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.
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© 2007 by the Regents of the University of California.
2007
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