michael Haneke.” Avant Scène Cinéma 558 (2007): 7-11.

Arthur, P. “Endgame: (Michael Haneke’s Hidden).” Film Comment 41, no. 6 (2005): 24-28.

Austin, Guy. “Drawing Trauma: Visual Testimony in Caché and J’ai 8 ans.” Screen 48, no. 4 (2007): 529-536.

Badt, Karin. “Family is Hell and So is the World: Talking to Michael Haneke at Cannes 2005.” Bright Lights Film Journal 50 (2005), http://www.brightlightsfilm.com/50/hanekeiv.htm (accessed April 30, 2008).

Berezovchuk, Larisa. “Pianistka: Prigovor romantizmu: Chelovek-obshchestvo-kul'tura v avtorskom kinemagrafe Mikhaelia Khaneke.” Kinovedcheskie Zapiski: Istorichesko-Teoreticheskii Zhurnal 79 (2006): 267-322.

Beugnet, Martine. “Blind Spot.” Screen 48, no. 2 (2007): 227-231.

Bingham, Adam. “Life, or Something Like it.” Kinoeye 4, no. 1 (2004), http://www.kinoeye.org/04/01/bingham01_no2.php (accessed April 30, 2008).

-----. “Long Night’s Journey into Day.” Kinoeye 4, no. 1 (2004), http://www.kinoeye.org/04/01/bingham01.php (accessed April 30, 2008).

Birchall, Bridget. “From Nude to metteuse-en-scène: Isabelle Huppert, Image and Desire in La Dentellière (Goretta, 1977) and La Pianiste (Haneke, 2001).” Studies in French Cinema 5, no. 1 (2005): 5-15.

Brinkema, Eugenie. “‘Not to Scream before or about, but to Scream at Death’: Haneke’s Horrible Funny Games.” In Caligari’s Heirs: The German Cinema of Fear after 1945, edited by Steffen Hantke, 145-159. Lanham, Maryland: Scarecrow, 2007.

Cieutat, Michel. “Funny Games.” In Films qui ont fait scandale, edited by Gérard Camy, 203-206. Condé-sur-Noireau, France: Corlet, 2002.

Cieutat, Michel, and Michael Haneke. “An Interview with Michael Haneke.” Positif 478 (2000): 25- 29.

Cieutat, Michel, and Philippe Rouyer. “Entretien avec Michael Haneke: On ne montre pas la réalité, juste son image manipulée.” Positif 536 (2005): 21-25.

Champagne, John. “Undoing Oedipus: Feminism and Michael Haneke’s The Piano Teacher.” Bright Lights Film Journal 36 (2002), http://www.brightlightsfilm.com/36/pianoteacher1.html (accessed April 30, 2008).

Chua, Lawrence. “Michael Haneke.” BOMB 80 (2002): 54-58.

Combs, Richard. “Living in Never-Never Land: Michael Haneke Continues the Search for a New European Cinema.” Film Comment 38, no. 2 (2002): 26-28.

Cousins, Mark. “After the End: Word of Mouth and Caché.” Screen 48, no. 2 (2007): 223-226.

“Critically Supporting Film Provocateurs (Peter Watkins, Michael Haneke).” Cineaste 32, no. 2 (2007): 4.

De Santi, G. “Playing in the Key of Cruelty: Aspects of Sadomasochism in Michael Haneke’s Klavierspielerin, or The Pianist.” Cineforum 41, no 10 (2001): 15-16.

Dockhorn, Katharina. “Angst ist ein Grundgefühl: Gespräch mit Michael Haneke.” epd Film: Das Kino- Magazin 2 (2006): 28-29.

Ertugrul, Bilge. “Glück und Unglück in den Prosatexten von Ingeborg Bachmann und in den Filmen von Michael Haneke.” In Glück und Unglück in der österreichischen Literatur und Kultur, edited by Pierre Béhar, 207-219. Berlin, Germany: Peter Lang, 2003.

Ezra, Elizabeth, and Jane Sillars. “The Caché Dossier – Introduction (Michael Haneke).” Screen 48, no. 2 (2007): 211-213.

-----. “Hidden in Plain Sight: Bringing Terror Home.” Screen 48, no. 2 (2007): 215-221.

Falcon, Richard. “The Discreet Harm of the Bourgeoisie (An Interview with Michael Haneke, director of Funny Games).” Sight and Sound 8, no. 5 (1998): 10-12.

Fazio, Giovanni. “Hidden Meanings (Michael Haneke’s Hidden).” Sight and Sound 17, no. 2 (2007): 88.

Frey, Mattias. “Benny’s Video, Caché, and the Desubstantiated Image.” Framework 47, no. 2 (2006): 30-36.

Fricke, H. “Do Authors Understand Their Texts and Films? About Michael Haneke’s Attempts to Make a Film-Version of Elfriede Jelinek’s Die Klavierspielerin.” Lili-Zeitschrift Fur Literaturwissenschaft und Linguistik 32, no. 128 (2002): 145-151.

Gilroy, Paul. “Shooting Crabs in a Barrel.” Screen 48, no. 2 (2007): 233-235.

Gjelsvik, Anne. “Vold på godt og vondt: Kritikernes mottakelse av Funny Games.” Z: Filmtidsskrift 64, no. 2 (1998): 22-25.

Grossvogel, D.I. “Haneke: The Coercing of Vision (Michael Haneke).” Film Quarterly 60, no. 4 (2007): 36-43.

Grundmann, Roy. “Auteur de Force: Michael Haneke’s ‘Cinema of Glaciation’.” Cineaste 32, no. 2 (2007): 6-14.

Gutman, Pierre-Simon. “Michael Haneke, le provocateur idéaliste.” Avant Scène Cinéma 558 (2007): 3-6.

Halprin, K. “Genre Stretcher (Michael Haneke’s Time of the Wolf).” Sight and Sound 13, no. 12 (2003): 68.

Haneke, Michael. “71 Fragments of a Chronology of Chance: Notes to the Film.” In After Postmodernism: Austrian Literature and Film in Transition, edited by Willy Riemer, 171-175. Riverside, California: Ariadne, 2000.

Hart, Gail K. “Michael Haneke’s Funny Games and Schiller’s Coercive Classicism.” Modern Austrian Literature 39, no. 2 (2006): 63-75.

Hermes, Manfred. “Die Neue Wiener Schule: Der aktuelle österreichische Film und sein sozialer Realismus.” epd Film: Das Kino-Magazin 4 (2004): 10-11.

Horton, Robert. “Code Inconnu: Michael Haneke’s New Drama, a Deeply Involving Interlacing of Modern Lives Under Stress, Starring Juliette Binoche.” Film Comment 36, no. 6 (2000): 18-19.

Hutchison, Nina. “Between Action and Repression: The Piano Teacher.” Senses of Cinema 26 (2003), http://www.sensesofcinema.com/contents/03/26/piano_teacher.html (accessed April 30, 2008).

James, Nick. “Code Uncraked: Michael Haneke Allows His Films to Ask Questions (Code Unknown).” Sight and Sound 11, no. 6 (2001): 8.

-----. “Darkness Falls (Filmmaker Michael Haneke Talks About His Apocalyptic Drama Time of the Wolf).” Sight and Sound 13, no. 10 (2003): 16-18.

Khanna, Ranjana. “From Rue Morgue to Rue des Iris (Edgar Allen Poe’s The Murders in the Rue Morgue, Michael Haneke).” Screen 48, no. 2 (2007): 237-244.

Laine, Tarja. “‘What Are You Looking at and Why?’.” Kinoeye 4, no. 1 (2004), http://www.kinoeye.org/04/01/laine01.php (accessed April 30, 2008).

Le Cain, Maximillian. “Do the Right Thing: The Films of Michael Haneke.” Senses of Cinema 26 (2003), http://www.sensesofcinema.com/contents/03/26/haneke.html (accessed April 30, 2008).

Locke, Richard. “Globalization and Its Discontents (Alejandro Gonzalez Inarritu, Michael Haneke).” American Scholar 76, no. 2 (2007): 114-117.

Løvlund, Bjørn-Frode. “Bennys Video-Film.” Z: Filmtidsskrift 2, no. 44 (1993): 22-23.

Macallan, Helen, and Andrew Plain. “Hidden’s Disinherited Children.” Senses of Cinema 42 (2007), http://www.sensesofcinema.com/contents/07/42/hidden.html (accessed April 30, 2008).

Masoni, T. “Defying Brutality – The Films of Michael Haneke – Adolescence.” Cineforum 38, no. 10 (1998): 38-41.

-----. “Michael Haneke.” Cineforum 39, no. 9 (1999): 64-65.

Mecchia, Giuseppina. “The Children Are Still Watching Us, Caché/Hidden in the Folds of Time.” Studies in French Cinema 7, no. 2 (2007): 131-141.

Mellini, Claire, and Gerlinde Seitner. “Entretien avec Michael Haneke et Elfriede Jelinek: Désaccords mineurs pour piano forte. La Pianiste.” Avant Scène Cinéma 504 (2001): 95-102.

“Michael Haneke.” Positif 536 (2005): 18.

“‘Michael Haneke Trilogy’.” Sight and Sound 17, no. 1 (2007): 86.

Midding, Gerhard. “Der Realität ist nicht zu trauen: Michael Hanekes neuer Film Caché.” epd Film: Das Kino-Magazin 2 (2006): 26-27.

Morsbach, P. “Hate Glows Through All Filters – A Re-Reading of Elfriede Jelinek’s Die Klavierspielerin, and a Film by Michael Haneke.” Theater Heute 12 (2001): 24-29.

Nadar, Thomas R. “The Question of Cultural Identity: The Figure of the Outsider in Michael Haneke’s Adaptation of Joseph Roth’s Die Rebellion.” In After Postmodernism: Austrian Literature and Film in Transition, edited by Willy Riemer, 199-208. Riverside, California: Ariadne, 2000.

Nádudvari, Gabriella. “Die Klavierspielerin-eine semiotische Untersuchung zur narrativen Perspektive in der literarischen und filmischen Erzählung.” In Germanistik im Kontakt, edited by Svjetlan Lacko Vidulic, Doris Moser, and Sladen Turkovic, 253-264. Zagreb, Croatia: Abteilung für Germanistik, Philosophische Fakultät, Universität Zagreb, 2006.

Naqvi, Fatima. “A Melancholy Labor of Love, or Film Adaptation as Translation: Michael Haneke’s Drei Wege zum See.” Germanic Review 81, no. 4 (2006): 291-315.

-----. “Opfer: Zur strukturellen Gewalt in den Filmen Michael Hanekes.” In Ich kannte den Mörder wußte nur nicht wer er war: Zum Kriminalroman der Gegenwart, edited by Friedbert Aspetsberger and Daniela Strigl, 171-181. Innsbruck, Austria: Studien, 2004.

Naqvi-Peters, Fatima Felicitas. “The Rhetoric of Victim and Perpetrator: Austrian Literature and Film, 1986-1995.” Dissertation Abstracts International, Section A: The Humanities and Social Sciences 61, no. 5 (2000): 1859.

Navarro, Antonio José. “Apuntes sobre el cine de Michael Haneke.” Dirigido Por 362 (2006): 44-55.

Osterwell A. “Cache.” Film Quarterly 59, no. 4 (2006): 35-39.

Oxholm, J, and C. Christensen. “The Films of Michael Haneke.” Kosmorama 227-28 (2001): 102-105.

Peucker, Brigitte. “Effects of the Real.” Kinoeye 4, no. 1 (2004), http://www.kinoeye.org/04/01/peucker01.php (accessed April 30, 2008).

-----. “Fragmentation and the Real: Michael Haneke’s Family Trilogy.” In After Postmodernism: Austrian Literature and Film in Transition, edited by Willy Riemer, 176-188. Riverside, California: Ariadne, 2000.

-----. The Material Image: Art and the Real in Film. Stanford, California: Stanford UP, 2007.

Pillip, Frank. “Michael Haneke’s Film Funny Games and the Hollywood Tradition of Self- Referentiality.” Modern Austrian Literature 32, no. 4 (1999): 353-363.

Pitassio, F. “Defying Brutality – The Films of Michael Haneke – Haneke, Most Likely, or: A Slight Case of Austrian Pedagogy.” Cineforum 38, no. 10 (1998): 42-47.

Porton, Richard. “Collective Guilt and Individual Responsibility: An Interview with Michael Haneke.” Cineaste 31, no 1 (2005): 50-51.

Price, Brian. “Dossier on Michael Haneke.” Framework 47, no. 2 (2006): 4-36.

-----. “Pain and the Limits of Representation.” Framework 47, no. 2 (2006): 22-29.

Reynolds, Cory. “Isabelle Huppert.” Index Magazine 6, no. 5 (2002): 50-57.

Rhodes, John David. “Haneke, the Long Take, Realism.” Framework 47, no. 2 (2006): 17-21.

Riemer, Willy. “Beyond Mainstream Film: An Interview with Michael Haneke.” In After Postmodernism: Austrian Literature and Film in Transition, edited by Willy Riemer, 159-170. Riverside, California: Ariadne, 2000.

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