Download All Those Moments: Stories of Heroes, Villains, Replicants, by Rutger Hauer, Patrick Quinlan PDF

By Rutger Hauer, Patrick Quinlan

He got here to mainstream prominence as a laptop extra human than his creators in Blade Runner, terrified us as a hitchhiker bent on his personal demise and the loss of life of a person who acquired in his approach in The Hitcher, and unforgettably portrayed a lonely king roaming the evening as a wolf and pining for the affection of a hawk throughout the day in Ladyhawke.

Rutger Hauer has dazzled audiences for years together with his creepy, inspiring, and villainous portrayals of each person from a cold-blooded terrorist in Nighthawks to a blind martial arts grasp in Blind Fury, yet his motion picture occupation was once not anything in comparison to his real-life adventures of using horses, sword struggling with, and leaving domestic at fifteen to clean decks on a freighter and discover the world.

From poverty to operating with a touring theater troupe to his breakout eu functionality in Turkish Delight and dealing with mythical administrators similar to Paul Verhoeven (RoboCop and Basic Instinct) and Ridley Scott (Alien and Gladiator), Hauer has accrued All these Moments here.

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Additional resources for All Those Moments: Stories of Heroes, Villains, Replicants, and Blade Runners

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The Critically Aware Spectator Critical responses to Michael Haneke’s oeuvre make it clear, then, that there is something problematic about his films for the spectator. This problem is perhaps best articulated by Amos Vogel, when he writes that, ‘the extremities to which Haneke goes in withholding information are ultimately difficult to take or define’. 64 It seems that the spectator of Haneke’s films is at once manipulated and forced to be autonomous, and, as we saw in the last chapter, this creates a very peculiar position for them, one that is often experienced as uncomfortable, even distinctly unpleasant.

29 In this statement, there are clear echoes of modernism’s hostility to mainstream culture and the Althusserian position that sees dominant cultural forms as vehicles of ideology, positioning the spectator as its unwitting victim – a position that we will discuss in more detail in subsequent chapters. Such statements make it explicit that Haneke is not drawing on the formal conventions of modernism, but allying himself with its fundamental theoretical principles. His films belong to a modernist tradition both in form and intention, conforming to many of the categories that Peter Wollen sets out in his call for a modernist ‘counter-cinema’,30 as we shall discuss in Chapter Two.

The auteur is a spectator effect linked to unpleasurable film viewing: the spectator, made uncomfortable by the cinematic experience that they participate in, sees not just the film, but also its author, as the source of this unpleasure. So the author emerges through the film: indeed as an imagined figure he is a product of the film – the reel Haneke – just as, as a real object, the film is a product of an individual film-maker – the real Haneke. The tendency to equate the two is perhaps natural.

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