Abstract
This article utilizes Michel Foucault's characterization of the Christian pastorate to examine The White Ribbon (2009), directed by Michael Haneke. Foucault's framework assists us in inspecting the nature of the Protestant community depicted in the film, its systems of discipline, repression, and control, and the bond between these systems and the violence that erupts as the plot unfolds. Reading Haneke avec Foucault thus sheds light on the broader problem of "religious violence," while also drawing out the sometimes submerged but skillful interpretation of religion proposed by these two auteurs.
Highlights
For over three decades, Austrian director Michael Haneke’s films have skillfully interrogated consumer capitalism, familial alienation, ethnic conflict, and mass media, culminating in his Oscar-winning Amour in 2012 and, most recently, Happy End in 2017
Herling is Associate Professor of Religious Studies at Marymount Manhattan College. He has published on the cross-cultural history of philosophy, theory and method in the academic study of religion, and religion, philosophy, and film
German Protestantism is a dominant force in Eichwald, the small German village that is the center of the action
Summary
Austrian director Michael Haneke’s films have skillfully interrogated consumer capitalism, familial alienation, ethnic conflict, and mass media, culminating in his Oscar-winning Amour in 2012 and, most recently, Happy End in 2017. (2021) "Haneke avec Foucault: The White Ribbon, Religion, and Violence," Journal of Religion & Film: Vol 25 : Iss. 2 , Article 5.
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