Narrative meanings and implicit themes in Haneke’s film 'Cache' (2005)

Abstract

Throughout Haneke's film Cache (2005), there exists a plethora of deeper meanings and narrative themes. Haneke is known for his iconoclastic films that ‘analyse the dysfunctional state of Western society' (Grundmann; 2010). In Cache, he focuses on the dark side of power, trauma, guilt and social memory that interacts with the bitterness of contemporary French consciousness (Frey; 2002). Haneke is interested in a range of philosophers, sociologists, poets and artists, especially noting his interest with theories from Baudrillard, Deleuze, Stéphane Mallarmé, and Plato. The ‘simulacrum' (Mann; 2007) that represents the off-screen reality which will be compared to the cinematic space, along with the Deleuzian concept of ‘abolishing the world of essences and the world of appearances' (Deleuze; 1983).  Subsequently, the ideas of post-modern self (Denzin; 1991), themes of surveillance with Bentham's panopticon and consumerism will be distinguished through Haneke's influences. There will be connotations integrating with ideas from Marxism to modern cinema, in hope to seek the truth (Plato; 380 BC) through his use of frames and images (Baudrillard) that reflect a postmodern society.