ABSTRACT Michael Haneke's career began with harsh, alienating, and self-referential works concerned with violence and social hypocrisy. His later work, especially Hidden (2005), which explores racism in France, is both less disconcerting and more hopeful. This article shows how Haneke's formal strategies, which exasperated some U.S. critics, illuminate his themes.
Haneke: The Coercing of Vision
D. I. GROSSVOGEL, Professor Emeritus of Comparative Literature and Romance Studies at Cornell University, was the founding editor of Diacritics. Among his recent books on cinema are Vishnu in Hollywood: The Changing Image of the American Male (Scarecrow Press, 2000), Didn't You Used to be Depardieu? Film as Cultural Marker in France and Hollywood (Peter Lang Publishing, 2002), Scenes in the City: Film Visions of Manhattan Before 9/11 (Peter Lang Publishing, 2003), and Marianne and the Puritan: Transformations of the Couple in French and American Films (Lexington Books, 2005).
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D. I. Grossvogel; Haneke: The Coercing of Vision. Film Quarterly 1 June 2007; 60 (4): 36–43. doi: https://doi.org/10.1525/fq.2007.60.4.36
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