Michael Haneke's film Code Unknown (2000) depicts an interracial confrontation on the Paris Métro, which the critical literature has tended to discuss as a comment on European multiculturalism. In this paper I argue that this scene must also be understood as a variation of a string of similar interracial subway scenes that emerged in the New Hollywood era of American cinema in the late 1960s and 1970s. Reflecting interconnected changes in the American city and film industry, this subterranean scene constitutes a key example of a new form of graphically violent urban cinema. Haneke being an ardent critic of American entertainment violence, the appropriation of this scene in Code Unknown allows us to evaluate his counteraesthetic in ways that bridge thematic and auteurist approaches, and that take into account the crucial role of the spectator.
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