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 four-volume Blackwell History of American Film.

Notes on Contributors viii

Acknowledgments xiv

Introduction: Haneke's Anachronism 1
Roy Grundmann

Part I Critical and Topical Approaches to Haneke's Cinema 51

1 Performative Self-Contradictions: Michael Haneke's Mind Games 53
Thomas Elsaesser

2 Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke's Caché 75
Thomas Y. Levin

3 Infectious Images: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and Film 91
Vinzenz Hediger

4 Tracking Code Unknown 113
Tom Conley

5 Michael Haneke and the New Subjectivity: Architecture and Film 124
Peter Eisenman

6 Games Haneke Plays: Reality and Performance 130
Brigitte Peucker

7 Figures of Disgust 147
Christa Blümlinger

8 Without Music: On Caché 161
Michel Chion

9 Fighting the Melodramatic Condition: Haneke's Polemics 168
Jörg Metelmann

10 "Mourning for the Gods Who Have Died": The Role of Religion in Michael Haneke's Glaciation Trilogy 187
Gregor Thuswaldner

Part II The Television Films 203

11 A Melancholy Labor of Love, or Film Adaptation as Translation: Three Paths to the Lake 205
Fatima Naqvi

12 Michael Haneke and the Television Years: A Reading of Lemmings 227
Peter Brunette

13 Variations on Themes: Spheres and Space in Haneke's Variation 243
Monica Filimon and Fatima Naqvi

14 Projecting Desire, Rewriting Cinematic Memory: Gender and German Reconstruction in Michael Haneke's Fraulein 263
Tobias Nagl

15 (Don't) Look Now: Hallucinatory Art History in Who Was Edgar Allan? 279
Janelle Blankenship

16 Bureaucracy and Visual Style 301
Brian Price

Part III The German-Language Theatrical Features 321

17 Structures of Glaciation: Gaze, Perspective, and Gestus in the Films of Michael Haneke 323
Georg Seeßlen

18 The Void at the Center of Things: Figures of Identity in Michael Haneke's Glaciation Trilogy 337
Peter J. Schwartz

19 How to Do Things with Violences 354
Eugenie Brinkema

20 Between Adorno and Lyotard: Michael Haneke's Aesthetic of Fragmentation 371
Roy Grundmann

21 Hollywood Endgames 420
Leland Monk

Part IV The French-Language Theatrical Features 439

22 Class Conflict and Urban Public Space: Haneke and Mass Transit 441
Barton Byg

23 Multicultural Encounters in Haneke's French-Language Cinema 455
Alex Lykidis

24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché 477
Kevin L. Stoehr

25 The Unknown Piano Teacher 495
Charles Warren

26 Discordant Desires, Violent Refrains: La Pianiste (The Piano Teacher) 511
Jean Ma

27 Civilization's Endless Shadow: Haneke's Time of the Wolf 532
Evan Torner

28 The Intertextual and Discursive Origins of Terror in Michael Haneke's Caché 551
T. Jefferson Kline

Part V Michael Haneke Speaks 563

29 Terror and Utopia of Form: Robert Bresson's Au hasard Balthazar 565
Michael Haneke

30 Violence and the Media 575
Michael Haneke

31 The World That Is Known: An Interview with Michael Haneke 580
Christopher Sharrett

32 Unsentimental Education: An Interview with Michael Haneke 591
Roy Grundmann

Filmography 607

Index 619