Suspense, culpa y cintas de vídeo. Caché/Escondido de Michael Haneke

  1. Martínez Cabeza, Miguel
  2. Espínola Rosillo, Carmen
Journal:
Icono14

ISSN: 1697-8293

Year of publication: 2012

Issue Title: El cine ante las transformaciones tecnológicas y los flujos comunicativos globales

Volume: 10

Issue: 1

Type: Article

DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Icono14

Abstract

Caché/Hidden (2005) stands out in Michael Haneke�s filmography as a most accomplished synthesis of auteuristic concerns. This article analyzes the film as cinematic manifes-to and its exploitation of generic conventions to produce a self-reflexive spectator. An examination of Haneke�s adoption and shattering of suspense strategies explains his success with critics and the audience�s ambivalent response. The plot hook of the videotapes in Caché seems bor-rowed from David Lynch�s Lost Highway (1997) but as the film develops, the mystery of the surveil-lance tapes becomes secondary to the guilt experienced by the protagonist. The childish episode of jealousy and vengeance against an Algerian boy and Georges� attitude represent an allegory of France and its colonial past. However, Haneke�s aesthetic openness refuses to provide final answers and thus compels viewers to become self-conscious.

Bibliographic References

  • Alcalá, M. (2006). Escondido. En Equipo Reseña, Cine para leer (pp. 26-28). Bilbao: Ediciones Mensajero.
  • Austin, G. (2007). Drawing trauma: visual testimony in Caché and J’ai 8 ans. Screen, 48.4, 529-536.
  • Beugnet, M. (2007). Blind spot. Screen, 48.2, 227- 231. Box Office Mojo (http://boxofficemojo.com/movies/?id=cache.ht m).
  • Cousins, M. (2007). After the end: word of mouth and Caché. Screen, 48.2, 223-226.
  • Crowley, P. (2010). When forgetting is remembering. En J. D. Rhodes (Ed.) On Michael Haneke (pp. 267-279). Detroit: Wayne State University Press
  • Deleyto, C. (2003). Ángeles y demonios. Representación e ideología en el cine contemporáneo de Hollywood. Barcelona: Paidós.
  • Dixon, W.W. (2000). Introduction: the new genre cinema. En W.W. Dixon (Ed.) Film Genre 2000. New Critical Essays (pp. 1-12). New York: State University of New York Press.
  • Ezra, E., & Sillars, J. (2007). Hidden in plain sight: bringing terror home. Screen, 48.2, 215-221.
  • Film Affinity (http://www.filmaffinity.com/es/reviews/1/4202 47.html).
  • Gant, C. (2006). The cachet of Daniel. Sight and Sound, 16.4, 8.
  • Grossvogel, D. I. (2007). Haneke: the coercing of vision. Film Quarterly, 60.4, 36-43.
  • Haneke, M. (Director) (1997). Funny Games [DVD.]
  • Haneke, M. (Director) (2005). Caché (Escondido) [DVD].
  • Hernández Les, J. A. (2009). Michael Haneke. La disparidad de lo trágico. Madrid: Ediciones JC.
  • The Internet Movie Database (http://www.imdb.com/title/tt0387898/).
  • Martínez-Cabeza, M. A. (2002). The (de)construction of character in film: David Lynch’s Lost Highway. En M. Falces (Ed.), Actas del XXV Congreso Internacional de AEDEAN. Granada: Bemardi Producciones [CD-ROM].
  • McGowan, T. (2000). Finding ourselves on a Lost Highway: David Lynch’s Lesson in Fantasy. Cinema Journal, 39.2, 51-73.
  • Metacritic.com (http://apps.metacritic.com/ video/titles/ cache#usercomments).
  • Osterweil, A. (2006). Caché. Film Quarterly, 59.4, 35-39.
  • Romney, J. (2006). Hidden. Sight and Sound, 16.2, 64-65.
  • Sharrett, C. (2005). Caché (Hidden). Cineaste, 31.1, 60-62, 84.
  • Wheatley, C. (2006). Secrets, lies & videotape. Sight and Sound, 16.2, 32-36.
  • Wheatley, C. (2009). Michael Haneke’s cinema: The ethic of the image. Oxford: Berghahn Books.
Data source: Dialnet