Michael Haneke’s “Cache” (“Hidden”) as an Experimental Performative “Documentary”
Abstract
The interpretation of the film leads the author to some basic conclusions. According to Sikora it can be concluded that (1) Haneke’s film should be interpreted through the paradigm of crystalline cinema, and not the organic one (G. Deleuze); (2) Haneke in a very sophisticated way blurs the distinction between what is internal and external, and thus blurs the distinction between what is “real” and what is “imagined” - that way both spheres are intertwined with each other (Möbius strip), when they refer to the reality; (3) this sophisticated game shows how difficult it can be to become aware of racism; (4) in effect the viewer is intellectually, sensually and “physically” forced to become aware of painful social issues (e.g. racism) - and that is the reason why this film can be considered to be an experimental performative “documentary”.
Keywords:
Michael Haneke, Gilles Deleuze, performative documentaryReferences
Deleuze, Gilles. 2008. Kino 1. Obraz ruch 2. Obraz-czas. tłum. J. Margański. Gdańsk: słowo/obraz terytoria.
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Latour, Bruno. 2010. Splatając na nowo to, co społeczne. Wprowadzenie do teorii aktora-sieci. tłum. A. Derra, K. Arbiszewski. Kraków: Universitas.
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Authors
Sławomir Sikorakwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Antropolog kultury, adiunkt w Instytucie Etnologii i Antropologii Kulturowej UW. Publikacje i prowadzone zajęcia koncentrują się wokół antropologii wizualnej, filmu, antropologii śmierci oraz teoretycznych zagadnień związanych z antropologią. Autor książek Fotografia. Między dokumentem a symbolem (2004) oraz Film i paradoksy wizualności. Praktykowanie antropologii (2012). Współredaktor książki Zanikające granice. Antropologizacja nauki i jej dyskursów (2009). Współkurator i autor tekstu do katalogu wystawy Nostalgia urzeczywistniona. Afryka w fotografiach Kazimierza Zagórskiego (Zachęta 2005); współautor filmów Żeby to było ciekawe... O mediatyzacji obrzędów weselnych (2009) oraz Antropologia dziś. Kilka obszarów nie/oczywistości (2010).
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