ABSTRACT

This paper argues that 71 Fragments of a Chronology of Chance (Michael Haneke, 1994) is a key film for understanding the transition from national to transnational cinema. The place of the spectator within socio-temporal forms is Haneke’s critical target. 71 Fragments forces the spectator to rethink social time by challenging spectatorial privilege. The spectator’s desire to imagine an extended, integrated social field measured by clock and calendar is stifled, frustrated. Past and present are dissociated as the spectator is compelled to re-imagine social time. Through analysis of this impulse, we discover the intriguing presence of an informatic social space in the film marked by discursive automation. This paper extends the critical discourse on Haneke’s film, revising our understanding of aesthetic fragmentation by placing it in the context of socio-temporal transformation. In doing so I seek to articulate the contribution Haneke’s film makes to the representation of the current transnational and global political context.

摘要

本文认为，机会年表的 71 个片段（迈克尔·哈内克，1994 年）是理解从国家电影到跨国电影过渡的关键电影。观众在社会时间形式中的位置是哈内克的关键目标。71个片段通过挑战观众的特权，迫使观众重新思考社交时间。观众想要想象一个由时钟和日历衡量的扩展的、综合的社会领域的愿望被扼杀、受挫。当观众被迫重新想象社会时间时，过去和现在是分离的。通过分析这种冲动，我们发现电影中以话语自动化为标志的信息社会空间的有趣存在。本文扩展了对哈内克电影的批判性论述，通过将其置于社会时间转型的背景下，修正了我们对审美碎片化的理解。在这样做的过程中，我试图阐明哈内克的电影对当前跨国和全球政治背景的表现所做出的贡献。