Abstract
The many echoes linking Michael Haneke’s Amour (2012) to Alain Resnais’s Hiroshima mon amour (1958) serve as a point of departure for investigation of Haneke’s debt to the earlier film, to its stars (Emmanuelle Riva and Jean-Louis Trintignant), and to the New Wave more generally. The essay focuses on sound—noise, music, and especially the materiality of the spoken word—in order to probe the dissonance between the actors’ familiar voices and their painfully aged faces. It then becomes possible to ask what it means to recognize a voice, and what might be the contribution of voices to our understanding of cinema history.
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