Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from (...) its terrible and inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of The Piano Teacher (2001), and the 2007 shot-for-shot remake of Funny Games. (shrink)

The films of Michael Haneke, so some critics argue, exploit the nihilism of a media-saturated culture, indulging in a dubious manipulation of audience expectations and our fascination with violence. Such criticisms, however, misunderstand or distort the complex moral, political, and aesthetic purpose of Haneke’s work. Indeed, his films are better understood as examining the socially disorienting and subjectively disintegrating effects of our post-humanist world of mass-mediatised experience. At the same time, they are highly reflexive cinematic works that (...) force us to reflect – both morally and aesthetically – upon our relationship with cinematic and media images. These two strands of Haneke’s work comprise a sustained meditation on what we might call the “post-humanist condition”: a cinematic critique of the disintegration and fragmentation of affect and subjectivity, a disintegration closely linked with contemporary forms of mediatised spectacle and the cynical consumption of images of violence. Given the mediatised nature of contemporary social experience, the only effective way to engage in cinematic critique is by means of the very images that capture and captivate us. (shrink)

Haneke’s 1997 adaptation of Franz Kafka’s Das Schloß is thus far his last work for television[1]. Although «the Austrian film almanac lists» it «as a feature film» and it «was released in Austrian cinemas before its television première» [2], Haneke has always professed The Castle to be a TV film adaption, «an honorable enterprise» aimed at «bring[ing] literature closer to an audience» [3]. This is a significant remark, as it conveys a belief that this specific double status – (...) qua TV product and qua adaption of a literary work –prevents film adaptation from being considered «autonomous art». For one, he states, a work destined for TV by definition «serves audience expectations». For another, as an adaptation, a work is necessarily dependent upon its original source. [1] Before being well-known as a very influential film director, Michael Haneke began working for television in 1967. His first TV film, i.e., After Liverpool, was released long before his first feature film, Der siebente Kontinent, which was issued in 1989. This should not come as a surprise, since «practically every German-speaking filmmaker» at that time «started out directing films for television, taking advantage of the relatively generous system of subsidies and the general openness of German and Austrian state television channels to aesthetic innovation». In any case, Haneke later specified that directing for television was not solely a matter of opportunity, but also a fitting milieu in which to develop his own style. [2] However, that reportedly happened against Haneke’s will: «The Castle, for example, was in fact made for television, even though it will now be shown in movie houses as well. In my view, film adaptations are not genuine works of art. And I don’t really know of any film adaptation that really worked very well». Later he will confirm this point: «I would not have dared to turn The Castle into a movie for the big screen». [3] Let us note that this does not imply that Haneke feels a work formally presented as an adaptation cannot result in a great feature film. However, properly speaking, such a film could no longer be called an adaptation, since «it is not possible to serve two masters at the same time». Haneke is quite categorical on this point: «Thus one has to decide. Either I use a book as a quarry for ideas for something that I want to create myself, then it is a failed project as a film adaptation, or it is to be a film for a television program that has a commitment to cultural standards». (shrink)

Haneke’s film Funny Games is a reflection on the nature of pain and representation. I argue that the film closely follows Elaine Scarry’s arguments about the structure of torture. Further, by refusing to appeal to categories of generalization such as ‘sadism’ and ‘psychopathy’, Haneke undermines the process of finding meaning in violence. Haneke positions his audiences as more than just witnesses to torture, but active participants in cruelty.

Michael Haneke’s film Caché explores the psychological and social effects of the intrusion of the immigrant Other into privileged Western capitalist society. Caché allegorises the intrusion of the immigrant Other through a series of intrusive and threatening non-diegetic surveillance tapes delivered to a wealthy Parisian family’s home, the subject of the surveillance. Haneke’s film undertakes a significant critique of the increasing right-wing anti-immigrant sentiment driving neo-liberal politics and ideology in the capitalist West. Here, Caché confronts the viewer (...) with their complicity in the disavowal and subjugation of the immigrant Other within their own social edifice. The significance of Caché is the film’s potential to facilitate the viewers’ confrontation with the disavowed and repressed truth of the social edifice. This confrontation enables the viewer to assume an emancipatory subjectivity which extends beyond Caché’s cinematic frame into the viewers’ own social edifice. I argue that Haneke’s film has the potential to radically alter the way viewers relate to the diegetic reality and, through the figuration of cinema, to their own social edifice. Ultimately, Caché brings to the fore the disavowed truth of both capitalist society and of privileged subjectivities, demanding a new politics based on the excluded immigrant Other. (shrink)

Using Jean-Luc Nancy's productive concept of resonant listening, this article interrogates silence in the films of Michael Haneke. Arguing for a kind of open, resonating and sonorous form of philosophic listening, Nancy articulates the distinctions among listening, hearing and understanding. Working from these concepts, this article considers the particular form of resonance in the instance of cinematic silence and in particular the use of silence in the philosophically engaged cinema of Haneke.

In his 2005 French production Hidden, Michael Haneke continues disturbing his audience with poignant and stirring images. When Georges and Anne Laurent keep finding on their doorstep videotapes showing the exterior of their house filmed with a hidden camera, they do not realize that trying to trace the identity of the photographer will lead Georges back to his deeply concealed childhood atrocity and gravely affect their present life. With Hidden, Haneke presents a provocative case of Freudian return (...) of the repressed and probes the uncertain grounding and pretentiousness of French national self-importance. The article attempts an analysis of Hidden from two interconnected perspectives, provided by the use of the Lacanian category of the gaze in relation to film studies and by the application of certain categories derived from post-colonial theory. The discussion ventures to demonstrate that the camera-eye "hidden" in its impossible position can be interpreted as a gaze imagined by Georges in the field of the Other. The voyeuristic act of filming also suggests the question of colonial surveillance, which relates to the racial issue underlying the conflict repressed by Georges. Haneke investigates the way in which the symbolic power bestowed on the authority of the French state facilitates discrimination. Georges, a model representative of the civil/civilized society, is shown as rent by primal fears of imaginary savage "terror," desperately trying to fortify his dominion against Algerian aggressors who are otherwise a necessary part of the structure. (shrink)

Michael Haneke’s film The White Ribbon narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal (...) relationship between the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past. (shrink)

Los actos violentos que se narran en La cinta blanca (Michael Haneke, 2009) nos llevan a plantearnos ciertas cuestiones sobre lo que Hannah Arendt dio en llamar “banalidad del mal” y cómo dicho concepto se refleja en el filme. Retomando algunas de las cuestiones planteadas por la autora en sus obras Los orígenes del totalitarismo (1951), La condición humana (1958) y Eichmann en Jerusalén. Un estudio sobre la banalidad del mal (1963) trataremos de dar respuesta a las siguientes (...) preguntas: ¿son los niños/as incapaces de percibir la maldad de sus actos?, ¿son conscientes moralmente?, ¿la violencia se utiliza como una forma de revelarse frente a la autoridad o como un modo de poner en juego los valores que ésta les ha enseñado? Es decir, ¿podemos hablar de la banalidad del mal para describir los actos de los/as niños/as? La respuesta a esta pregunta parece ser afirmativa, pero cabe establecer una distinción importante entre los diferentes actos que se describen en el filme, para esto acudiremos también a las ideas de autores como Peter Sloterdijk y Jean Paul Sartre. (shrink)

Michael Haneke's film Hidden ( Caché, 2005) raises questions about responsibility and guilt in the context of post-colonial inequities that are profoundly discomfiting for the viewer, framing a meditation on identity, consciousness and responsibility that is at once visceral and intellectual. On the reading presented here, this film makes visible and palpable some of the effects of the ' strange suppositions' about personal responsibility and memory that were first articulated by a philosopher who also felt called upon to (...) justify colonialism: John Locke. The perspective provided by the film casts light both on the unpleasant emotional resonances of Locke's theory of personal identity and points to the likely source of its structure in his celebrated theory of private property. (shrink)

:This article revisits Michael Haneke's Caché as a filmic transformation of the traditional bond between sacrificial violence, morality and community building. By drawing mainly on striking correspondences with Jacques Derrida's view of the “mystical” origin of authority and of the limits of moral representation, the article aims to probe into Haneke's strategies of concealment. In so doing, the article proposes a “postsecular” interpretation of the symbolic meaning of the enigmas of the “ghost director” within the film, and (...) of Majid's theatrical self-sacrifice. (shrink)

English summary: Michael Haneke social criticism in his cinematographic work leaves no one indifferent. His films shed cruel light on the pathologies violence, medias, genres of neoliberal society. Each of his films examines the gaze he brings upon his subjects, one that places him in the very world he critiques. French description: Pourquoi l'oeuvre cinematographique de Michael Haneke ne laisse-t-elle aucun de nous indifferent? Parce qu'il y pratique a l'envi, et de maniere frontale, la critique sociale. (...) Ses films mettent cruellement au jour ces figures du mal qui fondent les pathologies de la societe neoliberale - la violence, les medias, les genres, etc. Prend-il pour autant quelque facile position de surplomb? Pas du tout. Chacun de ses films interroge le regard meme qu'il porte sur son objet - la critique a beau etre radicale, en effet, son auteur fait bel et bien partie du monde qu'il met en question. (shrink)

The quality of the narrations of 'Abdullah b. Salih al-Misrî (d. 223/838), one of al-Bukhârî's famous teachers, in al-Jâmi al-Sahîh has been a matter of debate among hadîth scholars. Abdullah b. Salih, whose narrations are narrated by Abu Dâwûd, al-Tirmidhî and Ibn Mâjah, is an important figure whom al-Bukhârî interviewed and also narrated from him in his works such as al-Adab al-mufred, al-Kirâʾa Khalfa al-imâm and al-Târîkh al-kabîr. However, whether he narrated directly from him in al-Jâmi al-Sahîh has been a (...) matter of debate among the scholars of Hadith. Ismâ'îlî (d. 371/982) and al-Hâkim (d. 405/1014) claim that al-Bukhârî did not narrate any hadîth from him in his Sahîh, while al-Zaḥebî (d. 748/1347) and al-'Aynî (d. 855/1451) argue that he did. It is possible to say that this disagreement is due to two reasons. The first is that there are differences between the copies of the Sahîh, and the second is that al-Bukhârî mentioned some of the narrators in an incomplete form. In this study, we will investigate various copies of the Sahîh and focus on whether the person whose identity is mentioned as "Abdullah b. Sâlih", "Abdullah" and "Abû Sâlih" in them is really Abdullah b. Sâlih al-Misrî. In addition, we will touch upon the evidences relied upon by the muhaddithis who express an opinion on this issue in terms of narration and dirāyah, and we will also draw attention to how the sîgas of tahammul and âdâ used in the narrations should be understood. Finally, we will try to determine whether al-Bukhârî has made any tahrīj from 'Abdullah b. Salih in his Sahīh, and if so, for what purpose, i.e., for ihtijâj or istishhâd. (shrink)

According to the received account of guilt in the philosophical literature, one cannot feel guilt unless one takes oneself to have done something morally wrong. But ordinary people feel guilt in many cases in which they do not take themselves to have done anything morally wrong. In this paper, I focus on one kind of guilt without perceived wrongdoing, guilt about being merely causally responsible for a bad state-of-affairs. I go on to present a novel account of guilt that explains (...) guilt about mere causal responsibility, according to which guilt represents part of the self as bound up with what is bad. (shrink)

What is the relation between small-scale collaborative plans and the execution of those plans within interactive contexts? I argue here that joint attention has a key role in explaining how shared plans and shared intentions are executed in interactive contexts. Within singular action, attention plays the functional role of enabling intentional action to be guided by a prior intention. Within interactive joint action, it is joint attention, I argue, that plays a similar functional role of enabling the agents to act (...) in a collaborative way such that their actions are rationally guided by a prior shared intention. This understanding of joint attention – as having a key functional role of enabling the rational guidance of joint intentional action by a prior shared intention – allows for an alternative understanding of the kind of minimal cooperation that infants can engage in. On this understanding, infants’ capacity to engage in joint actions is already an incipient capacity to engage in rational and intentional joint actions, albeit a capacity that is necessarily scaffolded by an adult rational co-partner. (shrink)

This a clear and concise introduction to Danish philosopher Soren Kierkegaard.ichael Watts uses Kierkegaard's own writings to introduce his theoriesbout living a truthfu; and spiritual life, while explaining the enormousnfluence of the philosopher's personal life on his work and beliefs. As theounder of 20th century existentialism, and the first philosopher to definehe idea of angst, Kierkegaard's profound influence on modern life is clearlyefined in accessible terms in this guide for students and general readers.

Common knowledge is ubiquitous in our lives and yet there remains considerable uncertainty about how to model or understand it. Standard analyses of common knowledge end up being challenged by either regress or circularity which then give rise to well-known paradoxes of practical reasoning, such as the Two Generals’ Paradox. This paper argues that the nature and utility of common knowledge can be illuminated by appeal to Wittgenstein’s Hinge Epistemology. It is argued that those things that we standardly think of (...) as being common knowledge in our lives are the same as those that Wittgenstein identified as hinge certainties. This identification of common knowledge with hinge certainties allows us to resolve the regress problem for common knowledge and explain how the Two Generals’ Paradox arises. (shrink)

It is a commonplace in economics that we should disregard sunk costs. The sunk cost effect might be widespread, goes the conventional wisdom, but we would be better off if we could rid ourselves of it. In this paper, I argue against the orthodoxy by showing that the sunk cost effect is often beneficial. Drawing on discussions of related topics in dynamic choice theory, I show that, in a range of cases, being disposed to honor sunk costs allows an agent (...) to mimic a resolute chooser, someone who adopts the best plan at the outset of a decision problem and sticks with it, even when resoluteness is unfeasible. I discuss several kinds of cases in which honoring sunk costs coincides with resolute choice. (shrink)

It is hard to see why the head and other brain-containing parts of a person are not themselves persons, or at least thinking, conscious beings. Some theorists have sought to reconcile us to the existence of thinking person-parts. Others have sought to avoid them but have relied on radical theories at odds with the metaphysic implicit in ordinary ways of thinking. This paper offers a novel, conservative solution, one on which the heads and other brain-containing parts of persons do exist (...) but are neither persons, thinkers, nor conscious beings. A much briefer statement of the solution is found in section 5 of Burke 2004. (shrink)

Our aim in this paper is to present the distinct ways in which Wolff, Baumgarten, and Kant understand the relationship between necessitation, constraint, and reluctant action in an effort to illustrate the subtle ways in which their conceptions of obligation differ from each another. Whereas Wolff conceives of natural or moral obligation as incompatible with constraint, Baumgarten holds that constraint and reluctant action are, in some instances, compatible with natural obligation. Kant departs from Baumgarten by conceiving of obligation as necessarily (...) involving constraint: as Kant’s reply to Schiller’s famous objection reveals, obligation must take on the character of constraint to reluctant action on account of the fact that human beings possess inclinations that always threaten to impel them in directions that oppose morality. (shrink)

What is the relation between joint attention and common knowledge? On the one hand, the relation seems tight: the easiest and most reliable way of knowing something in common with another is for you and that other to be attentively aware of what you are together experiencing. On the other hand, they couldn’t seem further apart: joint attention is a mere perceptual phenomena that infants are capable of engaging in from nine months of age, whereas common knowledge is a cognitive (...) phenomenon involving (so it seems) complex, overlapping metarepresentational states that require the kind of sophisticated mindreading skills that developmental psychology has shown to be beyond the capabilities of young children. In 'The Shared World: Perceptual Common Knowledge, Demonstrative Communication, and Shared Social Space', Axel Seemann attempts, inter alia, to makensense of this conundrum. (shrink)

The fact that Gilbert Ryle and J.L. Austin seem to disagree about the ordinary use of words such as ‘voluntary’, ‘involuntary’, ‘voluntarily’, and ‘involuntarily’ has been taken to cast doubt on the methods of ordinary language philosophy. As Benson Mates puts the worry, ‘if agreement about usage cannot be reached within so restricted a sample as the class of Oxford Professors of Philosophy, what are the prospects when the sample is enlarged?’ (Mates, Inquiry 1:161–171, 1958, p. 165). In this chapter, (...) we evaluate Mates’s criticism alongside Ryle’s and Austin’s specific claims about the ordinary use of these words, assessing these claims against actual examples of ordinary use drawn from the British National Corpus (BNC). Our evaluation consists in applying a combination of methods: first aggregating judgments about a large set of samples drawn from the corpus, and then using a clustering algorithm to uncover connections between different types of use. In applying these methods, we show where and to what extent Ryle’s and Austin’s accounts of the use of the target terms are accurate as well as where they miss important aspects of ordinary use, and we demonstrate the usefulness of this new combination of methods. At the heart of our approach is a commitment to the idea that systematically looking at actual uses of expressions is an essential component of any approach to ordinary language philosophy. (shrink)

An Essay on Human Action seeks to provide a comprehensive, detailed, enlightening, and (in its detail) original account of human action. This account presupposes a theory of events as abstract, proposition-like entities, a theory which is given in the first chapter of the book. The core-issues of action-theory are then treated: what acting in general is (a version of the traditional volitional theory is proposed and defended); how actions are to be individuated; how long actions last; what acting intentionally is; (...) what doing one thing by doing another is; what basic action is; and what omitting to do something is. Attention is also given to the concepts of causation, intention, volition, deciding, choosing, and trying. Finally, a libertarian account of free action is tentatively proposed and defended. (shrink)

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, (...) and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

A particular feature of this book is substantial "Stretch and Challenge" material throughout which allows students to develop further.

Concepts and Cases in Nursing Ethics is an introduction to contemporary ethical issues in health care, designed especially for Canadian audiences. The book is organized around six key concepts: beneficence, autonomy, truth-telling, confidentiality, justice, and integrity. Each of these concepts is explained and discussed with reference to professional and legal norms. The discussion is then supplemented by case studies that exemplify the relevant concepts and show how each applies in health care and nursing practice. This new fourth edition includes an (...) added chapter on end-of-life issues, and it is revised throughout to reflect the latest developments on topics such as global health ethics, cultural competence, social media, and palliative sedation. (shrink)

Als Philosoph, Literat, Prediger und Pädagoge gehört Herder zu den bedeutendsten Vertretern der Weimarer Klassik. Diese aktuelle und kenntnisreiche Biografie bringt Leben und Werk Herders einem breiteren Publikum nahe.

I show that the common reading of Thomson, that she argues by analogy for the conclusion that abortion is permissible, is mistaken. The correct reading of Thomson is that she argues by counterexample, showing that arguments against abortion are unsound. The remainder of the paper highlights the lessons learned from Thomson once we read her aright.

Opponents of medically assisted dying have long appealed to ‘slippery slope’ arguments. One such slippery slope concerns palliative care: that the introduction of medically assisted dying will lead to a diminution in the quality or availability or palliative care for patients near the end of their lives. Empirical evidence from jurisdictions where assisted dying has been practiced for decades, such as Oregon and the Netherlands, indicate that such worries are largely unfounded. The failure of the palliation slope argument is nevertheless (...) instructive with respect to how slippery slope arguments can be appraised without having to await post-facto evidence regarding the effects of a proposed change in public policy. Close attention in particular to the norms operative in a given institution and how changes to policy will interact with those norms enable slippery slopes to be credibly appraised. (shrink)