This article argues that in Caché, politics, aesthetics and life collapse into one another by setting a dystopic simulacrum from which the spectator becomes emancipated. Caché critiques colonial-racist discourses within the France–Algeria context alongside the society of the spectacle, subverting binary categorisations such as form/content, ethics/aesthetics and diegetic/extradiegetic through staged hyperrealism, self-reflexivity and manipulations. It forces the anaesthetised spectator to confront the postcolonial uncanny in its naked truth. This article presents an original contribution to existing scholarship by linking Caché to the genesis and ongoing legacy of anti-colonial dissent and resistance in the history of Francophone cinema.

中文翻译：

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迈克尔·哈内克 （Michael Haneke） 的 Caché 中的后殖民框架


本文认为，在 Caché 中，政治、美学和生活通过设置一个反乌托邦的模拟物而相互瓦解，使观众从中解放出来。Caché 批判了法国-阿尔及利亚语境中的殖民种族主义话语以及景观社会，通过上演的超现实主义、自我反省和操纵，颠覆了形式/内容、伦理/美学和剧情/外剧情等二元分类。它迫使被麻醉的观众在赤裸裸的真相中面对后殖民主义的诡异。本文通过将 Caché 与法语电影史上反殖民异议和抵抗的起源和持续遗产联系起来，提出了对现有学术的原创性贡献。