Acceso usuarios
Asbjørn Grønstad
In Austrian director Michael Haneke’s Caché (2005), the specter of the culturally repressed returns in the form of mute, unrelenting images that seem to demand something of the protagonists in the film. This article argues that Caché, in its troubled but timely reflection on the enigmatic images that make up our shared visual culture, negotiates anethical space within the film-world in which the audience is confronted not only with historical events that they would rather forget but also with their own complicity in the more contemporary njustices of which the subaltern is victim. With a view toward under-standing the complex rhetoric of the film’s images of confrontation, the article suggests that the director’s iconoclastic project derives much of its psychological and emotional force from the narrative deployment of the figure of intrusion.
