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Spectacle of the Hidden: Michael Haneke's Caché

Spectacle of the Hidden: Michael Haneke's Caché Nottingham French Studies, Vol. 46 No.3, Autumn 2007 SPECTACLE OF THE HIDDEN: MICHAEL HANEKE'S CACHE KALPANA RAHITA SESHADRI Mankind, which in Homer's time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction' The kinship between art and nihilism, then, attains an inexpressibly deeper zone than that in which aestheticist and decadent poetics move. It unfolds its reign starting from the unthought foundation of Western art that has attained the extreme end of its metaphysical itinerary. Giorgio Agamben, Man Without Content Most spectators of Michael Haneke's 2005 film Cache would agree that it is a quintessentially twenty-first century film and a post-9/l1 film as well. Its attempt to delve into the psychology of terrorism - both as action and affect - and its insistence on the political necessity of contextualizing the privacy of individual memory (that of Georges Laurent) in terms of social class (the Algerian servants and the historical event of the massacre of over 200 unarmed Algerians in Paris http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nottingham French Studies Edinburgh University Press

Spectacle of the Hidden: Michael Haneke's Caché

Seshadri, Kalpana Rahita
Nottingham French Studies , Volume 46 (3): 32 – Jan 1, 2007
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Publisher
Edinburgh University Press
Copyright
© 2007 Nottingham French Studies
ISSN
0029-4586
eISSN
2047-7236
DOI
10.3366/nfs.2007-3.004
Publisher site
See Article on Publisher Site

Abstract

Nottingham French Studies, Vol. 46 No.3, Autumn 2007 SPECTACLE OF THE HIDDEN: MICHAEL HANEKE'S CACHE KALPANA RAHITA SESHADRI Mankind, which in Homer's time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction' The kinship between art and nihilism, then, attains an inexpressibly deeper zone than that in which aestheticist and decadent poetics move. It unfolds its reign starting from the unthought foundation of Western art that has attained the extreme end of its metaphysical itinerary. Giorgio Agamben, Man Without Content Most spectators of Michael Haneke's 2005 film Cache would agree that it is a quintessentially twenty-first century film and a post-9/l1 film as well. Its attempt to delve into the psychology of terrorism - both as action and affect - and its insistence on the political necessity of contextualizing the privacy of individual memory (that of Georges Laurent) in terms of social class (the Algerian servants and the historical event of the massacre of over 200 unarmed Algerians in Paris

Journal

Nottingham French Studies – Edinburgh University Press

Published: Jan 1, 2007

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