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- W103381194 abstract "Supermodernity, Capital, and Narcissus: The French Connection to Michael Haneke’s Benny’s Video Mattias Frey A Preview of Coming Attractions Fade-in. From a dark corridor a shaky, grainy camera captures an open door to the outside. A pig is led out of the barn and the camcorder follows. Pan to a man standing nearby, pan back to the pig. A slaughtering gun held by two hands appears in the frame and is pressed to the pig’s forehead. Zoom-in. The gun shoots; the pig falls to the ground, the camera closely following the pig’s convulsing body. Pause. Rewind. Slow motion. Again the gun shoots, the pig falls to the ground, the camera closely following the pig’s convulsing body. Stop. The screen flickers with snow and the title of Michael Haneke’s 1992 feature appears in red: Benny’s Video. * * * The second installment in Haneke’s “Vergletscherungs-Trilogie” begins with a scene that makes clear, in Haneke’s words, “worum es geht”: “what it’s about” is placing the spectator in the voyeuristic perspective to view ritually and fetishistically the slaughter of a pig on home video in a teenager’s room with drawn shades and outfitted with every imaginable piece of video, TV, stereo, and surveillance equipment. The spectator soon realizes that the truly disturbing aspect of what a Swiss newspaper called “the most disgusting film of the year” is not what’s on the screen, but how what’s on the screen is perceived and processed." @default.
- W103381194 created "2016-06-24" @default.
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- W103381194 date "2002-10-01" @default.
- W103381194 modified "2023-09-26" @default.
- W103381194 title "Supermodernity, Capital, and Narcissus: The French Connection to Michael Haneke’s Benny’s Video" @default.
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