The children are always watching : violence, distressed children, and signs of hope in the cinema of Michael Haneke

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dc.contributor.advisorStaiger, Janeten
dc.contributor.committeeMemberKearney, Mary C.en
dc.creatorTate, Adam Wyatten
dc.date.accessioned2011-07-12T19:29:20Zen
dc.date.accessioned2017-05-11T22:22:41Z
dc.date.available2011-07-12T19:29:20Zen
dc.date.available2017-05-11T22:22:41Z
dc.date.issued2011-05en
dc.date.submittedMay 2011en
dc.date.updated2011-07-12T19:29:35Zen
dc.descriptiontexten
dc.description.abstractThis thesis is an analysis of director Michael Haneke’s theatrically-released films. Using a neoformalist approach, it is a dissection of how the director uniquely employs violence and child and youth characters in his films to critique society while looking for potential signs of hope. I argue that Haneke is a successor to those filmmakers who have taken violence to a new extreme in the cinema. However, Haneke has created a signature form of depicting violence in his films. I also argue that although Haneke typically places child characters in peril, a narrative facet that perhaps turns away some viewers, their placement in such scenarios serves to reflect his consistent view of a crumbling, insensitive society. Despite these representations of violence and children in peril, Haneke still finds places to infuse glimmers of hope in his narratives.en
dc.description.departmentRadio-Television-Filmen
dc.format.mimetypeapplication/pdfen
dc.identifier.slug2152/ETD-UT-2011-05-3304en
dc.identifier.urihttp://hdl.handle.net/2152/ETD-UT-2011-05-3304en
dc.language.isoengen
dc.subjectHaneke, Michael, 1942-en
dc.subjectFilmsen
dc.subjectMotion picturesen
dc.subjectViolenceen
dc.subjectChildrenen
dc.titleThe children are always watching : violence, distressed children, and signs of hope in the cinema of Michael Hanekeen
dc.type.genrethesisen

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