Michael Haneke
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| + | "My films are intended as polemical statements against the [[American cinema|American 'barrel down' cinema]] and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus."--[[Film as Catharsis]] | ||
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| - | '''Michael Haneke''' (born [[March 23]], [[1942]] in [[Munich]], [[Bavaria]], [[Germany]]) is a controversial [[Austria|Austrian]] filmmaker and writer best known for his [[bleak]] and, for some, [[disturbing]] style. His films often document problems and failures in modern society. Haneke has worked in [[television]]‚ [[theater]] and [[Film|cinema]]. He is also known for [[Political cinema|raising social issues in his work]]. | ||
| - | == Themes == | ||
| - | :''"My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus."'' | ||
| - | ::-- From "''Film as catharsis''", ISBN 3901272003 | ||
| - | Rejecting what is considered to be standard conventions of timing, the build up of suspense and logical plotting, Haneke is not worried about inducing boredom, irritation and frustration. His films are considered to be very immediate without being simplistic. Arguably concerned with a society that no longer knows how to love—or for that matter how to hate—his films are in many ways an attempt to resharpen the audience's feelings and responses to the world. | + | '''Michael Haneke''' (born 23 March 1942) is an [[Austrian film director]] and [[screenwriter]]. His work often examines [[social issues]] and depicts the feelings of [[estrangement]] experienced by individuals in [[modern society]]. |
| - | Recurring themes include: | + | His [[List of directorial debuts|directorial debut]], ''[[The Seventh Continent (1989 film)|The Seventh Continent]]'', was released in 1989. Later films include ''[[The Piano Teacher (film)|The Piano Teacher]]'', ''[[Caché (film)|Caché]]'', [[Funny Games (1997 film)|''Funny Games'']], ''[[The White Ribbon]]'', ''[[Amour (2012 film)|Amour]]''and ''[[Happy End (2017 film)|Happy End]]''. |
| - | * the introduction of a malevolent force into comfortable bourgeois existence, as seen in ''[[Funny Games (1997 film)|Funny Games]]'' and ''[[Caché (film)|Caché]]''; | + | |
| - | * a critique directed towards mass media, especially television, as seen in ''Funny Games'', where some of the characters are aware that they feature in a movie, and ''Benny's Video''. | + | |
| - | * the inability or unwillingness to communicate directly from one person to another, or an unwillingness to involve oneself in the actions and decisions of others, even those in the same living conditions, as seen in ''[[Benny's Video]]'', ''[[71 Fragmente einer Chronologie des Zufalls (1994 film)|71 Fragmente einer Chronologie des Zufalls]]'' and ''[[Code Unknown|Code inconnu: Récit incomplet de divers voyages]]''. | + | |
| - | * characters named George and Anna (or some alternate version of those names) | + | |
| - | ==Filmography== | ||
| - | ===Feature Films=== | ||
| - | * ''[[Der Siebente Kontinent]]'' ([[1989 in film|1989]]) | ||
| - | ** ''The Seventh Continent'' | ||
| - | * ''[[Benny's Video]]'' ([[1992 in film|1992]]) | ||
| - | * ''[[71 Fragmente einer Chronologie des Zufalls]]'' | ||
| - | ** ''71 Fragments of a Chronology of Chance'' ([[1994 in film|1994]]) | ||
| - | * ''[[Funny Games (1997 film)|Funny Games]]'' ([[1997 in film|1997]]) | ||
| - | *''[[Code Unknown|Code inconnu: Récit incomplet de divers voyages]]'' ([[2000 in film|2000]]) | ||
| - | ** ''Code Unknown: Incomplete Tales of Several Journeys'' | ||
| - | * ''[[La pianiste]]'' ([[2001 in film|2001]]) | ||
| - | ** ''The Piano Teacher'' | ||
| - | * ''[[Le Temps du Loup|Le temps du loup]]'' ([[2002 in film|2002]]) | ||
| - | ** ''Time of the Wolf'' | ||
| - | * ''[[Caché (film)|Caché]]'' ([[2004 in film|2004]]) | ||
| - | ** ''Hidden'' | ||
| - | * ''[[Funny Games (2007 film)|Funny Games]]'' ([[2007 in film|2007]]) | ||
| - | * ''Untitled Music-Themed Project'' ([[2008 in film|2008]]) | ||
| - | * ''Untitled Nazi Youth Project'' (TBA) | ||
| - | '''Feature films (as writer)''' | ||
| - | * ''Der Kopf des Mohren'' (dir. [[Paulus Manker]]) ([[1995 in film|1995]]) | ||
| - | ** ''The Moor's Head'' | ||
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"My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus."--Film as Catharsis |
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Michael Haneke (born 23 March 1942) is an Austrian film director and screenwriter. His work often examines social issues and depicts the feelings of estrangement experienced by individuals in modern society.
His directorial debut, The Seventh Continent, was released in 1989. Later films include The Piano Teacher, Caché, Funny Games, The White Ribbon, Amourand Happy End.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Michael Haneke" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
