By Oliver C. Speck
A examine of Michael Haneke's complete physique of labor, broadening the scholarship in this hugely debatable filmmaker. It explores how a political manifests itself in his work.
Taking its cues from the cinematic recommendations of the arguable Austrian-born director Michael Haneke, humorous Frames explores how a political considering manifests itself in his paintings. The ebook is split into components. within the first, Oliver C. Speck explores a few of Haneke''s Deleuzian characteristics - exhibiting how the theoretical strategies of the digital, of filmic area and of realism should be necessary instruments for unlocking the issues that Haneke formulates and solves via filmic capability. within the moment, Speck discusses a number themes that seem in all of Haneke''s movies yet that haven''t, previously, been totally spotted or analyzed. those chapters reveal how Haneke performs the position of "diagnostician of culture", how he reads - for instance - insanity, suicide and early life. like all different modern eu administrators, Haneke addresses issues thought of tough whilst measured by way of the criteria of business cinema: the annoying results of violence, racism, and alienation. humorous Frames is an incisive and unique contribution to the turning out to be scholarship on essentially the most fascinating auteurs of our time.
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Extra resources for Funny Frames: The Filmic Concepts of Michael Haneke
While I cannot provide an introduction to Deleuze here,5 it is necessary to briefly outline Deleuze’s and also Haneke’s different thinking about cinema. Both come as autodidacts to cinema, as observers, often willfully ignoring the written and unwritten rules of the game. 40 Funny Frames The writings of Gilles Deleuze are, contrary to their influence on film theory, not geared towards an analysis or even understanding of film. His two volume work, Cinema, is primarily a work of philosophy. However, it seems that the works of both Haneke and Deleuze are aimed at solving problems of representation and movement and that both demand a different way of thinking about cinema, an ethical thinking from the point of view of the image.
Shifting Frames Caché/Hidden (2005), Michael Haneke’s critically and commercially most successful film so far, begins with what must already be one of the most written about sequences in film history. These first five and a half minutes, consisting of a long shot filmed by a stationary camera from a slightly elevated position in a single long take—only briefly interrupted by a shot of a man leaving a house and looking for something— lay out the aesthetic and thematic groundwork for the film to follow: what appears to be a neutral shot of a middle-class Parisian neighborhood is suddenly revealed to be a recording by a fast-forwarding of the tape and two voices which—as the viewer has to deduct—belong to the couple who lives in the house that appears at the center of the frame.
It is not a variation of truth according to the subject, but the condition in which the truth of a variation appears to the subject. This is the very idea of Baroque perspective. (1993: 20) Deleuze differentiates relativism, that is, the commonly held attitude that everyone possesses an equally-valid personal perspective onto the truth, from the true point of view. Just as there is only one point of view from which we can recognize what a distorted, anamorphic Baroque painting shows, grasping the “truth of a variation” would be to understand what the world looks like from the perspective of—to take an example from Haneke—Eva, in all her incarnations in the cinema of Haneke.