Journal article
Haneke's Endgame
Film quarterly, Vol.67(1), pp.14-21
09/01/2013
DOI: 10.1525/fq.2013.67.1.14
Abstract
Consideration of the narrative structure and effects of editing in Michael Haneke’sAmour(2012) with emphasis on the film’s formal elements and the central role of the ending. By placing the chronological ending of Anne’s (Emmanuelle Riva) death at the film’s beginning, Haneke’s editing creates a type of suspense that constantly anticipates the forgone conclusion. The tension between what is happening and what will happen extends beyond the narrative structure, mirroring Georges’ (Jean-Louis Trintignant) moral dilemma in deciding Anne’s fate. Furthermore, the film’s formal elements work in concert with its elliptical editing: fixed-frame shots of paintings and empty rooms, in their narrative arrest, lack of subjectivity, and representation of vacuity, simultaneously enforce and pause the film’s progression toward inevitable death while George’s own narration within the film provides a complementary text to his final act of love.
Details
- Title: Subtitle
- Haneke's Endgame
- Creators
- Garrett Stewart
- Resource Type
- Journal article
- Publication Details
- Film quarterly, Vol.67(1), pp.14-21
- Publisher
- University of California Press
- DOI
- 10.1525/fq.2013.67.1.14
- ISSN
- 0015-1386
- eISSN
- 1533-8630
- Language
- English
- Date published
- 09/01/2013
- Academic Unit
- Cinematic Arts; English
- Record Identifier
- 9984397927502771
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