"Michael Haneke is one of the most important directors working in Europe today, with films such as "Funny Games" (1997), "Code Unknown" (2000), and "Hidden" (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of "The Seventh Continent" (1989) and "Time of the ..."
"Throughout the book, the cinema's artistic encounter with the city always intersects with a social and political engagement in which urgent issues of class, race, sexuality, the environment, liberty, capital, and totalitarianism are everywhere at stake.The city has long been an important location for filmmakers. Visually compelling and always modern, it is the perfect metaphor for man's place in the contemporary world. In this provocati ..."
"Vienna was also the capital of an empire, and if you pick up the phone directory,
you see more than 50 per cent Yugoslav- or Czech-sounding names, but in the
underground, it's not as visible. (Guilloux 2000: 2) Multiculturalism – either as
failed project or utopian ideal – is clearly one of Haneke's chief preoccupations,
but as a lmmaker he is concerned more with the visibility of a city's social fabric
than with the political hist ..."
"The city has long been an important location for filmmakers. Visually compelling and always modern, it is the perfect metaphor for man's place in the contemporary world. In this provocative collection of essays, films as diverse as The Man with the Movie Camera, Annie Hall, Street of Crocodiles, Boyz N the Hood, Three Colors Red, and Crash are examined in terms of the relationship between cinema and the changing urban experience in Eur ..."
"Michael Haneke is one of the most important directors working in Europe today, with films such as "Funny Games" (1997), "Code Unknown" (2000), and "Hidden" (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of "The Seventh Continent" (1989) and "Time of the ..."