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Film Criticism as Cultural Fantasy
This book presents an unprecedented analysis of the dynamics of cultural representation and interpretation in film criticism. It examines how French critical reception of Australian cinema since the revival period of the 1970s has evolved as a narrative of perpetual discovery, and how a clear parallel can be drawn between French critics' reading of Australian film and their interpretation of an exotic Australian national identity. In French critical writing on Australian cinema, Australian identity is frequently defined in terms of extremes of cultural specificity and cultural anonymity. On the one hand, French critics construct a Euro-centric orientalist fantasy of Australia as not only a E...
Caché (Hidden)
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. In an in-depth and illuminating...
Michael Haneke
Spanning five decades and twenty-four films, director Michael Haneke’s career is one of the most significant in the history of European art cinema. However, critical reception has long lagged behind his output. By the time Haneke (b. 1942) emerged into the international spotlight as a cinematic visionary with the 1989 Cannes premiere of The Seventh Continent, he had worked in filmmaking for two decades, producing seven feature-length films. As many of his films aired solely on Austrian and German television, they remained unknown to audiences outside the German-speaking world until 2007, when the first comprehensive Haneke retrospective took place in the United States. Michael Haneke: Inte...
Bertrand Tavernier
Bertrand Tavernier (1941–2021) was widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s in the wake of the New Wave. In just over forty years, he directed twenty-two feature films in an eclectic range of genres from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature—L’Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc Prize—Tavernier showed himself to be a public intellectual. Like his films, he was deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, an...
Samuel Fuller
In the early twentieth century, the art world was captivated by the imaginative, original paintings of Henri Rousseau, who, without formal art training, produced works that astonished not only the public but great artists such as Pablo Picasso. Samuel Fuller (1912–1997) is known as the “Rousseau of the cinema,” a mostly “B” genre Hollywood moviemaker deeply admired by “A” filmmakers as diverse as Jim Jarmusch, Martin Scorsese, Francois Truffaut, Jean-Luc Godard, and John Cassavetes, all of them dazzled by Fuller’s wildly idiosyncratic primitivist style. A high school dropout who became a New York City tabloid crime reporter in his teens, Fuller went to Hollywood and made movi...
