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Record Nr. |
UNINA9910817640303321 |
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Autore |
Wheatley Catherine |
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Titolo |
Cache (Hidden) / / Catherine Wheatley |
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Pubbl/distr/stampa |
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London : , : British Film Institute, , 2012 |
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ISBN |
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1-83871-347-6 |
1-84457-572-1 |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (97 pages) : illustrations, photographs |
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Collana |
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Disciplina |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily. |
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Nota di bibliografia |
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Includes bibliographical references. |
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Nota di contenuto |
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Acknowledgments.- Introduction: Beginnings and Endings.- 1 Whodunit?.- 2 Home and the Family.- 3 Politics and Memory.- 4 Screens and Spectators.- Conclusion: Hidden Meanings?.- Notes.- Credits.- Bibliography. |
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Sommario/riassunto |
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"Ever since its world premiere at the Cannes film festival in May 2005, audiences have been talking about Michael Haneke's Caché. The film's enigmatic and multi-layered narrative leaves its viewers with many more questions than answers. The plot revolves around the mystery of who is sending a series of sinister videos and drawings to Georges Laurent (Daniel Auteuil), the presenter of a literary talkshow. As Georges becomes increasingly secretive, much to the distress of his wife Anne (Juliette Binoche), a culprit fails to surface. And even at the film's end, audiences are left struggling to make sense of what has gone before. This hasn't stopped people trying. As Catherine Wheatley examines, a wealth of critical writing surrounds Caché, with various explanations having been offered as to what the film is 'really' about. In an in-depth and illuminating account, Wheatley examines the key themes at the heart of the 'meaning' of Caché: the film as thriller; post-colonial bourgeois guilt; political accountability and lastly, reality, the media and its audiences, tracing these strands through the film by means of close readings of individual scenes and moments. Inspired by |
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the director's claim that we might understand the film as a set of Russian dolls, each of which is complete in itself but together forms a whole in which layers of unseen depth are concealed, Wheatley avoids a single, unifying approach to understanding Caché. Instead, her detailed analysis of the film's shifting perspectives opens up the multiplicity of meanings that Caché contains, in order to understand its secrets. ?Ever since its world premiere at the Cannes film festival in May 2005, audiences have been talking about Michael Haneke's Caché. The film's enigmatic and multi-layered narrative leaves its viewers with many more questions than answers."--Bloomsbury Publishing. |
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