Uncanny games
Michael Haneke’s Funny Games and globalisation’s new uncanny
in Globalgothic
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This chapter begins with a warning issued by Fred Botting, that 'beyond transgression, all the paraphernalia of gothic modernity change: the uncanny is not where it used to be'. Next, it argues that Michael Haneke's Funny Games's reaction to genre film may be located within the discourses of globalised/transnational cultural production in order to ascertain where the uncanny may be located today. Haneke's stated aim with the first Funny Games film was to challenge the role of spectators who consume images of violence as a matter of enjoyment. Funny Games enacts complex patterns of transnational movements and disruptions. It thus identifies and plays out a new form of the uncanny in globalisation, and Haneke demands of his viewers that they too come to terms with these processes. Any experience of globalisation's procession of media images, consumer culture and so on always takes place in a specific locality.

Editor: Glennis Byron


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