미카엘 하네케의 〈히든〉: 포스트모던 인식론과 포스트콜로니얼 서사의 불편한 조우

Abstract

This paper looks into the problem of spectatorship manifest in Michael Haneke’s film, Cache (2005). Haneke’s constant destabilization and displacement of images regarding their epistemological status and in terms of both time and space render the spectator extremely helpless in attempting to arrive at the film’s meanings, however ambiguous and indeterminate they may have been intended by the director. Although Haneke explains the complexity and obtuseness of the film in terms of the director’s not necessarily cordial invitation to actively participate in creating the meanings of the film, the spectator is left with bewilderment partly through the film’s narrative obfuscation and due also in part to the tension-ridden gulf, if not the outright contradiction, that exists between the film’s postmodern epistemological form and its postcolonial narrative content. The essay is an interpretive exercise in multiple directions, all of them regretably yet necessarily inconclusive and tentative.