دانلود کتاب A Companion to Michael Haneke

Content: Chapter 1 Performative Self?Contradictions: Michael Haneke's Mind Games (pages 51–74): Thomas ElsaesserChapter 2 Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke's Cache (pages 75–90): Thomas Y. LevinChapter 3 Infectious Images: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and Film (pages 91–112): Vinzenz HedigerChapter 4 Tracking Code Unknown (pages 113–123): Tom ConleyChapter 5 Michael Haneke and the New Subjectivity: Architecture and Film (pages 124–129): Peter EisenmanChapter 6 Games Haneke Plays: Reality and Performance (pages 130–146): Brigitte PeuckerChapter 7 Figures of Disgust (pages 147–160): Christa BlumlingerChapter 8 Without Music: On Cache (pages 161–167): Michel ChionChapter 9 Fighting the Melodramatic Condition: Haneke's Polemics (pages 168–186): Jorg MetelmannChapter 10 “Mourning for the Gods Who Have Died”: The Role of Religion in Michael Haneke's Glaciation Trilogy (pages 187–201): Gregor ThuswaldnerChapter 11 A Melancholy Labor of Love, or Film Adaptation as Translation: Three Paths to the Lake (pages 203–226): Fatima NaqviChapter 12 Michael Haneke and the Television Years: A Reading of Lemmings (pages 227–242): Peter BrunetteChapter 13 Variations on Themes: Spheres and Space in Haneke's Variation (pages 243–262): Monica Filimon and Fatima NaqviChapter 14 Projecting Desire, Rewriting Cinematic Memory: Gender and German Reconstruction in Michael Haneke's Fraulein (pages 263–278): Tobias NaglChapter 15 (Don't) Look Now: Hallucinatory Art History in Who Was Edgar Allan? (pages 279–300): Janelle BlankenshipChapter 16 Bureaucracy and Visual Style (pages 301–320): Brian PriceChapter 17 Structures of Glaciation: Gaze, Perspective, and Gestus in the Films of Michael Haneke (pages 321–336): Georg See?lenChapter 18 The Void at the Center of Things: Figures of Identity in Michael Haneke's Glaciation Trilogy (pages 337–353): Peter J. SchwartzChapter 19 How to Do Things with Violences (pages 354–370): Eugenie BrinkemaChapter 20 Between Adorno and Lyotard: Michael Haneke's Aesthetic of Fragmentation (pages 371–419): Roy GrundmannChapter 21 Hollywood Endgames (pages 420–437): Leland MonkChapter 22 Class Conflict and Urban Public Space: Haneke and Mass Transit (pages 439–454): Barton BygChapter 23 Multicultural Encounters in Haneke's French?Language Cinema (pages 455–476): Alex LykidisChapter 24 Haneke's Secession: Perspectivism and Anti?Nihilism in Code Unknown and Cache (pages 477–494): Kevin L. StoehrChapter 25 The Unknown Piano Teacher (pages 495–510): Charles WarrenChapter 26 Discordant Desires, Violent Refrains: La Pianiste (The Piano Teacher) (pages 511–531): Jean MaChapter 27 Civilization's Endless Shadow: Haneke's Time of the Wolf (pages 532–550): Evan TornerChapter 28 The Intertextual and Discursive Origins of Terror in Michael Haneke's Cache (pages 551–561): T. Jefferson KlineChapter 29 Terror and Utopia of Form: Robert Bresson's Au hasard Balthazar (pages 563–574): Michael HanekeChapter 30 Violence and the Media (pages 575–579): Michael HanekeChapter 31 The World That Is Known: An Interview with Michael Haneke (pages 580–590): Christopher SharrettChapter 32 Unsentimental Education: An Interview with Michael Haneke (pages 591–606): Roy Grundmann