Cache In Meaning

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the audience to an active mode of spectatorship. By making the audience active in the narrative, Haneke is able to diverge from a traditional story telling mode and force the audience to ask larger question of the story. Haneke, destabilizes the viewers assumption of truth by refocusing a scene’s emphasis and thus the viewer’s frame of reference to characters, and ultimately antagonistic position.
The film begins abruptly after a rather long take with no particular emphasis. The titles appear in a particularly unusual way (unusual implicitly because opening titles seem to have fallen out of fashion). The titles are mechanical way almost as if being typed and they appear obtrusively over the opening shot. This along with the monotony of the opening shot seems to draw away from any action that the scene may be trying to convey. It is particularly unnerving in its length and punctuated deep crisp high-definition focus. Given nothing in particular to look at or follow the ...

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this camera has no master, and could possibly betray the viewer. The audience has no reference point with which to rely on, they were after all just implicated as possibly malicious voyeurs by the Laurent family. This shift in our point of reference from viewers of the movie to voyeur of an innocent family is disconcerting. The intent of the blackmailer is unknown and the superficially innocent family is still barely known. The lesson to be learned is that a static shot, with no one talking is a questionable shot. Thus when a cut is met with a static camera the audience is immediately put on alert that we may have become the voyeur again, and are removed from the drama instead ...

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