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.

This content is only available via PDF.
You do not currently have access to this content.