Postcolonial frames in Michael Haneke's Caché
Bibliographic Data
| ID | 6425271 |
|---|---|
| Authors | Nuri Batuhan Lüleci (0009-0000-6883-1474, Charles University, Czech Republic, corresponding author) |
| Year | 2024 |
| Volume | 36 |
| Issue | 3 |
| Pages | 252-267 |
| Publication date | 2024-12-04 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | French Cultural Studies (JOURNAL) |
| Journal identifiers | ISSN: 0957-1558 • E-ISSN: 1740-2352 |
| Publisher | SAGE Publishing (PUBLISHER • US) |
| DOI | 10.1177/09571558241301321 |
| OpenAlex | W4405027079 |
| Language | FR |
| References cited | 11 |
This article argues that in Caché , politics, aesthetics and life collapse into one another by setting a dystopic simulacrum from which the spectator becomes emancipated. Caché critiques colonial-racist discourses within the France–Algeria context alongside the society of the spectacle, subverting binary categorisations such as form/content, ethics/aesthetics and diegetic/extradiegetic through staged hyperrealism, self-reflexivity and manipulations. It forces the anaesthetised spectator to confront the postcolonial uncanny in its naked truth. This article presents an original contribution to existing scholarship by linking Caché to the genesis and ongoing legacy of anti-colonial dissent and resistance in the history of Francophone cinema
Art · Art history · Visual arts · African history and culture studies · Cinema and Media Studies · Shakespeare, Adaptation, and Literary Criticism
| Highly cited | No |
|---|