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Rosanna Mclaughlin
Rosanna Mclaughlin is an editor at The White Review.

Articles Available Online


The Pious and the Pommery

Essay

Issue No. 18

Rosanna Mclaughlin

Essay

Issue No. 18

I.   Where is the champagne? On second thoughts this is not entirely the right question. The champagne is in the ice trough, on...

Essay

April 2019

Ariana and the Lesbian Narcissus

Rosanna Mclaughlin

Essay

April 2019

‘Avoid me not!’ ‘Avoid me not!’                                   Narcissus   Let me describe a GIF I’ve been watching. A lot....

‘Art is there to have a stimulating effect, if it earns its name You have to be honest, that’s the only thing’—Michael Haneke, in an interview   The voice, now over 70, is usually candid, bumptious; the statements – zealous, with the pang and the patina of a reproach – typically fixed at the high pitch of imperiousness A choice remark: ‘Why do I rape the viewer? I try to rape him into being reflective, and into being intellectually independent and seeing his role in the game of manipulation’ Or, another: ‘I look at the viewer directly, I talk to him, I wink at him I do this again and again to show how much one can manipulate’ More cargo, dispatched this time by critics – the voice has changed, the statements have not: ‘Haneke does want to teach us a lesson, though, to call us to task for our complicity with villains and our enjoyment of screen violence’ And again: ‘In Haneke’s films, the viewer is implicated in the horrors that unfold on the screen; there is nowhere to run, not even after the film has stopped’ Of course, Haneke’s arrival as one of the indisputably major directors of the last ten years has meant more than the mere mincing, or the unflinching duplication, of his words; the forty-year output, the twenty-two features, and now – counting Amour, his latest film – the two Palmes d’Or and five Academy Award nominations, have been, for many people, the achievements of a first-rate intelligence, the outcome of a defiant career of remedies levelled at the illusions, the innutritious myths of an overstretched commercial cinema But Haneke is the source of his own mythology, and has been at least since the appearance of The Piano Teacher twelve years ago The severity of the face in the photographs – from top to bottom: the uncharitable brow, the admonitory cut of the eyes, a mouth in rebuke – is now a blunt habit Physically formidable, a moviehouse mystic dressed in black, Haneke represents for many people an artist at odds with a

Contributor

July 2016

Rosanna Mclaughlin

Contributor

July 2016

Rosanna Mclaughlin is an editor at The White Review.

Ten Years at Garage Moscow

Art Review

November 2018

Rosanna Mclaughlin

Art Review

November 2018

When I arrive in Moscow, I am picked up from the airport by Roman, a patriotic taxi driver sent to collect me courtesy of...
Becoming Alice Neel

Art

August 2017

Rosanna Mclaughlin

Art

August 2017

From the first time I saw Alice Neel’s portraits, I wanted to see the world as she did. Neel was the Matisse of the...

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Interview

October 2015

Interview with Marine Hugonnier

Izabella Scott

Interview

October 2015

Like the figures found in a spread of Tarot cards, an artist can assume a variety of viewpoints and characters...

poetry

March 2013

Fugitive

James Byrne

poetry

March 2013

I trace the stacked voices of shouters how they immingle fraternally on first hearing with the vaporous nick of...

poetry

April 2017

Two Poems

Fady Joudah

poetry

April 2017

EUROPA AND THE BULL   The boat was loaded on a truck. The truck took me to the border....

 

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