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This paper argues that  71 Fragments of a Chronology of Chance  (Michael Haneke, 1994) is a key film for understanding the transition from national to transnational cinema. The place of the spectator within socio-temporal forms is Haneke’s critical target.  71 Fragments  forces the spectator to rethink social time by challenging spectatorial privilege. The spectator’s desire to imagine an extended, integrated social field measured by clock and calendar is stifled, frustrated. Past and present are dissociated as the spectator is compelled to re-imagine social time. Through analysis of this impulse, we discover the intriguing presence of an informatic social space in the film marked by discursive automation. This paper extends the critical discourse on Haneke’s film, revising our understanding of aesthetic fragmentation by placing it in the context of socio-temporal transformation. In doing so I seek to articulate the contribution Haneke’s film makes to the representation of the current transnational and global political context.

Parallelism unbound: towards transnational time in Michael Haneke’s 71 Fragments of a Chronology of Chance