A Companion To Michael Haneke
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ISBN13:9781405188005
出版社:John Wiley & Sons Inc
作者:Grundmann
出版日:2010/04/13
裝訂/頁數:精裝/656頁
規格:25.4cm*17.8cm*4.4cm (高/寬/厚)
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目次
商品簡介
A Companion to Michael Haneke is a definitive collection of newly-commissioned work that covers Haneke's body of work in its entirety, catering to students and scholars of Haneke at a time when interest in the director and his work is soaring.
Introduces one of the most important directors to have emerged on the global cinema scene in the past fifteen years
Caters to students and scholars of Haneke at a time when interest in the director and his work is soaring
Includes exclusive interviews with Michael Haneke, including an interview discussion of his most recent film, The White Ribbon
Considers themes, topics, and subjects that have formed the nucleus of the director's life's work: the fate of European cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance
Features critical examinations of La Pianiste, Time of the Wolf, Three Paths to the Lake and Caché, amongst others
Introduces one of the most important directors to have emerged on the global cinema scene in the past fifteen years
Caters to students and scholars of Haneke at a time when interest in the director and his work is soaring
Includes exclusive interviews with Michael Haneke, including an interview discussion of his most recent film, The White Ribbon
Considers themes, topics, and subjects that have formed the nucleus of the director's life's work: the fate of European cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance
Features critical examinations of La Pianiste, Time of the Wolf, Three Paths to the Lake and Caché, amongst others
作者簡介
Roy Grundmann is Associate Professor of Film Studies, and Film Studies Program Director in the Department of Film and Television, Boston University. He is co-editor of the multi-volume Blackwell History of American Film.
目次
Notes on Contributors.
Acknowledgments.
Introduction: Haneke's Anachronism (Roy Grundmann).
Part I Critical and Topical Approaches to Haneke's Cinema.
1 Performative Self-Contradictions: Michael Haneke's Mind Games (Thomas Elsaesser).
2 Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke's Caché (Thomas Y. Levin).
3 Infectious Images: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and Film (Vinzenz Hediger).
4 Tracking Code Unknown (Tom Conley).
5 Michael Haneke and the New Subjectivity: Architecture and Film (Peter Eisenman).
6 Games Haneke Plays: Reality and Performance (Brigitte Peucker).
7 Figures of Disgust (Christa Blümlinger).
8 Without Music: On Caché (Michel Chion).
9 Fighting the Melodramatic Condition: Haneke’s Polemics (Jörg Metelmann).
10 “Mourning for the Gods Who Have Died”: The Role of Religion in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).
Part II The Television Films.
11 A Melancholy Labor of Love, or Film Adaptation as Translation: Three Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the Television Years: A Reading of Lemmings (Peter Brunette).
13 Variations on Themes: Spheres and Space in Haneke’s Variation (Monica Filimon and Fatima Naqvi).
14 Projecting Desire, Rewriting Cinematic Memory: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).
15 (Don’t) Look Now: Hallucinatory Art History in Who Was Edgar Allan? (Janelle Blankenship).
16 Bureaucracy and Visual Style (Brian Price).
Part III The German-Language Theatrical Features.
17 Structures of Glaciation: Gaze, Perspective, and Gestus in the Films of Michael Haneke (Georg Seeßlen).
18 The Void at the Center of Things: Figures of Identity in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).
19 How to Do Things with Violences (Eugenie Brinkema).
20 Between Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).
21 Hollywood Endgames (Leland Monk).
Part IV The French-Language Theatrical Features.
22 Class Conflict and Urban Public Space: Haneke and Mass Transit (Barton Byg).
23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).
24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché (Kevin L. Stoehr).
25 The Unknown Piano Teacher (Charles Warren).
26 Discordant Desires, Violent Refrains: La Pianiste (The Piano Teacher) (Jean Ma).
27 Civilization’s Endless Shadow: Haneke’s Time of the Wolf (Evan Torner).
28 The Intertextual and Discursive Origins of Terror in Michael Haneke's Caché (T. Jefferson Kline).
Part V Michael Haneke Speaks.
29 Terror and Utopia of Form: Robert Bresson’s Au hasard Balthazar (Michael Haneke).
30 Violence and the Media (Michael Haneke).
31 The World That Is Known: An Interview with Michael Haneke (Christopher Sharrett).
32 Unsentimental Education: An Interview with Michael Haneke (Roy Grundmann).
Filmography.
Index.
Acknowledgments.
Introduction: Haneke's Anachronism (Roy Grundmann).
Part I Critical and Topical Approaches to Haneke's Cinema.
1 Performative Self-Contradictions: Michael Haneke's Mind Games (Thomas Elsaesser).
2 Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke's Caché (Thomas Y. Levin).
3 Infectious Images: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and Film (Vinzenz Hediger).
4 Tracking Code Unknown (Tom Conley).
5 Michael Haneke and the New Subjectivity: Architecture and Film (Peter Eisenman).
6 Games Haneke Plays: Reality and Performance (Brigitte Peucker).
7 Figures of Disgust (Christa Blümlinger).
8 Without Music: On Caché (Michel Chion).
9 Fighting the Melodramatic Condition: Haneke’s Polemics (Jörg Metelmann).
10 “Mourning for the Gods Who Have Died”: The Role of Religion in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).
Part II The Television Films.
11 A Melancholy Labor of Love, or Film Adaptation as Translation: Three Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the Television Years: A Reading of Lemmings (Peter Brunette).
13 Variations on Themes: Spheres and Space in Haneke’s Variation (Monica Filimon and Fatima Naqvi).
14 Projecting Desire, Rewriting Cinematic Memory: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).
15 (Don’t) Look Now: Hallucinatory Art History in Who Was Edgar Allan? (Janelle Blankenship).
16 Bureaucracy and Visual Style (Brian Price).
Part III The German-Language Theatrical Features.
17 Structures of Glaciation: Gaze, Perspective, and Gestus in the Films of Michael Haneke (Georg Seeßlen).
18 The Void at the Center of Things: Figures of Identity in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).
19 How to Do Things with Violences (Eugenie Brinkema).
20 Between Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).
21 Hollywood Endgames (Leland Monk).
Part IV The French-Language Theatrical Features.
22 Class Conflict and Urban Public Space: Haneke and Mass Transit (Barton Byg).
23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).
24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché (Kevin L. Stoehr).
25 The Unknown Piano Teacher (Charles Warren).
26 Discordant Desires, Violent Refrains: La Pianiste (The Piano Teacher) (Jean Ma).
27 Civilization’s Endless Shadow: Haneke’s Time of the Wolf (Evan Torner).
28 The Intertextual and Discursive Origins of Terror in Michael Haneke's Caché (T. Jefferson Kline).
Part V Michael Haneke Speaks.
29 Terror and Utopia of Form: Robert Bresson’s Au hasard Balthazar (Michael Haneke).
30 Violence and the Media (Michael Haneke).
31 The World That Is Known: An Interview with Michael Haneke (Christopher Sharrett).
32 Unsentimental Education: An Interview with Michael Haneke (Roy Grundmann).
Filmography.
Index.
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