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The Intermedial Void
The two primary goals of this ambitious study are to provide a new framework in which to interpret the films of Michael Haneke, including Funny Games, Caché, and others, and to show how the concept of intermediality can be used to expand the possibilities of film and media studies, tying the two more closely together. Christopher Rowe argues that Haneke’s practice of introducing nonfilmic media into his films is not simply an aspect of his interest in society’s oversaturation in various forms of media. Instead, the use of video, television, photography, literary voice, and other media must be understood as modes of expression that fundamentally oppose the film medium itself. The “intermedial void” is a product of the absolute incommensurability of these media forms as perceptual and affective phenomena. Close analysis of specific films shows how their relationship to noncinematic media transforms the nature of the film image, and of film spectatorship.
"Rowe's great merit lies in not only going beyond 'traditional media studies,' but welding more 'conventional' concepts of intermediality to concepts and theories of affect and expression. In terms of structure and composition, he does that very convincingly. Written in a clear and lucid style, Rowe's' coverage of the subject is more than adequate and completely to the point." —Bernd Herzogenrath, author of An American Body Politic: A Deleuzian
“Michael Haneke: The Intermedial Void gives us answers to questions that have not yet been adequately posed, and will upstage much of what’s been published on Haneke. This is a brilliant piece of work.” —Brigitte Peucker, author of Incorporating Images: Film and the Rival Arts