This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.
Strange Contracts: Elfriede Jelinek and Michael Haneke
Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan
Neha Arora and Stephan Resch
Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.
Forking Cinematic Paths to the Self: Neurocinematically Informed Model of Empathy in Motion Pictures
Gal Raz and Talma Hendler
This article reviews significant developments in affective neuroscience suggesting a refinement of the contemporary theoretical discourse on cinematic empathy. Accumulating evidence in the field points to a philogeneticontogenetic-neural boundary separating empathic processes driven by either cognitive or somato-visceral representations of others. Additional evidence suggests that these processes are linked with parasympathetically driven mitigation and proactive sympathetic arousal. It presents empirical findings from a functional magnetic resonance (fMRI) film viewing study, which are in line with this theoretical distinction. The findings are discussed in a proposed cinematographic framework of a general dichotomy between eso (inward-directed) and para (side by side with)—dramatic cinematic factors impinging on visceral representations of real-time occurrences or cognitive representations of another's mind, respectively. It demonstrates the significance of this dichotomy in elucidating the unsettling emotional experience elicited by Michael Haneke's Amour.
Further Thoughts on Measuring Narrational Complexity in Fiction Film
Joseph P. Magliano, Lingfei Luan, and Laura Allen
processing complexity at the front- and back-end. However, this is an oversimplification. Consider the final shot of the movie Caché (Michael Haneke, 2005), which is a master shot of the outside of a school containing events at the end of a school day (see
Passing for Children in Cate Shortland’s Lore
Andrew J. Webber
to network members for their feedback. 2 A particular example, which has indeed been compared to Lore (see Buffinga 2016 ), would be Michael Haneke’s Das weiße Band ( The White Ribbon ) , whose subtitle is Eine Deutsche
certain art house cinema suspicious of the face in close-up, although detractors of filmmakers such as Michael Haneke ( Code Unknown  and Hidden ) have argued that this distance produces ‘cold films’ with a lack of emotional engagement
What Was So Funny about Les Aventures de Rabbi Jacob (1973)
A Comedic Film between History and Memory
mutual empathy rather than through reflection on individual or societal culpability for past wrongs and present inequalities. Two examples of this latter style are Mathieu Kassovitz’s La Haine (1995) and Austrian director Michael Haneke’s Caché (2005
Situating Screen Bodies
number of articles on film sound, musicality, and embodied screen experience; examinations of films by Michael Haneke, Barbara Hammer, Darren Aronofsky, Lars von Trier, Jim Chuchu, and Naomi Kawase; and speculative articles on constructions of the
Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis
’s Irreversible (2002), and Michael Haneke’s Caché (2005). Intriguingly, he also spends significant time with titles that may be less familiar to even those American readers who regularly watch foreign films: Lukas Moodysson’s Lilja 4-Ever (2002), Mikael
Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo
strange emotional state of confusion, self-awareness, and, potentially, guilt and shame” (131). He calls this film—and others ( Funny Games (Michael Haneke, 2007), The Human Centipede (Tom Six, 2009))—“hypocritically violent,” since they both exploit