This essay analyzes Michael Haneke's new film The White Ribbon (2009), focusing on its exceptional plastic qualities and intensive use of sound. It is argued that an ironic, disjunctive practice of montage exposes and resists the narrative of ritualized punishment, thereby transforming the “games” of violence previously rendered in Haneke's cinema in primarily visual terms.
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Research Article| June 01 2010
Aberrations of Beauty: Violence and Cinematic Resistance in Haneke's The White Ribbon
Film Quarterly (2010) 63 (4): 48–55.
James S. Williams; Aberrations of Beauty: Violence and Cinematic Resistance in Haneke's The White Ribbon. Film Quarterly 1 June 2010; 63 (4): 48–55. doi: https://doi.org/10.1525/FQ.2010.63.4.48
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