Dilemma,Struggle,Landscape-Post-modernity Of Haneke’s Film Imagery

Michael Haneke is a well-known European film master.Although he has a "author film" temperament in creating a unique image style and practicing a philosophical obscure writing mode,it does not affect his role in European society.A wider audience resonates in the exploration of common problems,because his film works are a mirror of Western society.Because of this,the research of Michael Haneke is helpful to understand the social problems that exist in different stages of the Western society during the 1960 s to the present.In the process of observing and interpreting Haneke’s film texts,the author found traces of postmodernism in these texts,and found that the postmodernity revealed in these texts has traces in the three images of the film.Therefore,this article will focus on the image representation in the film,trying to reveal the postmodern temperament in Haneke’s film through image analysis.In the introduction,the author first summarizes and analyzes the existing research on Haneke and his works,summarizes and summarizes the research tendencies of various documents,and explains the lack of research on imagery and post-modernity in these documents.An overview of "images",emphasizing the importance of imagery in the film’s conception and analysis.In the first chapter,the author discusses the media images in Haneke’s films,starting with three specific media: TV,VCR,and mobile phone.With the help of Mc Luhan’s "media is message","implosion" concept,Baudrillard’s The post-modern "super-real" theory analyzes Haneke’s film’s communication dilemma in the context of post-modern society and culture in terms of "super-real" obscured,mixed reality and virtual meanings,and media diversification.In the second chapter,the author discusses the image of death in detail,starting from the "consciousness of death-seeking" generated by the characters,and using Heidegger’s postmodern philosophy on death to analyze how the characters are "killed" and why he is "seeking death" As a means of regaining self-worth,and the subject’s class nature with the consciousness of "living to death" in the film,it illustrates the "subject struggle" of the characters in the film in the context of being suppressed and constrained in disguise.Of living conditions and inner spiritual world scene.In the third chapter,the author further discusses the mirror image.From the perspective of using mirrors as props and screens as mirrors,by mirroring mirrors and mirror-like objects to self-reflections in Haneke films and reconstructing the time and space effects of movies Interpretation,referring to Lacan’s "mirror stage" theory,and explain how mirrors as props in Haneke’s film works participate in narrative.When "ego" and "the other" reflect and complete each other,due to the blurring of real and virtual boundaries,the film Time and space are out of order,and it reflects the ambiguity,discontinuity,and decentralized postmodern characteristics.At the same time,through the relationship between the screen and the "mirror" and the "reflection" function of the mirror,the Haneke film itself is a special Mirror in the sense,how to reproduce the post-modern society.Finally,the author summarizes the inherent logical relationship between the above three kinds of images and post-modernity,and then explains how the three images of media,death and mirror in Haneke’s film text reflect post-modernity according to the definition of "postmodern" feature.