Haneke on Haneke Conversations with Michel Cieutat & Philippe Rouyer
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A Film by MICHAEL HANEKE East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS
A film by MICHAEL HANEKE East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Lindsay Macik 853 7th Avenue, #3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) A film by MICHAEL HANEKE A SONY PICTURES CLASSICS RELEASE US RELEASE DATE: DECEMBER 30, 2009 Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 www.TheWhiteRibbonmovie.com Q & A WITH MICHAEL HANEKE Q: What inspired you to focus your story on a village in Northern Germany just prior to World War I? A: I wanted to present a group of children on whom absolute values are being imposed. What I was trying to say was that if someone adopts an absolute principle, when it becomes absolute then it becomes inhuman. The original idea was a children’s choir, who want to make absolute principles concrete, and those who do not live up to them. Of course, this is also a period piece: we looked at photos of the period before World War I to determine costumes, sets, even haircuts. I wanted to describe the atmosphere of the eve of world war. There are countless films that deal with the Nazi period, but not the pre-period and pre-conditions, which is why I wanted to make this film. -
Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival
Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival OLLI Winter 2015 Term Tuesday, January 13 Viewing Guide – The Cinema of Europe These suggested films are some that will or may come up for discussion during the first course. If you go to Netflix, you can use hyperlinks to find further suggestions. The year listed is the year of theatrical release in the US. Some films (Ida for instance) may have had festival premieres in the year prior. VOD is “Video On Demand.” Note: It is not necessary to see any or all of the films, by any means. These simply serve as a guide for the discussion. You can also use IMDB.com (Internet Movie Database) to search for other works by these filmmakers. You can also keep this list for future viewing after the session, if that is what you prefer. Most of the films are Rated R – largely for language and brief nudity or sexual content. I’ve noted in bold the films that contain scenes that could be too extreme for some viewers. In the “Additional works” lines, those titles are noted by an asterisk. Force Majeure Director: Ruben Östlund. 2014. Sweden. 118 minutes. Rated R. A family on a ski holiday in the French Alps find themselves staring down an avalanche during lunch. In the aftermath, their dynamic has been shaken to its core. Currently playing at the Belcourt. Also Available on VOD through most services and on Amazon Instant. Ida Director: Pawel Pawlikowski. 2014. Poland. 82 minutes. Rated PG-13. A young novitiate nun in 1960s Poland, is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation. -
MICHAEL HANEKE SONY WRMI 02Pressbook101909 Mise En Page 1 10/19/09 4:36 PM Page 2
SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 1 A film by MICHAEL HANEKE SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 2 East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Lindsay Macik 853 7th Avenue, #3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 3 X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) A film by MICHAEL HANEKE A SONY PICTURES CLASSICS RELEASE US RELEASE DATE: DECEMBER 30, 2009 Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 www.TheWhiteRibbonmovie.com SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 4 Q & A WITH MICHAEL HANEKE Q: What inspired you to focus your story on a village in Northern Germany just prior to World War I? A: Why do people follow an ideology? German fascism is the best-known example of ideological delusion. The grownups of 1933 and 1945 were children in the years prior to World War I. What made them susceptible to following political Pied Pipers? My film doesn’t attempt to explain German fascism. It explores the psychological preconditions of its adherents. What in people’s upbringing makes them willing to surrender their responsibilities? What in their upbringing makes them hate? Q. -
A Film by MICHAEL HANEKE DP RB - Anglais - VL 12/05/09 10:46 Page 2
DP RB - anglais - VL 12/05/09 10:46 Page 1 A film by MICHAEL HANEKE DP RB - anglais - VL 12/05/09 10:46 Page 2 X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) PRESS WOLFGANG W. WERNER PUBLIC RELATIONS phone: +49 89 38 38 67 0 / fax +49 89 38 38 67 11 [email protected] in Cannes: Wolfgang W. Werner +49 170 333 93 53 Christiane Leithardt +49 179 104 80 64 A film by [email protected] MICHAEL HANEKE INTERNATIONAL SALES LES FILMS DU LOSANGE Agathe VALENTIN / Lise ZIPCI 22, Avenue Pierre 1er de Serbie - 75016 Paris Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 [email protected] / Cell: +33 6 89 85 96 95 [email protected] / Cell: +33 6 75 13 05 75 in Cannes: Download of Photos & Press kit at: Booth F7 (Riviera) www.filmsdulosange.fr DP RB - anglais - VL 12/05/09 10:46 Page 4 A village in Protestant northern Germany. - 2 - - 3 - DP RB - anglais - VL 12/05/09 10:46 Page 6 1913-1914. On the eve of World War I. - 4 - - 5 - DP RB - anglais - VL 12/05/09 10:46 Page 8 The story of the children and teenagers of a church and school choir run by the village schoolteacher, and their families: the Baron, the steward, the pastor, the doctor, the midwife, the tenant farmers. - 6 - - 7 - DP RB - anglais - VL 12/05/09 10:46 Page 10 Strange accidents occur and gradually take on the character of a punishment ritual. -
Network Films: a Global Genre?
Network Films: a Global Genre? Vivien Claire Silvey December 2012 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. ii This thesis is solely my original work, except where due reference is given. iii Acknowledgements I am extremely grateful for all the time and effort my dear supervisor Cathie Summerhayes has invested throughout this project. Her constant support, encouragement, advice and wisdom have been absolutely indispensable. To that master of words, puns and keeping his hat on during the toughest times of semester, Roger Hillman, I extend profound gratitude. Roger‟s generosity with opportunities for co-publishing, lecturing and tutoring, and enthusiasm for all things Turkish German, musical and filmic has been invaluable. For all our conversations and film-loans, I warmly say to Gino Moliterno grazie mille! I am indebted to Gaik Cheng Khoo, Russell Smith and Fiona Jenkins, who have provided valuable information, lecturing and tutoring roles. I am also grateful for the APA scholarship and for all the helpful administration staff in the School of Cultural Inquiry. At the heart of this thesis lies the influence of my mother Elizabeth, who has taken me to see scores of “foreign” and “art” films over the years, and my father Jerry, with whom I have watched countless Hollywood movies. Thank you for instilling in me a fascination for all things “world cinema”, for your help, and for providing a caring home. To my gorgeous Dave, thank you for all your love, motivation, cooking and advice. I am enormously honoured to have you by my side. -
ABSTRACT CECI N'est PAS UN FILM: VISUAL PERCEPTION in MICHAEL HANEKE's CACHÉ by Kerry Polley the Purpose of This Thesis Is
ABSTRACT CECI N’EST PAS UN FILM: VISUAL PERCEPTION IN MICHAEL HANEKE’S CACHÉ by Kerry Polley The purpose of this thesis is to examine the ethical implications of voyeurism as a diegetic construct within cinema within the specific context of Michael Haneke’s 2005 film Caché. The first chapter uses works by René Descartes and Diego Velázquez to frame the question of the deceitful nature of the senses, which contextualize the way we look at film as an entity distinct from lived experience. The second chapter examines theories of montage in order to elaborate upon the difference between narrative and lived experience. The third chapter looks at films by and interviews with Alfred Hitchcock to elaborate upon the previous chapter’s discussion of montage and explain the ethics and the legal code of voyeurism as presented in Caché. CECI N’EST PAS UN FILM: VISUAL PERCEPTION IN MICHAEL HANEKE’S CACHÉ A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of French and Italian by Kerry Ann Polley Miami University Oxford, Ohio 2009 Advisor: _____________________________ Dr. Elisabeth Hodges Reader: ______________________________ Dr. Jonathan Strauss Reader: ______________________________ Dr. Claire Goldstein TABLE OF CONTENTS Page LIST OF FIGURES iii ACKNOWLEDGEMENTS iv INTRODUCTION 1 CHAPTER I. Unlocking Velázquez’s Door 2 II. Pidgin, Creole, Dialect 7 III. Funeral March of a Marionette: Michael Haneke Presents 13 CONCLUSION: “Separated from Us by Physics and Glass” 18 BIBLIOGRAPHY 20 ii LIST OF FIGURES Page Fig. 1. Trajectories of sight in Las Meninas 4 iii ACKNOWLEDGEMENTS The author wishes to express her appreciation to Dr. -
This Is a List of the Titles and Classmarks of the Library's DVD Collection As of November 2018 for Quick Reference. the Colle
St John’s College Library DVD Collection This is a list of the titles and classmarks of the Library’s DVD collection as of November 2018 for quick reference. The collection can be browsed in the AV Room on the First Floor, and current availability can be found via the online catalogue. The collection is constantly being updated so for the most up to date titles, please search the online catalogue. The first section of this guide is organised alphabetically by title. The second section is organised by language/country. Title Call Number 8 1/2 DVD ITA.ott.fel 8 1/2 DVD ITA.ott.fel 36 DVD FRE.tre.mar 1871 DVD ENG.eig.mcm 1984 DVD ENG.nin.rad 2046 DVD CHI.twe.won 10 Cloverfield Lane DVD ENG.ten.tra 10 things I hate about you DVD ENG.ten.jun 1000 Dollari sul nero = Blood at Sundown DVD ITA.mil.sir 10000 dollari per un massacro = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin. -
Childhood, Violence, and Memory in the White Ribbon Joseph Kuster University of New Mexico
University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations Fall 12-15-2016 Those that Trespass Against Us: Childhood, Violence, and Memory in The White Ribbon Joseph Kuster University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Part of the Comparative Literature Commons, French and Francophone Language and Literature Commons, and the German Language and Literature Commons Recommended Citation Kuster, Joseph. "Those that Trespass Against Us: Childhood, Violence, and Memory in The White Ribbon." (2016). https://digitalrepository.unm.edu/fll_etds/120 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Joseph Kuster Candidate Foreign Languages and Literatures (German Studies) Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Dr. Susanne Baackmann, Chairperson Dr. Katrin Schroeter Dr. Jason Wilby ii THOSE THAT TRESPASS AGAINST US: CHILDHOOD, VIOLENCE, AND MEMORY IN THE WHITE RIBBON by JOSEPH KUSTER B.A., German, University of New Mexico, 2014 M.A., German Studies, University of New Mexico, 2017 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of New Mexico Albuquerque, New Mexico May, 2017 iii Acknowledgments I would like to acknowledge and thank Dr. Susanne Baackmann, my advisor and committee chair, for her encouragement and support throughout the process of writing this project. -
The New Order: Madness in Cinema of Michael Haneke
Rebecca Thomas, ed. Crime and Madness in Modern Austria: Myth, Metaphor and Cultural Realities. Newcastle, Cambridge Scholars Publishing: 2008. ISBN: (10) 1-84718-546-0. CHAPTER TWENTY-TWO THE NEW ORDER: THE METHOD OF MADNESS IN THE CINEMA OF MICHAEL HANEKE OLIVER SPECK In a relatively short period of time, Michael Haneke’s oeuvre developed from critically acclaimed films with a small distribution, co- produced by Austrian and German television, to works of French cinema, without doubt the most sophisticated cinema in Europe in terms of public image, distribution, and star-power. Now accosted by French stars (Juliette Binoche, Daniel Auteuil, Isabelle Huppert) to make movies showcasing them, Haneke’s name is synonymous with European art house cinema. It should be added that Haneke himself is quite media-savvy, insisting in interviews and in the short documentary features that accompany the DVD-editions of his films that he, as the filmmaker, can only give one of many possible interpretations of the films he wrote and directed, adding to the image of himself as the heir to the European tradition of the socially critical auteur.1 Like other European directors who previously took this spot in the imagination of the feuilletons (e.g., Peter Greenaway and Theo Angelopoulos), Haneke is addressing topics considered difficult measured by the standards of commercial cinema: the traumatic effects of violence, racism, sexism, and alienation. Considering his well-documented contempt for television and Hollywood cinema with its generic system (see Cieutat and Rouyer, Grabner, Sharett), which by critics and scholars alike are seen as postmodern excesses lacking in substance, it is not surprising that Michael Haneke has been labeled a modernist. -
Existential Space in Haneke's French-Language Films As
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-prints Repository Glocal gloom: existential space in Haneke’s French-language films As Janet Harbord remarks at the start of her article for Vertigo on Haneke‟s Code Unknown and Iňárritu‟s Amores perros, recent interest in and debate about space and cinema „has everything to do with the current context, an age of globalisation, which has radically reconditioned our relationship to space‟ (Harbord 2004: 3). Uncertainty about local life, decreased contact in local communities, the encroachment of electronic communications upon a large proportion of Western households and the „shrinking‟ of space brought about by ever-increasing air travel are some of the social trends of globalisation Harbord considers, which with the release of films like Iňárritu‟s more recent Babel, show no signs of disappearing from our cinema screens. Code Unknown is probably the film in which Haneke tackles the theme of the global city most directly, but running rapidly through his German-language then French-language filmography, it is immediately obvious that he has always been a filmmaker of space rather than place, in the sense that „local‟ phenomena defined as events, customs or practices particular to one city, region or even nation, seem of little interest to him. Haneke‟s eye is detained less by the quirky, the idiomatic or the quaint than by the flat, the anonymous and the expressionless: as Paul Arthur observes, „the treatment of urban exteriors in Hidden and Code Unknown recalls the huge architectural photostudies of Thomas Struth and Andreas Gursky‟ (Arthur 2005: 28). -
A Companion to Michael Haneke
A Companion to Michael Haneke Edited by Roy Grundmann A John Wiley & Sons, Ltd., Publication A Companion to Michael Haneke Wiley-Blackwell Companions to Film Directors The Wiley-Blackwell Companions to Film Directors survey key directors whose work together constitutes what we refer to as the Hollywood and world cinema canons. Whether Haneke or Hitchcock, Bigelow or Bergmann, Capra or the Coen brothers, each volume, comprised of 25 or more newly commissioned essays writ- ten by leading experts, explores a canonical, contemporary and/or controversial auteur in a sophisticated, authoritative, and multi-dimensional capacity. Individual volumes interrogate any number of subjects – the director’s oeuvre; dominant themes, well-known, worthy, and under-rated films; stars, collaborators, and key influences; reception, reputation, and above all, the director’s intellectual currency in the scholarly world. 1 A Companion to Michael Haneke, edited by Roy Grundmann 2 A Companion to Alfred Hitchcock, edited by Leland Poague and Thomas Leitch 3 A Companion to Rainer Fassbinder, edited by Brigitte Peucker 4 A Companion to Werner Herzog, edited by Brad Prager 5 A Companion to François Truffaut, edited by Dudley Andrew and Anne Gillian 6 A Companion to Pedro Almódovar, edited by Marvin D’Lugo and Kathleen Vernon 7 A Companion to John Ford, edited by Peter Lehman 8 A Companion to Jean Renoir, edited by Alistair Phillips and Ginette Vincendeau 9 A Companion to Louis Buñuel, edited by Robert Stone and Julian Daniel Gutierrez-Albilla 10 A Companion to Martin Scorsese, edited by Peter J. Bailey and Sam B. Girgus 11 A Companion to Woody Allen, edited by Aaron Baker A Companion to Michael Haneke Edited by Roy Grundmann A John Wiley & Sons, Ltd., Publication This edition first published 2010 © 2010 Blackwell Publishing Ltd except for editorial material and organization © 2010 Roy Grundmann Blackwell Publishing was acquired by John Wiley & Sons in February 2007. -
An Updated Outline Will Be Available in January
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. 1 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.