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Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)

Brigid Haines Orcid Logo

Andreas Dressen, Pages: 169 - 192

Swansea University Author: Brigid Haines Orcid Logo

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DOI (Published version): 10.3726/b10540

Abstract

Contemporary Western culture is built on a denial of death, yet death is prominent on our screens (Sontag and Aaron). This is not a paradox, for death as depicted on screen is metaphorised, romanticised and meaningful; it is linked to crime, misadventure and heroism; it entertains. It serves, in fac...

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Published in: Andreas Dressen
ISBN: 978-1-78707-205-3
Published: Oxford Peter Lang 2017
Online Access: https://www.peterlang.com/view/product/11428
URI: https://cronfa.swan.ac.uk/Record/cronfa23812
first_indexed 2015-10-16T00:54:10Z
last_indexed 2018-10-08T18:43:59Z
id cronfa23812
recordtype SURis
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spelling 2018-10-08T14:19:13.1012149 v2 23812 2015-10-15 Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012) b73489a849ca15c7872d905dcbb103bb 0000-0001-5984-8813 Brigid Haines Brigid Haines true false 2015-10-15 CACS Contemporary Western culture is built on a denial of death, yet death is prominent on our screens (Sontag and Aaron). This is not a paradox, for death as depicted on screen is metaphorised, romanticised and meaningful; it is linked to crime, misadventure and heroism; it entertains. It serves, in fact, not to underline but to distance the spectator from his or her own mortality. This article examines two films which disrupt the normal cinematic language of dying by focusing on the banal and terrible reality of death and the pain of the onlooker. Human vulnerability and connectedness are thereby celebrated in an ethical project in line with Judith Butler's call for the humanities to return us to the human. However, while Amour both mystifies and protests against death, raging ‘against the dying of the light’, Dresen's more radical film ultimately comes to terms with it. Dresen portrays death in its very naturalness and thus goes beyond art-house cinema's tendency to mystify it, a tendency to which Haneke ultimately conforms. Book chapter Andreas Dressen 169 192 Peter Lang Oxford 978-1-78707-205-3 Death in cinema; Michael Haneke; Andreas Dresen; Susan Sontag; Judith Butler 1 2 2017 2017-02-01 10.3726/b10540 https://www.peterlang.com/view/product/11428 in Andreas Dresen, Edited by Julian Preece and Nick Hodgin, pp. 169-192 COLLEGE NANME Culture and Communications School COLLEGE CODE CACS Swansea University 2018-10-08T14:19:13.1012149 2015-10-15T16:12:19.2737151 Faculty of Humanities and Social Sciences School of Culture and Communication - Modern Languages, Translation, and Interpreting Brigid Haines 0000-0001-5984-8813 1
title Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
spellingShingle Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
Brigid Haines
title_short Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
title_full Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
title_fullStr Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
title_full_unstemmed Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
title_sort Connecting with the Real: Death, Dying and Displacement in Andreas Dresen's Halt auf freier Strecke (2011) and Michael Haneke's Amour (2012)
author_id_str_mv b73489a849ca15c7872d905dcbb103bb
author_id_fullname_str_mv b73489a849ca15c7872d905dcbb103bb_***_Brigid Haines
author Brigid Haines
author2 Brigid Haines
format Book chapter
container_title Andreas Dressen
container_start_page 169
publishDate 2017
institution Swansea University
isbn 978-1-78707-205-3
doi_str_mv 10.3726/b10540
publisher Peter Lang
college_str Faculty of Humanities and Social Sciences
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hierarchy_top_title Faculty of Humanities and Social Sciences
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hierarchy_parent_title Faculty of Humanities and Social Sciences
department_str School of Culture and Communication - Modern Languages, Translation, and Interpreting{{{_:::_}}}Faculty of Humanities and Social Sciences{{{_:::_}}}School of Culture and Communication - Modern Languages, Translation, and Interpreting
url https://www.peterlang.com/view/product/11428
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description Contemporary Western culture is built on a denial of death, yet death is prominent on our screens (Sontag and Aaron). This is not a paradox, for death as depicted on screen is metaphorised, romanticised and meaningful; it is linked to crime, misadventure and heroism; it entertains. It serves, in fact, not to underline but to distance the spectator from his or her own mortality. This article examines two films which disrupt the normal cinematic language of dying by focusing on the banal and terrible reality of death and the pain of the onlooker. Human vulnerability and connectedness are thereby celebrated in an ethical project in line with Judith Butler's call for the humanities to return us to the human. However, while Amour both mystifies and protests against death, raging ‘against the dying of the light’, Dresen's more radical film ultimately comes to terms with it. Dresen portrays death in its very naturalness and thus goes beyond art-house cinema's tendency to mystify it, a tendency to which Haneke ultimately conforms.
published_date 2017-02-01T18:45:54Z
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score 11.04748

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