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Michael Haneke

( Director)

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Biography Michael Haneke
Michael Haneke (1942)
.
. Haneke studied philosophy, psychology and director in Vienna.
. From 1967 to 1970 he worked on German television.
. He worked as a theatrical director in Vienna, Berlin, Munich, Stuttgart, Dusseldorf, Frankfurt and Hamburg.
. Independent film director and writer since 1970.

. Michael Haneke is known for his scandalous and shocking films
. Haneke's first film, which brought him fame is "Funny Games". The film tells about how wealthy Austrian family - husband, wife and their young son - arrived in the summer at the dacha. And soon, in their own home they are caught two nice-looking young people who enter into a bet with them - after 12 hours of one family member shall not live ... Friends cleans twisted psychological game in which winners and losers are predetermined ... During the world premiere at the Cannes Film Festival 1997 tickets were made by the special red labels to warn the public that it is waiting for that - something terrible. The film provoked the following response in the press: "Cinemascope masterpiece of horror" (Hollywood Reporter), "The most shocking film of Europe" (Kommersant), "Look, if you ventured" (Film Scouls)

. Haneke film "The Piano Teacher" is not only provoked a strong reaction of the press, but also received many awards
. At the Cannes Film Festival in 2001, the film won three awards at once - the Grand Jury Prize for best female and male roles. The heroine of the film, four decades Erika (Isabelle Huppert) - a famous musician, professor at the Conservatory - sleeps with an elderly mother (Annie Girardot) in the same bed, and regularly attends pornosalony.

Haneke used to shock the audience. He believes that shock the bourgeoisie out of equilibrium output and removes a protective barrier, causing the audience to perceive what is happening with the maximum of emotion. All of his films explore the dark side of human soul, but he never showed on the screen complete villain. Even ruthless scum, destroy family vacationers in the film "Funny Games" (Funny Games) are not deprived of charm and humor - they are ordinary guys and today this terrible double. But buying a naturalistic style of shooting makes history Haneke almost documentary. Starred French actress Isabelle Huppert (Isabelle Huppert) has shocked Europe, expressive playing and desperate frankness with which she conveys her heroine throwing. Many critics were surprised that the popular actress has agreed to such candid shots. But Huppert believes that this is a very human story, full of touching and love, and what form it takes love for the second question.

. Excerpts from an essay by Michael Haneke, VIOLENCE AND THE MEDIA "

. Moviegoer is difficult to distinguish the boundary between objective reality and the author's interpretation
. This is what made the film so appealing. The feeling of excitement from the emotional involvement in the unfolding on-screen stories underground and safely neutralized in the artificial representation of reality. Violence has become a public object of contemplation through the skillful modeling representations of him as a pleasant shiver caused by observation of scenes of violence, even welcomed in homeopathic doses. Controlled provocation of evil makes us hope that in the real world it can still be brought under control.

The situation changed with the advent of television. The speed with which information is transmitted by electronic media, as well as the rapid spread of these funds themselves, led to a change in methods of observation. In the foreground left element documentary. Emerging from the dramatic and aesthetic forms of cinema, television has changed the forms with the constancy of their use.

Cinema tried to resist their enslavement ubiquitous media by increasing its own resources. But television - as much as it was technically possible - and immediately integrate all new in its own system.

. The need to move forward forced the authors to seek a psychological depth that, in turn, continued to further blur the boundary between reality and representation
. The creators of fictional violence must contend with reality, using all the new visual capabilities. This trend does not end in sight. On the contrary, it seems that she has only just begun: in the battle for audience and market gains every innovation, regardless of its nature, - technical or artistic - is a contribution to its advancement.

. Thus, the presentation was to determine the impact of content
. The trouble, however, is that in the course of continuous enhancing effects form the content was freely replaceable measurement. This applies as much to violence and its antithesis, as victims of war and to the stars television series, and as for cars, and to toothpaste. Absolute ambivalence content ensures universal fictional everything that is shown, and, consequently, gives the viewer a sense of security, which he so craves. The relationship between form and content in accordance with the classical aesthetics, it seems, are becoming obsolete. Ethics of sales has little to do with the ethics of social expediency.

. Solutions to this dilemma is not clear - but how could it be otherwise? Yet it might be worth a try?

. Let's start with the assumption that all forms of art reflect the conditions in which they are perceived, not only from an economic standpoint, but also in terms of dialogue between people
. What does this mean for artistic forms of media? The assumption that the viewer could degenerate (or has already degenerated) to the indifferent consumer interchangeable blank forms and includes an element of utopianism. For, . if so, . Is it even possible to restore a torn dialogue, . restore the lost value of the real world in providing the consumer? Or, . other words, . how to give the viewer an opportunity really to accept this loss of reality and his own involvement in it so, . that he could free himself from the victim's stay in the state media and their potential to become a partner?,

. The issue is not that I can show you? But rather, I give the viewer to understand that the show?

. With regard to the theme of violence in particular - the problem is not how I show violence, but how I show the viewer his own position in relation to violence and display it ...


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