Abstract
ABSTRACT Michael Haneke's career began with harsh, alienating, and self-referential works concerned with violence and social hypocrisy. His later work, especially Hidden (2005), which explores racism in France, is both less disconcerting and more hopeful. This article shows how Haneke's formal strategies, which exasperated some U.S. critics, illuminate his themes.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
