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Michael Haneke's Cinema : The Ethic of the Image / Catherine Wheatley.

By: Material type: TextTextSeries: Film Europa ; 7Publisher: New York ; Oxford : Berghahn Books, [2009]Copyright date: ©2009Description: 1 online resource (234 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781845455576
  • 9780857455468
Subject(s): DDC classification:
  • 791.43023/3092 22
LOC classification:
  • PN1998.3 .H36 W44 2011
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- LIST OF ILLUSTRATIONS -- DECLARATION -- A NOTE ON THE TITLES -- ACKNOWLEDGEMENTS -- INTRODUCTION -- Chapter 1 THE LAST MORALIST? -- Chapter 2 NEGOTIATING MODERNISM Der Siebente Kontinent, Benny’s Video, 71 Fragmente einer Chronologie des Zufalls -- Chapter 3 THE ETHICS OF AGGRESSION: Funny Games -- Chapter 4 EMOTIONAL ENGAGEMENT AND NARRATIVITY Code inconnu, La Pianiste, Le Temps du loup -- Chapter 5 SHAME AND GUILT Caché -- CONCLUSION -- Appendix I MICHAEL HANEKE FILMOGRAPHY -- Appendix II MICHAEL HANEKE AT THE BOX OFFICE -- BIBLIOGRAPHY -- INDEX
Summary: Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke’s films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke’s eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke’s ‘ethical cinema’ and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke’s films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780857455468

Frontmatter -- CONTENTS -- LIST OF ILLUSTRATIONS -- DECLARATION -- A NOTE ON THE TITLES -- ACKNOWLEDGEMENTS -- INTRODUCTION -- Chapter 1 THE LAST MORALIST? -- Chapter 2 NEGOTIATING MODERNISM Der Siebente Kontinent, Benny’s Video, 71 Fragmente einer Chronologie des Zufalls -- Chapter 3 THE ETHICS OF AGGRESSION: Funny Games -- Chapter 4 EMOTIONAL ENGAGEMENT AND NARRATIVITY Code inconnu, La Pianiste, Le Temps du loup -- Chapter 5 SHAME AND GUILT Caché -- CONCLUSION -- Appendix I MICHAEL HANEKE FILMOGRAPHY -- Appendix II MICHAEL HANEKE AT THE BOX OFFICE -- BIBLIOGRAPHY -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke’s films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke’s eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke’s ‘ethical cinema’ and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke’s films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)

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