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Companion to Michael Haneke

Contributor(s): Grundmann, Roy (Editor)

ISBN: 9781405188005

Publisher: Wiley-Blackwell

Hardcover
$196.95
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Pub Date: April 26, 2010

Dewey: 791.43023309

LCCN: 2009054210

Lexile Code: 0000

Features: Bibliography, Dust Cover, Illustrated, Index, Price on Product, Table of Contents

Target Age Group: NA to NA

Physical Info: 1.80" H x 9.80" L x 7.00" W ( 2.86 lbs) 656 pages

Series: Wiley Blackwell Companions to Film Directors

Descriptions, Reviews, etc.

Description:

A Companion to Michael Haneke

With a new preface addressing the Academy award-winning film, Amour, this new-in-paper edition has established itself as the definitive collection on Michael Haneke--from his early work in television and theater, through his prodigious cinematic output, to his 2009 triumph at Cannes.

A Companion to Michael Haneke brings together essays by leading film scholars, as well as interviews with the director himself, to probe the provocative and controversial themes that have formed the nucleus of Haneke's work--intergenerational dysfunction and social alienation, colonialism and citizenship, surveillance and pornography, mass culture and media violence. The volume also offers a critical examination of the auteur's oeuvre, including Three Paths to the Lake, Lemmings, Benny's Video, The Piano Teacher, Caché, Funny Games, and the 2009 Palme d'Or winner, The White Ribbon.

Review Quotes:

"This makes the arrival of A Companion to Michael Haneke all the more welcome--for supporters like me, who will find ample evidence of Haneke's intelligence and enterprise, and for open-minded skeptics willing to risk a change of heart by perusing the largest body of critical, theoretical, and historical work on Haneke so far assembled in one volume. The book's thirty-two essays have been judiciously chosen and edited by Roy Grundmann, a firstrate scholar of against-the-grain cinema...This gives some idea of the breadth, creativity, and intelligence that distinguish this fine collection of essays on a filmmaker I still stand by as one of the most artfully audacious of our day." (Film Quarterly, 1 April 2012)

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