Sample Film Paper on Haneke’s Artistic Style
Haneke adopts the use of various artistic styles in order to convey the desired theme. In the first scene of the film, a taped sequence is presented. The use of cinematographic is witnessed in presenting the events in the play relating them to the contemporary world. The surveillance signature is revealed in the subsequent shots of the film. The role of spectators is clearly pronounced in all the scenes of the film (Schaefer 54).
The use of narration is used in the films in order to connect different scenes. In addition, the use of sound effects is also widely used by Haneke so as to present different moods of the scenes besides for achieving communication between different characters. There is a high level of irony that is pronounced in different scenes of the city. Amid the wine party scene in which we see a man discussing Baudrillard, quickly individuals who know about the French humanist would be helped to remember the possibility of a postmodern culture. Anne’s home, encompassed by books, is a deceptive build; she has all the “learning” with the books, yet she surrenders to Georges’ interest of the baffling tapes. This inconsistency is likewise appeared with the way her child is raised, Pierrot’s allegation of her taking part in an extramarital entanglements and her postmodern self mentally damages her tyke too (Schaefer 65). The hyperreality that submerges the gathering of people inside the film has changed to such an extent, to the point that it no longer speaks to reality in any significant way, which is a message from Haneke about a post-present day society being a deceptive develop. The set of styles employed generally helps in conveying the desired theme besides influencing the setting of the film.
Schaefer, Joy C. “The spatial-affective economy of (post) colonial Paris: reading Haneke’s Caché (2005) through Octobre à Paris (1962).” Studies in European Cinema 14.1 (2017): 48-65.