The Hidden Gaze of the Other in Michael Haneke’s Hidden

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,QKLV)UHQFKSURGXFWLRQHidden (Caché), Michael Haneke con-tinues disturbing his audience with poignant and stirring images. When *HRUJHVDQG$QQH/DXUHQWNHHSğQGLQJRQWKHLUGRRUVWHSYLGHRWDSHV VKRZLQJWKHH[WHULRURIWKHLUKRXVHğOPHGZLWKDbKLGGHQFDPHUDWKH\GR not realize that trying to trace the identity of the photographer will lead Georges back to his deeply concealed childhood atrocity and gravely af-fect their present life. With Hidden+DQHNHSUHVHQWVDbSURYRFDWLYHFDVH of Freudian return of the repressed and probes the uncertain grounding and pretentiousness of French national self-importance.

The article attempts an analysis of Hidden from two interconnected perspectives, provided by the use of the Lacanian category of the gaze LQUHODWLRQWRğOPVWXGLHVDQGE\WKHDSSOLFDWLRQRIFHUWDLQFDWHJRULHV derived from post-colonial theory (voiced here by Homi Bhabha). The discussion ventures to demonstrate that the camera-eye “hidden” in its LPSRVVLEOHSRVLWLRQFDQEHLQWHUSUHWHGDVDbJD]HLPDJLQHGE\*HRUJHVLQ WKHğHOGRIWKH2WKHU7KHYR\HXULVWLFDFWRIğOPLQJDOVRVXJJHVWVWKH question of colonial surveillance, which relates to the racial issue under-O\LQJWKHFRQĠLFWUHSUHVVHGE\*HRUJHV+DQHNHLQYHVWLJDWHVWKHZD\LQ which the symbolic power bestowed on the authority of the French state IDFLOLWDWHVGLVFULPLQDWLRQ*HRUJHVDbPRGHOUHSUHVHQWDWLYHRIWKHFLYLO civilized society, is shown as rent by primal fears of imaginary savage “terror,” desperately trying to fortify his dominion against Algerian ag-JUHVVRUVZKRDUHRWKHUZLVHDbQHFHVVDU\SDUWRIWKHVWUXFWXUH

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DVDbWHOHYLVLRQWDONVKRZRQOLWHUDWXUHFRPHVWRDQHQG7KHZRUGVZKLFK will be muted in the editing process, are directed at the participants of WKHGLVFXVVLRQELGGLQJWKHPUHPDLQLQWKHLUVHDWVGXULQJWKHğQDOVKRW of the programme. The host of the show is Georges Laurent, the main SURWDJRQLVWRI0LFKDHO+DQHNHĳVHidden (Caché). However, the line ĴVWD\VHDWHGDVWKHFUHGLWVUROOĵPLJKWDOVREHUHDGIRUDQbH[WUDGLHJHWLF PHWDFLQHPDWLFIXQFWLRQWKHğOPGHPDQGVRILWVDXGLHQFHQRWWROHDYHWKH theatre too early, but to carefully watch the very last shots. Robin Woods, DQDO\]LQJWKHğOPLQArtforum International, seems pessimistic about the GLUHFWRUĳVFKDQFHVKHUHZKHQKHREVHUYHVWKDWĴKDOIWKHDXGLHQFHbbbbVHQV- LQJWKHLPPLQHQFHRIWKHHQGFUHGLWVbbbbW\SLFDOO\JHWVXSDQGOHDYHVPLVV-LQJWKHğOPĳVXOWLPDWHDQGFUXFLDOUHYHODWLRQUHJLVWHUHGFKDUDFWHULVWLFDOO\ in distant long shot.” One might perhaps argue that the “typical” audience RIDb+ROO\ZRRGEORFNEXVWHULVSUREDEO\QRWWKHDXGLHQFHIRUWKLV$XVWULDQ ğOPPDNHU

+DQHNHGHVHUYHVKLVUHSXWDWLRQRIDbKLJKO\GHPDQGLQJDQGPRWLYD WLQJGLUHFWRU+HKDVUHSHDWHGO\VFRUQHG+ROO\ZRRGğOPVIRUFRQVWUXF ting their audience as passive, and emphasizes his own ambition for “active participants” who “make connections [and] solve enigmas [themselves] rather than have them explained” (Wood). As Jonathan Thomas notes, by means of his cinematic research into images governing the collective SHUFHSWLRQRIKXPDQV+DQHNHĴUHYLWDOL]H>V@ğOPVSHFWDWRUVKLSDVDbFULWL- FDODQGSHQVLYHHQWHUSULVHĵ,WKDVEHHQJHQHUDOO\REVHUYHGĽERWKE\DX-GLHQFHVDQGFULWLFVĽWKDWHiddenIROORZLQJDbFHUWDLQ+DQHNHSUDFWLFHRI DOOXVLRQDQGHFKREHDUVDbQXPEHURIFRUUHVSRQGHQFHVWR+LWFKFRFNRear :LQGRZEHLQJSHUKDSVWKHPRVWQDWXUDODVVRFLDWLRQDVERWKğOPVLQYROYH WKHDFWRIVS\LQJRQRWKHUVFI<DFRZDU:RRGV+RZHYHURQWKHPRVW EDVLFOHYHO+DQHNHGRHVQRWğQDOO\LGHQWLI\WKHYR\HXUDQGWKXVĴOHDYHV WKH SORWĳV P\VWHU\ XQVROYHGĵ <DFRZDU 2Q WKH RQH KDQG LW FRXOG EH rightly assumed that leaving the enigma of the camera-eye unresolved is deftly postmodern, deconstructing the suspense of the whodunit genre. %XW+DQHNHĳVVWUDWHJ\LVQRWFRQğQHGWRVXFKDbORFDOSXUSRVHDV,ZLOOWU\ to demonstrate. Hidden JLYHVXVDbFKDQFHWRH[DPLQHKRZWKH/DFDQLDQ category of the gaze interacts with the colonial problems of post-(XURSH

Hidden GRHVQRWGLVDSSRLQWWKRVHRI+DQHNHĳVDGPLUHUVZKRYDOXH

the inexpressible quality of the encounter with the uncanny which his RWKHUğOPVSURYLGH7KLVWLPHWKHHHULHEHJLQVZLWKWKHRSHQLQJWDNH WKHWHGLRXVO\SURORQJHGVWDWLFVKRWRIWKHH[WHULRURIDbVPDOOXUEDQKRXVH SURYHVWREHFRQWDLQHGLQDbGLIIHUHQWUHDOLW\WKDQYLHZHUVPLJKWKDYHLQL-WLDOO\DVVXPHG,WGRHVQRWEHORQJWRWKHREMHFWLYHO\VHHQZRUOGRIWKH

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ğOPĳVPDLQGLHJHVLV:HDUHQRWPHUHO\VLWWLQJLQWKHFLQHPDDQGZDWFK-LQJ+DQHNHĳVHiddenDWWKLVSRLQWZHDUHVKDULQJWKHYLVXDOH[SHULHQFH of its two main characters: the footage on the screen is of Georges and $QQHĳVKRXVHUHFRUGHGRQDbYLGHRWDSHZKLFKVRPHRQHKDVOHIWRQWKHLU doorstep. We watch by their side, as it were, or through them. Soon we UHJLVWHUĽDVWKHLPDJHVKLIWVLQWRKLJKVSHHGVHDUFKRQDb9&5_ĽWKDWWKH

real status of the scene is not what we have presumed. This is further VXEVWDQWLDWHGE\WKHğOPVRXQGWUDFNWKHYRLFHVRIIVFUHHQWXUQRXWWR be Georges and Anne commenting on what they have seen on the tape. 7KLVDJDLQKDVDbGLVTXLHWLQJHIIHFWRQWKHYLHZHURUDV7KRPDVLURQL-cally puts it, provides “a talking cure to our emergent sensation of spec-tatorial confusion.”

7KLV UHFRXUVH WR SV\FKRDQDO\WLFDO MDUJRQ LV YHU\ PXFK LQ SODFH +DQHNHKLPVHOIUHIHUVWRREYLRXVSV\FKRDQDO\WLFDOURRWVRIKLVğOPV,Q an interview concerning the making of Hidden he divulges that it is “the SULYLOHJHRIDOODUWLVWVWREHDEOHWRVRUWRXWbbbbWKHLUQHXURVHVĵWKURXJK their creative processes (Face “Caché”). Doubtlessly, Hidden LV Db ğOP about the repressed trauma which returns to haunt the main protago-nist after forty years. It begins in the Hitchcockian manner: Georges and $QQH/DXUHQWUHSHDWHGO\ğQGRQWKHLUWKUHVKROGYLGHRWDSHVFRQWDLQLQJ UHFRUGLQJVRIWKHLUKRXVHVHHQIURPDbGLVWDQFHWKHUHFRUGLQJVPDGHE\ DQ XQLGHQWLğHG VWUDQJHU ZKR DV ZH ğQDOO\ GLVFRYHU KDV QR GHFODUHG LGHQWLW\7KHSURWDJRQLVWVĳIDPLO\QDPHLVKDUGO\KDSKD]DUGLWVFKRLFH LVDbVXEWOHDOOXVLRQZLWKZKLFK+DQHNHDFNQRZOHGJHVWKHFRQQHFWLRQWR /\QFKĳV/RVW+LJKZD\Ľ)UHG0DGLVRQDQGKLVZLIHğQGYLGHRWDSHVZLWK VLPLODUFRQWHQWWRRDQG)UHGKHDUVDbYRLFHZKLVSHULQJLQWRKLVLQWHUFRP “Dick Laurent is dead.” But there are more tapes in Hidden and they are more articulate: they launch Georges on the voyage into the murky re-gions of his self, impelling him to probe the depths he would much rather leave unfathomed.

In this way Hidden VHHPVWRGHPRQVWUDWHDbFODVVLFDOFDVHRIDb)UHXG- LDQĴUHWXUQRIWKHUHSUHVVHGĵ7KHVFUDSVRIKDXQWLQJPDWHULDOĽGLVTXL-HWLQJYLGHRWDSHVIRUHERGLQJFKLOGPDGHSLFWXUHVJKDVWO\QLJKWPDUHVĽ DFFXPXODWHWRWKUHDWHQ*HRUJHVĳFRQVFLRXVPLQG+HIROORZVWKHFOXHV RIIHUHGE\WKHWDSHVDQGH[SORUHVDbSDVWKHKDVDVVLGXRXVO\HUDVHG2EYL- RXVO\KLVXQFRQVFLRXVPLQGSURYLGHVDbVROXWLRQWRWKHHQLJPDDQGREYL-RXVO\WKHWUDXPDOLHVLQKLVFKLOGKRRGDVDbOLWWOHER\*HRUJHVGHFHSWLYHO\

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HOLPLQDWHGDbSRWHQWLDOULYDOWRKLVIDPLOLDOGRPLQDWLRQE\WKURZLQJIDOVH DFFXVDWLRQVDW0DMLGDQ$OJHULDQER\*HRUJHVĳSDUHQWVZDQWHGWRDGRSW DIWHUKLVIDPLO\KDGSHULVKHGLQUDFHULRWV7KHUHSUHVVHGJXLOWğQDOO\UH-VXUIDFHVZKHQKHPDNHVDbFRQVFLRXVEXWKLJKO\XQFRPIRUWDEOHGHFLVLRQ WRUHYHDOLW7KHğOPGUDPDWL]HVWKLVLQWHUUHODWLRQFOHDUO\LQDbVFHQHZKHQ *HRUJHVDQQRXQFHVWRKLVIULHQGVĴ,ZRQĳWKLGHLWĵ2QWKHOHYHORIWKH story his words imply he does not want to conceal that he and Anne have been receiving mysterious videotapes. Deeper still, they signify his conscious decision to un-repress the ignominious trauma of the past. The result of the effort is instantaneous: the tape he plays immediately DIWHUZDUGVVKRZVKLVFKLOGKRRGKRXVHSURYLGLQJWKHğUVWXQDPELJXRXV hint for his soul-searching. Nonetheless, Georges is not ready to share the shameful and awkward results of self-exploration, even with his wife: RQO\DIWHUKLVOLHVDUHGHQRXQFHGGRHVKHğQDOO\GLVFORVHWKHIXOOVWRU\RI 0DMLGWR$QQH

In Hidden *HRUJHVXQGHUJRHVDbVHOIH[SRVLWRU\RUGHDOGXULQJZKLFK the repressed trauma of childhood guilt re-enters his consciousness. How- HYHULWLVGLIğFXOWWRXQDPELJXRXVO\GHFLGHZKHWKHUWKLVSURFHVVKDVDbFD-thartic effect on him. The last time we see him, he comes back home, goes to his bedroom, carefully draws the curtains, undresses, and rests his naked body between the sheets, hiding in the darkness and silence. As he withdraws to his most intimate territory and assumes an embryonic posi-tion in this most womblike environment, he recedes into the deepest sleep. Darkness and seclusion prevent Georges from being seen, which lends the VFHQHDbV\PEROLFGLPHQVLRQ$V.DUO$EUDKDPĳVDVVHUWLRQVDUHUHLQVWDWHG by Homi Bhabha:

7KHSOHDVXUHYDOXHRIGDUNQHVVLVDbZLWKGUDZDOLQRUGHUWRNQRZQRWKLQJ of the external world. Its symbolic meaning, however, is thoroughly am-ELYDOHQW'DUNQHVVVLJQLğHVDWRQFHERWKELUWKDQGGHDWKLWLVLQDOOFDVHV DbGHVLUHWRUHWXUQWRWKHIXOOQHVVRIWKHPRWKHUDbGHVLUHIRUDQXQEURNHQ DQGXQGLIIHUHQWLDWHGOLQHRIYLVLRQDQGRULJLQļ

Georges seems pervaded with resignation, withdraws and prepares for UHSRVH EXW LW PD\ QRW QHFHVVDULO\ JLYH KLP UHOLHI +H KDV MXVW FRPSUH-KHQGHGWKDWKLVLQFRQVLGHUDWHFKLOGKRRGPLVGHHGEURXJKWDbPRPHQWRXV FKDQJHWRVRPHERG\ĳVOLIHLQWKHVXEVHTXHQWVFHQHKLVPLQGUHSOD\VWKH VFHQHLQZKLFK0DMLGLVEHLQJWDNHQIURPKLVSDUHQWVĳKRXVHSRVVLEO\WKH PRVWSRLJQDQWVFHQHLQWKHğOP7KLVVLWXDWLRQğQGVWKHRUHWLFDOH[SUHV- VLRQLQ7RGG0F*RZDQDbFULWLFXVLQJ/DFDQLDQFDWHJRULHVIRUğOPDQDO\-sis, when he says that “grasp[ing] the hole that exists within the symbolic RUGHUbbbbWUDXPDWL]HVWKHVXEMHFWGHSULYLQJWKHVXEMHFWRIWKHLGHDRIHYHU

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HVFDSLQJ ODFNĵ *HRUJHVĳ GHWHFWLYH ZRUN RQ KLV SDVW FOLPD[LQJ LQ WKHRYHUO\GUDPDWLFWKHDWULFDODQGSRVVLEO\SKDQWDVPDWLFVFHQHRI0DMLGĳV VXLFLGHGHUDLOVKLVFRQYHQWLRQDODSSURDFKWRERWKPRUDOLW\DQGUHDOLW\KH is punctured with self-disillusionment and realizes an elemental lack in the superstructure of his civilized, Western self.

In exploring the Freudian theme of the return of the repressed Haneke effectively resorts to the use of dreams. In interviews the director acknowledges their immense potential, stressing, at the same time, that dreams are very hard to be represented cinematically (Face “Caché”)._For

Georges, nightmares function as the reinforcement of the disquieting ef-fect of the mysterious videotapes. The dream sequences are short, bleak DQGRIDbSLHUFLQJLQWHQVLW\7KH\DUHğOPHGDQGHGLWHGLQWRWKHPDLQSORW OLQHLQDbGLVWXUELQJPDQQHUDQGSURYLGHQRLQWHOOLJLEOHKLQWVDERXWWKHLU UHIHUHQFHWRWKHPDLQğOPIUDPH2QO\PXFKODWHUGRZHXQGHUVWDQGWKDW they show the perspective of the six-year-old Georges and are meant as the SURMHFWLRQVRIKLVXQFRQVFLRXVĽSLFWXULQJWKHZURQJHG$OJHULDQER\$V <DFRZDUDUWLFXODWHVLW*HRUJHVĳĴIUR]HQFRQVFLHQFHSOD\VWKHVFHQH>V@OLNH DbKLGGHQYLGHRFDPHUDĵ

7KHTXHVWLRQRIDbhiddenYLGHRFDPHUDLVWKHFRUQHUVWRQHRI+DQHNHĳV vision. In point of fact, the source of video footage Georges and Anne ZDWFKLVQHYHUUHYHDOHGLQWKHğOP:KHQ*HRUJHVH[DPLQHVWKHDOOH\IURP ZKLFK WKHLU KRXVH LV VHHQ RQ WKH WDSH KH ğQGV QHLWKHU FDPHUD QRU DQ\ RWKHUFOXHSRLQWLQJWRWKHLGHQWLW\RILWVRSHUDWRU7KHVFHQHRIWKHğUVW FRQYHUVDWLRQEHWZHHQ*HRUJHVDQG0DMLGLVSUHVHQWHGWZLFHWKHğUVWWLPH LWEHORQJVWRWKHLQQHUIUDPHRIWKHGLHJHVLVğOPHGĴREMHFWLYHO\ĵZLWKFRQ-YHQWLRQDOFRXQWHUVKRWVRIERWKLQWHUORFXWRUVWKHVHFRQGWLPHWKHIUDPH KDVVOLSSHGDQGZHZDWFKLWZLWK$QQHDQG*HRUJHVRQWKHLU79VFUHHQDV WKHVFHQHğOPHGIURPDbKLGGHQFDPHUD%XWERWK0DMLGDQGKLVVRQGHQ\ SODQWLQJWKHFDPHUDLQWKHDSDUWPHQWDQGDbFDUHIXOH[DPLQDWLRQRIWKHĴRE-MHFWLYHĵVKRWVGRHVQRWUHYHDOWKHSODFHZKHUHLWFRXOGKDYHEHHQPRXQWHG :RRGVVXJJHVWVWKDWHLWKHU0DMLGRUKLVVRQPXVWKDYHNQRZQDERXWWKH YLGHRVWKLVZRXOGVHHPORJLFDOEXWLWQHJOHFWV+DQHNHĳVPHWDFLQHPDWLF inclinations. The fact that video material is shot from an impossible per-spective suggests its metaphorical dimension. Thomas sharply observes WKDWĴWKHLQLWLDOFDPHUDVHWXS>LV@SRVLWLRQHGRQWKH5XHGHV,ULVĽDQXQ-PLVWDNDEOHUHIHUHQFHWRWKHLULVRUH\HRIWKHbbbbKLGGHQFDPHUDWKDWJD]HV XSRQ>WKH/DXUHQWVĳ@KRXVHKROGĵDQGUHDVRQVWKDWĴD/DFDQLDQZRXOGUHDG WKHVWUHHWVLJQDVDbUHIHUHQFHWRWKHJD]HWKDWLVRXWWKHUHLQWKHZRUOG _{+DQHNHPHQWLRQV%XóXHODVRQHRIIHZğOPPDNHUVZKRKDYHVXFFHHGHGDWWKLV+H} LVGLVVDWLVğHGIRULQVWDQFHZLWK%HUJPDQĳVUHSUHVHQWDWLRQRIGUHDPV&XULRXVO\KHGRHV not mention Lynch.

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XQKLQJHGIURPDQ\SDUWLFXODUVXEMHFWSRVLWLRQORRPLQJWDXQWLQJbbbbDQG WKHUHE\SRVLWLRQLQJ*HRUJHVLQDbSDUDQRLGZD\ĵ )RU-DFTXHV/DFDQWKHJD]HLVDbSDUWRIWKHVXEMHFWDVEHLQJZDWFKHG UDWKHUWKDQDbSDUWRIDQRWKHUVXEMHFWZDWFKLQJLW(ODERUDWLQJRQ6DUWUHĳV GHğQLWLRQ/DFDQVWDWHV $VWKHORFXVRIWKHUHODWLRQEHWZHHQPHWKHDQQLKLODWLQJVXEMHFWDQG WKDWZKLFKVXUURXQGVPHWKHJD]HVHHPVWRSRVVHVVVXFKDbSULYLOHJHWKDW it goes so far as to have me scotomized, I who look, the eye of him who VHHVPHDVREMHFW,QVRIDUDV,DPXQGHUWKHJD]Hbbbb,QRORQJHUVHHWKH H\HWKDWORRNVDWPHbbbb7KHJD]H,HQFRXQWHUbbbbLVQRWDbVHHQJD]HEXW DbJD]HLPDJLQHGE\PHLQWKHğHOGRIWKH2WKHU

Within the context of Hidden, the Lacanian category of the gaze ap-SHDUV WR EHDU Db VLJQLğFDQW UHVHPEODQFH WR WKH FRQWHQW RI YLGHR IRRWDJH OHIWRQWKH/DXUHQWVĳGRRUVWHS$IWHUDOO*HRUJHVFDQQRWĴVHHWKHH\HWKDW ORRNVDWKLPĵDQGLPDJLQHVWKLVJD]HĴLQWKHğHOGRIWKH2WKHUĵ7KHFDP-era-eye, placed in an impossible position, could well be apprehended as *HRUJHVĳRZQDQGWKHDXGLHQFHVĳVFRWRPL]HGJD]HGLUHFWHGDWKLPVHOI

0F*RZDQIXUWKHUQRWHVWKDWWKHĴJD]HbbbbLQYROYHVWKHVSHFWDWRULQ WKHğOPLFLPDJHGLVUXSWLQJWKHVSHFWDWRUĳVDELOLW\WRUHPDLQbbbbDEVHQWĵ IURPFLQHPDWLFH[SHULHQFH7KLVFOHDUO\FRQFRUGVZLWK+DQHNHĳVFRQ-FHSWLRQ RI ğOPPDNLQJ ZKLFK SURYLGHV Db YHU\ DFWLYH UROH IRU WKH DXGL-HQFH7KHLQWHUVXEMHFWLYHJD]HPDQLIHVWHGE\Hidden convincingly de-PRQVWUDWHVWKHODFNLQWKHREMHFWWKHGLVLQWHJUDWLRQRI*HRUJHVĳV\PEROLF order markedly illustrates it. However, as McGowan divulges, the conse-quence is momentous:

7KHQRWKLQJQHVVRIWKHREMHFWLVDWRQFHRXURZQQRWKLQJQHVVDVZHOO The gaze is nothing but our presence in what we are looking at, but we DUHQRWKLQJEXWWKLVJD]H:HDUHWKDWLVWRVD\DbGLVWRUWLRQLQ%HLQJ7KH direct encounter with the gaze exposes us as this distortion and uproots HYHU\RWKHUIRUPRILGHQWLW\WRZKLFKZHFOLQJ

McGowan points to the critical potential this Lacanian category has to ğOPVWXGLHVVLQFHLQWKHFLQHPDĴWKHVXEMHFWUHPDLQVREVFXUHGLQWKHGDUN ZKLOHWKHREMHFWDSSHDUVFRPSOHWHO\H[SRVHGRQWKHVFUHHQĵ

This contrast between the darkness of obscurity and the light of ex-SRVXUH LV YHU\ HIIHFWLYHO\ HPSOR\HG E\ +DQHNH LQ WKH ODVW RI *HRUJHVĳ GUHDPVHTXHQFHVDQDFXWHO\HPSKDWLFVFHQHZKHUHWKHVWUXJJOLQJ0DMLG LVWDNHQWRDbFDUWREHGULYHQWRDQRUSKDQDJH7KHGLUHFWRUğOPVWKLVLQ DbORQJGLVWDQWVKRWDbWHFKQLTXHZKLFKLVRQHRIKLVWUDGHPDUNV7KHPHU-FLOHVV FDPHUD LV XQPRYHG PHFKDQLFDO HPRWLRQOHVV WKH VFHQH SDLQIXOO\

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static and interminable. Although Haneke has to use the perspective of the six-year-old Georges, supplementing it with the ostensible detach-ment and callousness of the camera emphasizes the tragedy of the little Algerian boy. However, the composition of the frame in this sequence evokes other far-reaching associations. Most of the picture, comprising WKHFHQWUHDQGWKHWRSSRUWUD\VWKHEULJKWVXQOLWIDUP\DUGRI*HRUJHVĳ SDUHQWVĳHVWDWH7KHORZHUSDUWRIWKHVFUHHQDORQJZLWKERWKVLGHVOLHV LQGDUNQHVVWKHH\HRIWKHFDPHUDZDWFKHV0DMLGĳVWUDJHG\IURPLQVLGH an unlit farm shed. The dark area might be interpreted as the shadow en-JXOğQJ*HRUJHVĳPLQGWKHVKHGKDVSUHYLRXVO\ZLWQHVVHGDQRWKHUJKDVWO\ VFHQHUHSHDWHGLQKLVQLJKWPDUHVĽZKHQ0DMLGEHJXLOHGE\*HRUJHVGH- FDSLWDWHVDbURRVWHUZLWKDQD[HZKLFKğQDOO\GLVFRXUDJHVWKH)UHQFKIDP-ily from adopting him. In the black outline of the frame we can still see WKHD[HDbSURSQHFHVVDU\IRUWKLVSKDQWDVPDOSURMHFWLRQ$GGLWLRQDOO\WKH starkness of contrast between blindingly bright centre and obscurely dark PDUJLQVFRXOGFRQQRWHWKHVSOLWWLQJRIWKHVXEMHFWLQWRLWVFRQVFLRXVDQG XQFRQVFLRXVSDUW:KDWFDQEHFOHDUO\VHHQFHQWUHVWDJHĽ0DMLGĳVKRSH- OHVVVWUXJJOHQRWWREHWDNHQDZD\ĽLVXWWHUO\FRQWUROOHGE\ZKDWKDVDO-UHDG\KDSSHQHGLQWKHGDUNZLQJVĽWKHNLOOLQJRIWKHURRVWHU7KHEULJKWO\ lit, colourful part of the screen provides the focus for our attention, but it is encircled by the area of impenetrable obscurity, which displays only some indistinct contours. Finally, if we are tempted to interpret this set of IUDPHVLQWKHLUPRVWEDVLFJUDSKLFDOVHQVHĽWKHVWULNLQJFRQWUDVWEHWZHHQ ZKLWHDQGEODFNĽZHDSSURDFKDbKLJKO\VXEVWDQWLDOGLPHQVLRQRIHidden: the racial dilemma.

To understand the correspondence between the Lacanian category of the gaze and the racial-colonial context we can turn to Homi Bhabha. As the post-colonial critic asserts, “one has to see the surveillance of colonial power as functioning in relation to the regime of the scopic drive. That is, WKHGULYHWKDWUHSUHVHQWVWKHSOHDVXUHLQĲVHHLQJĳZKLFKKDVWKHORRNDVLWV REMHFWRIGHVLUHbbbbDQGORFDWHVWKHVXUYH\HGREMHFWZLWKLQWKHĲLPDJLQDU\ĳ UHODWLRQĵ%KDEKDVWDUWVIURPWKHPRVWEDVLF/DFDQĳVSUHPLVHWKDW “to exist is to be called into being in relation to an otherness, its look or ORFXVĵDQGğQGVWKDWLWVORJLFDOFRUROODU\LVWKDWĴWKHYHU\SODFHRILGHQ- WLğFDWLRQFDXJKWLQWKHWHQVLRQRIGHPDQGDQGGHVLUHLVDbVSDFHRIVSOLW-WLQJĵLQWKHVXEMHFW2EVHUYLQJĴWKHDOLHQDWLRQRIWKHH\HĵKHIXUWKHU FRQFOXGHVWKDWĴWKHVXEMHFWFDQQRWEHDSSUHKHQGHGZLWKRXWWKHDEVHQFH RULQYLVLELOLW\WKDWFRQVWLWXWHVLWbbbbVRWKDWWKHVXEMHFWVSHDNVDQGLVVHHQ from where it is notĵDQGYHQWXUHVWRLQWHUURJDWHĴQRWVLPSO\WKH image of the person, but the discursive and disciplinary place from which TXHVWLRQVRILGHQWLW\DUHVWUDWHJLFDOO\DQGLQVWLWXWLRQDOO\SRVHGĵ7KLV LPSRVVLEOHSODFHZKHUHWKHVXEMHFWĴLVQRWĵDQGIURPZKLFKĴTXHVWLRQV

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RILGHQWLW\DUHbbbbSRVHGĵVHHPVWREHUHSUHVHQWHGLQ+DQHNHĳVğOPE\

the impossible location of the “hidden” camera. Rue des Iris metaphori-cally represents “the alienation of the eye,” the “space of splitting,” the HVWUDQJLQJ DQG \HW GHğQLQJ JD]H ZKLFK LV DQ LQHVFDSDEOH GLPHQVLRQ RI Georges.

7KHVL[\HDUROG*HRUJHVLVWKHQDUFLVVLVWLFVSOLWVXEMHFWZKLFKIHHOV WKUHDWHQHG E\ KLV FRORQLDO RWKHUĽ0DMLG +H DSSHDOV WR WKH DUFKDLF VWH-UHRW\SH RI Db ĴEODFN GHPRQĵ HQJUDYHG LQ KLV SDUHQWV LQYRNLQJ LQ WKHP the primal fear that the Algerian savage will harm their sweet, innocent FKLOG7KLVHFKRHVWKHK\VWHULFDOFU\RIWKHZKLWHER\IURP)UDQW])DQRQĳV

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%KDEKD*HRUJHVVXEVHTXHQWO\UHSUHVVHVWKHLQFRQYHQLHQWDZDUHQHVV of the inevitable effect of his action which makes the Algerian boy “turn DZD\IURPKLPVHOIKLVUDFHLQKLVWRWDOLGHQWLğFDWLRQZLWKWKHSRVLWLYLW\ RIZKLWHQHVVZKLFKLVDWRQFHFRORXUDQGQRFRORXUĵ%KDEKD5DFLDO DQGFXOWXUDOVWHUHRW\SHVDQGSUHMXGLFHVIXQFWLRQLQJLQ)UDQFHHQVXUHWKDW WKHER\ĳVUHMHFWLRQDOVRLQĠXHQFHVKLVVRFLDODQGğQDQFLDOVWDQGLQJWKLVLV distinctly represented by the stark contrast between the elegant interior of *HRUJHVĳKRXVHDQGWKHSODLQQHVVRI0DMLGĳVDSDUWPHQW

Nonetheless, after forty years of repression, the racial phantoms have WRğQDOO\UHVXUIDFHDV*HRUJHVSURYHVWREHZKDW%KDEKDPLJKWQDPHWKH ĴSRVW(QOLJKWHQPHQWPDQWHWKHUHGWRbbbbKLVGDUNUHĠHFWLRQWKHVKDGRZ RIFRORQL]HGPDQWKDWVSOLWVKLVSUHVHQFHGLVWRUWVKLVRXWOLQHbbbbGLVWXUEV DQGGLYLGHVWKHYHU\WLPHRIKLVEHLQJĵ6XJJHVWLYHO\*HRUJHVĳRFFX- SDWLRQVLWXDWHVKLPLQDbVSHFLDOLGHRORJLFDOSRVLWLRQKHLVWKHKRVWRIDbWHO-evision talk-show which discusses literature, and he is thus linked both to the French intellectual elite and the opinion-forming power of the media. We could quite safely assume that his highly ambivalent repressed racial KDWUHGWRZDUGVWKH$OJHULDQVFDQEHLGHQWLğHGZLWKDbPRUHJHQHUDOSKR-ELDRIKLVRZQQDWLRQ7KRPDVFODLPVWKDWĴWKHğOPPRXQWVDbFULWLTXHRI ZKDW)UDQFHĳVHIIHFWLYHO\GRPLQDQWFXOWXUHKDVFRQVWLWXWHGDVLWVVHOHFWLYH WUDGLWLRQVSHFLğFDOO\LQVRIDUDVLWVXQUHVROYHGKLVWRULFDORPLVVLRQVHUXSW traumatically in the guise of pathological and even fatal disturbances.” In this manner, the return of the repressed motif relates not only to the main character of Hidden, but to the highly civilized post-Enlightenment society he represents.

+DQHNH SRUWUD\V WKH HVVHQFH RI :HVWHUQ UDFLDO SUHMXGLFH ZLWK DV-WRXQGLQJPDVWHU\LQDbFULVSEOXQWVFHQH:KHQWKH/DXUHQWVOHDYHDbSROLFH VWDWLRQDVLJQLğHURIV\PEROLFDXWKRULW\LWVHOI*HRUJHVFDUHOHVVO\VWHSV RXWLQDbVWUHHWIURPEHKLQGDbSDUNHGYDQDQGLVDOPRVWKLWE\Db\RXQJ EODFN PDQ RQ Db ELF\FOH *HRUJHV LV IXULRXVĽWKH ELNHU ZDV ĴJRLQJ WKH ZURQJ ZD\ GRZQ Db RQHZD\ VWUHHWĵĽDQG DEXVHV KLP YHUEDOO\ EXW WKH

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black man refuses to take the blame and retorts harshly. The case is seem-ingly straightforward: the biker was not following the highway code, he is UHVSRQVLEOHIRUWKHVLWXDWLRQ<HWWKHFRQĠLFWFDQEHYLHZHGIURPDQRWKHU perspective: whereas it is true that the black man is not abiding by the rules, the rules themselves have been established by the white author-ity. Moreover, the regulation at issue is purely arbitrary: no natural law GHFLGHVZKLFKZD\ZHFDQJRGRZQDbRQHZD\VWUHHWLWLVPHUHO\DbPDWWHU RIDFFHSWHGFRQYHQWLRQ'HFOLQLQJWRREH\WKHZKLWHPDQĳVFRGHLVIRU WKH ELNHUĽWKH FRORQLDOĽDQ DFW RI VHOIULJKWHRXVQHVV 5HJDUGHG LQ WKLV PDQQHUWKHVFHQHĽZKLFKKDVQRLPPHGLDWHFRQQHFWLRQZLWKWKHSORWRI WKHğOPĽEHFRPHVVLJQLğFDQWDVDbPHWDSKRURISRVWFRORQLDOUHODWLRQVLQ )UDQFH7KHğJXUDWLYHGLPHQVLRQRIWKHVFHQHLVDGGLWLRQDOO\UHLQIRUFHG by the fact that immediately after the brawl Georges and Anne get into their white car. Thus, apart from using colours to accentuate the racial/ cultural difference, Hidden MX[WDSRVHV WKH FDUĽWKH VLJQLğHU RI ZHDOWK WHFKQRORJ\DQGFLYLOLVDWLRQDJDLQVWWKHELNHĽFRUUHVSRQGLQJWRVLPSOL city and physicality.

7KHUHDFWLRQRIWKHEODFNELNHUWR*HRUJHVĳDJJUHVVLRQLVDOVRTXLWH PHDQLQJIXO +H UHVSRQGV WR WKH FRORQL]HUĳV LQYHFWLYHV ZLWK Db VWUDLJKW-IRUZDUGVXJJHVWLRQĴ<HOODWPHDJDLQ&RPHRQ\HOODWPHDJDLQĵ7KH provocative irony is so effective precisely because of the centuries-deep inheritance of colonial surveillance and domination, the history of gene-UDWLRQVRIWKHFRORQL]HGZKRZHUHXQFHDVLQJO\UHSUHVVHGDQGVXEMHFWHGWR verbal and physical oppression: yelled at, beaten and unconditionally sub-MXJDWHG$FRUUHVSRQGLQJVLWXDWLRQUHFXUVWZLFHPRUHLQWKHğOPZKHQ *HRUJHVFRQIURQWVğUVW0DMLGDQGWKHQKLVVRQ,QWKHIRUPHULQFLGHQW when he desperately urges the Algerian not to stir his conscience with YLGHRWDSHVKLVWKUHDWVVWRSZLWKDQHQLJPDWLFĴLIĵ0DMLGFRQFOXGHVWKH menace for him:

<RXĳOONLFNP\DVV"7KDWVKRXOGQĳWEHKDUG<RXĳUHDbORWELJJHUWKDQWKH ODVWWLPH.LFNLQJP\DVVZRQĳWOHDYH\RXDQ\ZLVHUDERXWPH(YHQLI \RXEHDWPHWRGHDWK%XW\RXĳUHWRRUHğQHGIRUWKDW

6LPLODUO\ ZKHQ 0DMLGĳV VRQ SD\V *HRUJHV Db GLVTXLHWLQJ YLVLW DW KLV workplace, and he automatically assumes that the boy desires eye-for- DQH\HUHWULEXWLRQĽĴ:KDWGR\RXZDQW"$ğJKW"ĵĽWKHFRORQL]HUĳVDJ-JUHVVLRQDQGGHPRQVWUDWLRQRISRZHULVGHĠHFWHGZLWKDQLURQLFGLVSOD\ RIYXOQHUDELOLW\Ĵ<RXĳUHSUREDEO\VWURQJHUWKDQPH*RDKHDGKLWPHĵ But even after all these hints, Georges is not able to learn his lesson: his conscious self is still not ready to accept the role of the oppressor and he GLVPLVVHVWKHER\ĳVVXJJHVWLRQVDVLQVDQHUDPEOLQJVĽĴ<RXĳUHVLFN<RXĳUH

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as sick as your father.” Nonetheless, the message has been dispatched, and

+DQHNHĳVDXGLHQFHDEVRUEĴWKHOHJDF\RIbbbbFRORQLDOYLROHQFHDQGWKHEH-wildering amnesia with which it has been hidden” (Thomas).

Typically, colonial violence is perpetrated by the governmentally au-thorized institutions of power. When Georges threatens his adversaries with the use of power, he has obviously much more to rely on than his RZQSK\VLFDOVWUHQJWK7KURXJKRXWWKHFRQĠLFWZLWK0DMLGDQGKLVVRQ with the anonymous operator of the video camera, with the impossible gaze watching him, and, ultimately with the ever-increasing feeling of guilt which he tries to cram back into his unconscious, he repetitively invokes WRKLVDLGWKHV\PEROLFDXWKRULW\RIWKHVWDWHSUHGRPLQDQWO\SHUVRQLğHG by the police. The wrangle with the biker takes place in front of the police VWDWLRQZKHUHWKH/DXUHQWVKDYHMXVWUHSRUWHGWKHYLGHRWDSHKDVVOH:KHQ WKHLUVRQ3LHUURWVWD\VDWKLVIULHQGĳVIRUWKHQLJKWDQGWKH\DUHZRUULHG WKHSROLFHWDNH0DMLGDQGKLVVRQLQWRFXVWRG\ORFNLQJWKHPDV*HRUJHV SXWVLWĴLQDbFDJHĵ$SSDUHQWO\WKHZHVWHUQL]HGSHUVSHFWLYHGRHVQRWDOORZ Georges to recognize the oppressive potential of the symbolic power, even WKRXJKKHDFNQRZOHGJHVWKDW0DMLGĳVSDUHQWVZHUHNLOOHGLQLQĴWKH police massacre.” The symbolic structure of the French state assures him WKHSDWURQLVLQJSRVLWLRQRIPDVWHU:KHQ0DMLGĳVVRQLQYDGHVKLVWHUULWRU\ LQWKH79FRPSDQ\RIğFHV*HRUJHVUHPDUNVLQDbVDUFDVWLFPDWWHURIIDFW WRQHĴ\RXNQRZ\RXĳUHQRWDOORZHGLQKHUHĵFOHDUO\PDUNLQJWKHERXQGD-ULHVRIKLVMXULVGLFWLRQĽWKH$OJHULDQER\LVQRWDXWKRUL]HGLQWKHEXLOGLQJ EXWKHLVDOVRQRWDXWKRUL]HGLQ)UDQFHLQWKHZKLWHPDQĳVGRPLQLRQ

Perhaps one of the most bitter dimensions of irony displayed in +DQHNHĳV ğOP SHUWDLQV WR WKH TXHVWLRQ RI V\PEROLF DXWKRUL]DWLRQ EH-VWRZHGXSRQWKHVWDWH6HYHUDOWLPHVLQWKHğOP*HRUJHVFRPSODLQVDERXW his family being “terrorized” with videotapes that encroach on his right to privacy and violate his domestic security. This is particularly devious in the general political context which Hidden subtly sketches for its viewer. 7KH ZRUG ĴWHUURUĵ LV VLJQDOOHG Db IHZ WLPHV IURP WKH 79 VFUHHQ YLVLEOH in the background of the main storyline, from news bulletins covering WHUURUUHODWHGHYHQWVLQ,UDTDQG3DOHVWLQHĠDVKHVIURP$PHULFDĳVĴ:DU 2Q7HUURUĵ*HRUJHVXQGHQLDEO\DbFUHDWXUHRI79KDELWHDUQHVWO\SLFNV up the catchy media phrase “campaign of terror” and uses it in his attack RQ 0DMLGĳV IDPLO\ 7KLV SURPSW XVDJH RI WKH ĴWHUURULVWĵ ODEHO UHVRQDWHV ZLWK+RPL%KDEKDĳVDVVHUWLRQWKDWĴ7KHREMHFWLYHRIFRORQLDOGLVFRXUVH LVWRFRQVWUXHWKHFRORQL]HGDVDbSRSXODWLRQRIGHJHQHUDWHW\SHVRQWKH EDVLVRIUDFLDORULJLQLQRUGHUWRMXVWLI\FRQTXHVWDQGWRHVWDEOLVKV\VWHPV RIDGPLQLVWUDWLRQDQGLQVWUXFWLRQĵ6WLOODV7KRPDVQRWHVLIWKH video footage raises the issue of surveillance, it becomes strikingly para-GR[LFDODWDbWLPHZKHQĴQHZVRIWKHJRYHUQPHQWWUDFNLQJDQGVS\LQJRQ

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its citizens in the name of security has become routine in the nominal GHPRFUDFLHVRI(XURSHDQGWKH8QLWHG6WDWHVĵ,QIDFW*HRUJHVĳVWDQFH proves hypocritical: he is happy to renounce his civil rights, provided it will serve the functioning of the civil society which secures his illusory VHFXUHSRVLWLRQRIPDVWHU%XWDV0DMLGUHPDUNVĴ:KDWZRXOGQĳWZHGR QRWWRORVHZKDWĳVRXUV"ĵ

The issue of the security of the self is another Haneke preoccupation KHUHLQIDFWLQHidden protection is often achieved by hiding. Thomas HQXPHUDWHVWKHEDUULFDGHVVHSDUDWLQJWKH/DXUHQWVĳDERGHIURPWKHH[WHU-QDOZRUOGDbVHWRIGRRUVDbVHFXULW\JDWHDbĴVKUXEWKDWGRXEOHVERWKDV DbGRPHVWLFEDUULHUDQGDVDbVLJQLğHURIDbIRUWLğHGHJRLIQRWDbIRUWLğHG(X-rope).” Georges and Anne are quite seriously preoccupied with guarding WKHLUSULYDF\DQGLQVXODWLQJWKHPVHOYHVIURPWKHH[WHULRU+DQHNHĳVFDP-HUDRIWHQIRFXVHVERWKRQĴVLJQLğHUVRIIRUWLğFDWLRQĵ7KRPDVDQGWKH meticulous rituals of closing many doors. Precisely for this reason the Lau-rents are so vexed by the ubiquitous snooping camera-eye, as it blatantly undermines their hard-earned feeling of immunity. Unfortunately, what they overlook is that the camera gaze does not issue from any external VXEMHFWLWLVĽOLNHWKH/DFDQLDQEOLQGVSRWĽDQLQKHUHQWSDUWRI*HRUJHV DbV\PEROLFUHVXUIDFLQJRIKLVORQJUHSUHVVHGUDFLVWJXLOW7KHYLGHRWDSHV the metaphorically palpable dimension of the gaze, materialize exactly on the threshold of their “sanctuary,” the borderline between the outward world and the inward ego.

As Hidden relates to the issue of the threat of imaginary “savage ter-ror” directed against an innocently white Europe, it is illuminating to in-vestigate the menace with which the six-year-old Georges frightens his SDUHQWVRIIDGRSWLQJ0DMLG7KHGLDEROLFDOVFHQDULRVFKHPHGE\WKHHQYL-ous boy is carved so deeply in his unconsciSDUHQWVRIIDGRSWLQJ0DMLG7KHGLDEROLFDOVFHQDULRVFKHPHGE\WKHHQYL-ous that it returns to him forty \HDUVODWHUDQGLVSUHVHQWHGLQRQHRIWKHğOPĳVGUHDPVHTXHQFHVZKHUH WKH$OJHULDQER\GHFDSLWDWHVDbURRVWHU7KLVPRPHQWLVJRU\DQGHVWUDQJ-LQJEXWDSDUWIURPLWVGLUHFWHIIHFWLWKDVDbVXSSOHPHQWDU\LPSDFWRQWKH SDUHQWVĳXQFRQVFLRXV*HRUJHVDURXVHVWKHLUGRUPDQWUDFLDOSUHMXGLFHDQG IHDU7KHDFWRIEHKHDGLQJDbURRVWHUDOVRIXQFWLRQVRQDbV\PEROLFDOOHYHOĽ 0DMLGFXWVRIIWKHKHDGRIWKH*DOOLFURRVWHUle coq gauloisĽKHLVQRWRQO\ DbWKUHDWWR*HRUJHVKHLVVRPHWKLQJPXFKJUDYHUWKHHPERGLPHQWRIWKH Algerian threat to France.

Returning to the opening paragraph, what happens if we “stay seated DVWKHFUHGLWVUROOĵ",QWKHODVWVKRWRIWKHğOPDbORQJVWDWLRQDU\WDNH ZHFRQWHPSODWHWKHIURQWYLHZRI3LHUURWĳVVFKRRODQHYHU\GD\KXVWOHDQG EXVWOHRI\RXQJSHRSOHJRLQJWRDQGIURDQGIRUDbPRPHQWZHVHHEXW FDQQRWKHDUDbFRQYHUVDWLRQEHWZHHQ3LHUURWDQG0DMLGĳVVRQ,WLVQRW clear whether the boys have met before, it is not revealed what they talk

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DERXW<DFRZDUIRFXVHVLQWKLVVFHQHRQWKHĴDEVHQFHRIFKLOGUHQRIFRO-RXUĵLQIURQWRIVFKRROIRUKLPĴWKHVKRWFRQYH\VZKLWHSULYLOHJH)RUDOO )UDQFHĳVSDVVLRQDWHLQWHOOHFWXDOOLEHUDOLVPWKHFRXQWU\ĳVLPSHULDOLVWSDVW persists in the struggles of its huge disadvantaged Arab underclass.” Wood, who chooses to foreground the connection between the boys, would like to see in it “the possibility of collaboration, revolution, and renewal within the younger generation.”

While such interpretations do not exclude one another, we should YLHZWKHPWKURXJKWKHSULVPRIDbGHWDLOWKDWZHKDYHVHHQKDOIZD\WKURXJK WKHğOPDPRQJYDULRXVSRVWHUVRQWKHZDOOVRI3LHUURWĳVEHGURRPLVDbSLF-WXUHRI=LQHGLQH=LGDQH=LGDQHLVDbUHQRZQHG)UHQFKIRRWEDOOSOD\HUWKH FDSWDLQRIWKHQDWLRQDOWHDPZKLFKZRQWKHğUVWDQGRQO\:RUOG&XSIRU )UDQFHLQDbSOD\HUZKRVFRUHGWKUHHJRDOVLQWKHğQDOJDPHLQ3DULV &XULRXVO\=LGDQHSRVVLEO\WKHPRVWUHFRJQL]DEOHLFRQRI)UHQFKVSRUWDW WKHWLPHLVDbVRQRI$OJHULDQLPPLJUDQWVKLVSDUHQWVDUH0XVOLPDQGRQH of his family members has even played for the Algerian national football WHDP7KHDSSDUHQWSDUDGR[LVQRWLQIDFWVRXQFRPPRQ%KDEKDPLJKW FDOOWKLVDbPRPHQWĴLQZKLFKWKHQDWLYHbbbbPHHWVWKHGHPDQGRIFRORQLDO GLVFRXUVHĵDbGHPDQGIRUWKH1HJURZKLFKKDVEHHQVSRWWHGE\)DQRQ ,WLVUHFRJQL]DEO\WUXHWKDWWKHFKDLQRIVWHUHRW\SLFDOVLJQLğFDWLRQLVFXUL-RXVO\PL[HGDQGVSOLWSRO\PRUSKRXVDQGSHUYHUVHbbbb7KHEODFNLVERWK VDYDJHFDQQLEDODQG\HWWKHPRVWREHGLHQWDQGGLJQLğHGRIVHUYDQWV WKHEHDUHURIIRRGKHLVWKHHPERGLPHQWRIUDPSDQWVH[XDOLW\DQG\HW LQQRFHQWDVDbFKLOGKHLVP\VWLFDOSULPLWLYHVLPSOHPLQGHGDQG\HWWKH most worldly and accomplished liar, and manipulator of social forces. ,QHDFKFDVHZKDWLVEHLQJGUDPDWL]HGLVDbVHSDUDWLRQļbetween races, FXOWXUHV>DQG@KLVWRULHV

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Montmayeur. Perf. Michael Haneke. Hidden'9'

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McGowan, Todd. 7KH5HDO*D]H)LOP7KHRU\DIWHU/DFDQ1HZ<RUN 6WDWH8QLYHUVLW\RI1HZ<RUN3UHVV

Lacan, Jacques. “Of the Gaze as 2EMHW3HWLWD.” The Four

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7KRPDV-RQDWKDQĴ0LFKDHO+DQHNHĳV1HZV,PDJHVĵArt Journal Questia. 'HF

Wood, Robin. “Hidden in Plain Sight: Robin Wood on Michael +DQHNHĳVCaché.” Artforum InternationalQuestia. 'HF

<DFRZDU 0DXULFH ĴCaché and the Private/public Secret.” Queen’s