Out of a film culture originally starved of funds have emerged rich and eclectic works by film-makers that are now achieving the international recognition that they deserve: Barbara Albert, Michael Haneke, Ulrich Seidl, and Stefan Ruzowitzky, to give four examples. This comprehensive critical anthology, by leading scholars of Austrian film, is intended to introduce and make accessible this much under-represented phenomenon. Although the book covers the full development of the Austrian new wave it focuses on the period that has brought it global attention: 1998 to the present. New Austrian Film…mehr
Out of a film culture originally starved of funds have emerged rich and eclectic works by film-makers that are now achieving the international recognition that they deserve: Barbara Albert, Michael Haneke, Ulrich Seidl, and Stefan Ruzowitzky, to give four examples. This comprehensive critical anthology, by leading scholars of Austrian film, is intended to introduce and make accessible this much under-represented phenomenon. Although the book covers the full development of the Austrian new wave it focuses on the period that has brought it global attention: 1998 to the present. New Austrian Film is the only book currently available on this topic and will be an essential reference work for academics, students and filmmakers, interested in modern Austrian film.
Robert von Dassanowsky is Professor of German and Film Studies at the University of Colorado, Colorado Springs and also works as an independent film producer. He is the author of Austrian Cinema: A History (2005), the first English language survey of that nation's film art. Other books include The Nameable and the Unnameable: Hugo von Hofmannsthal's "Der Schwierige" Revisited (co-ed., 2011), Quentin Tarantino's Inglourious Basterds: A Manipulation of Metafilm (ed., 2012), World Film Locations: Vienna (ed., 2012), and Screening Transcendence: Film Under Austrofascism and the Hollywood Hope 1933-38 (2014).
Inhaltsangabe
Introduction: New Austrian Film: The Non-Exceptional Exception PART I: EARLY VISIONS/INFLUENTIAL SITES Chapter 1. "The Experiment is Not Yet Finished": VALIE EXPORT's Avant Garde Film Margarete Lamb-Faffelberger Chapter 2. Franz Antel's Bockerer Series: Constructing the Historical Myth of the Austrian Second Republic Joseph Moser Chapter 3. Historical Drama of a Well-Intentioned Kind: Wolfgang Glück's: 38: Auch das war Wien Felix Tweraser Chapter 4. Cartographies of Identity: Memory and History in Ruth Beckermann's Documentary Films Christina Guenther PART II: BARBARA ALBERT AND THE FEMALE RE-FOCUS Chapter 5. A New Community of Women: Barbara Albert's Nordrand/Northern Skirts Dagmar Lorenz Chapter 6. Metonymic Visions: Globalization, Consumer Culture, and Mediated Affect in Barbara Albert's Böse Zellen/Free Radicals Imke Meyer Chapter 7. Place and Space of Contemporary Austria in Barbara Albert's Feature Films Mary Wauchope Chapter 8. Connecting with Others; Mirroring Difference: Films by Kathrin Resetarits - Director, Actress, and Writer Verena Mund Chapter 9. Not Politics but People: The "Feminine Aesthetic" of Valeska Grisebach and Jessica Hausner Catherine Wheatley PART III: MICHAEL HANEKE AND ULRICH SEIDL: A QUESTION OF SPECTATORIAL DESTINATION Chapter 10. Allegory in Michael Haneke's The Seventh Continent Eva Kuttenberg Chapter 11. "What-Goes-Without-Saying": Michael Haneke's Confrontation with Myths in Funny Games Gabi Wurmitzer Chapter 12. Unseen/Obscene: The (Non-) Framing of the Sexual Act in Michael Haneke's La Pianiste Catherine Wheatley Chapter 13. The Possibility of Desire in a Conformist World: The Cinema of Ulrich Seidl Matthias Frey Chapter 14. Dog Days: Ulrich Seidl's Fin-de-Siecle Vision Justin Vicari Chapter 15. Import and Export: Ulrich Seidl's Indiscreet Anthropology of Migration Martin Brady and Helen Hughes PART IV: RE-VISIONS, SHIFTING CENTERS, CROSSING BORDERS Chapter 16. Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, Albert Nikhil Sathe Chapter 17. The Resentment of One's Fellow Citizens Intensified into a Strong Sense of Community: Psychology and Misanthropy in Total Therapy, The Hold-up, and Caché Andreas Böhn Chapter 18. Trapped Bodies, Roaming Fantasies: Mobilizing the Constructions of Place and Identity in Florian Flicker's Suzie Washington Gundolf Graml Chapter 19. A Cinephilic Avant-Garde: The Films of Peter Tscherkassky, Martin Arnold, and Gustav Deutsch Erika Balsom PART V: STEFAN RUZOWITZKY AND NEO-CLASSIC TRENDS Chapter 20. Screening Nazisms and Reclaiming the Horror Genre: Stefan Ruzowitzky's Anatomy Films Alexandra Ludewig Chapter 21. Beyond Borders and Across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky's The Inheritors Rachel Palfreyman Chapter 22. A Genuine Dilemma: Ruzowitzky's The Counterfeiters as Moral Experiment Raymond Burt Chapter 23. National Box Office Hits - International "Arthouse"? The New Austrokomödie Regina Standún PART VI: AUSTRIA AND BEYOND AS TERRA INCOGNITA: GLAWOGGER, SAUPER, SPIELMANN Chapter 24. Austria Plays Itself and Sees Da Him: Notes on the Image of Austria in the Films of Michael Glawogger Christoph Huber Chapter 25. Configurations of the Authentic in Hubert Sauper'sDarwin's Nightmare Arno Russegger Chapter 26. The Lady in the Lake: Austria's Images in Götz Spielmann's Antares Sara Hall Chapter 27. "Children of Optimism": An Interview with Götz Spielmann on Revanche and New Austrian Film Catherine Wheatley Selected Filmography Contributors Index
Introduction: New Austrian Film: The Non-Exceptional Exception PART I: EARLY VISIONS/INFLUENTIAL SITES Chapter 1. "The Experiment is Not Yet Finished": VALIE EXPORT's Avant Garde Film Margarete Lamb-Faffelberger Chapter 2. Franz Antel's Bockerer Series: Constructing the Historical Myth of the Austrian Second Republic Joseph Moser Chapter 3. Historical Drama of a Well-Intentioned Kind: Wolfgang Glück's: 38: Auch das war Wien Felix Tweraser Chapter 4. Cartographies of Identity: Memory and History in Ruth Beckermann's Documentary Films Christina Guenther PART II: BARBARA ALBERT AND THE FEMALE RE-FOCUS Chapter 5. A New Community of Women: Barbara Albert's Nordrand/Northern Skirts Dagmar Lorenz Chapter 6. Metonymic Visions: Globalization, Consumer Culture, and Mediated Affect in Barbara Albert's Böse Zellen/Free Radicals Imke Meyer Chapter 7. Place and Space of Contemporary Austria in Barbara Albert's Feature Films Mary Wauchope Chapter 8. Connecting with Others; Mirroring Difference: Films by Kathrin Resetarits - Director, Actress, and Writer Verena Mund Chapter 9. Not Politics but People: The "Feminine Aesthetic" of Valeska Grisebach and Jessica Hausner Catherine Wheatley PART III: MICHAEL HANEKE AND ULRICH SEIDL: A QUESTION OF SPECTATORIAL DESTINATION Chapter 10. Allegory in Michael Haneke's The Seventh Continent Eva Kuttenberg Chapter 11. "What-Goes-Without-Saying": Michael Haneke's Confrontation with Myths in Funny Games Gabi Wurmitzer Chapter 12. Unseen/Obscene: The (Non-) Framing of the Sexual Act in Michael Haneke's La Pianiste Catherine Wheatley Chapter 13. The Possibility of Desire in a Conformist World: The Cinema of Ulrich Seidl Matthias Frey Chapter 14. Dog Days: Ulrich Seidl's Fin-de-Siecle Vision Justin Vicari Chapter 15. Import and Export: Ulrich Seidl's Indiscreet Anthropology of Migration Martin Brady and Helen Hughes PART IV: RE-VISIONS, SHIFTING CENTERS, CROSSING BORDERS Chapter 16. Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, Albert Nikhil Sathe Chapter 17. The Resentment of One's Fellow Citizens Intensified into a Strong Sense of Community: Psychology and Misanthropy in Total Therapy, The Hold-up, and Caché Andreas Böhn Chapter 18. Trapped Bodies, Roaming Fantasies: Mobilizing the Constructions of Place and Identity in Florian Flicker's Suzie Washington Gundolf Graml Chapter 19. A Cinephilic Avant-Garde: The Films of Peter Tscherkassky, Martin Arnold, and Gustav Deutsch Erika Balsom PART V: STEFAN RUZOWITZKY AND NEO-CLASSIC TRENDS Chapter 20. Screening Nazisms and Reclaiming the Horror Genre: Stefan Ruzowitzky's Anatomy Films Alexandra Ludewig Chapter 21. Beyond Borders and Across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky's The Inheritors Rachel Palfreyman Chapter 22. A Genuine Dilemma: Ruzowitzky's The Counterfeiters as Moral Experiment Raymond Burt Chapter 23. National Box Office Hits - International "Arthouse"? The New Austrokomödie Regina Standún PART VI: AUSTRIA AND BEYOND AS TERRA INCOGNITA: GLAWOGGER, SAUPER, SPIELMANN Chapter 24. Austria Plays Itself and Sees Da Him: Notes on the Image of Austria in the Films of Michael Glawogger Christoph Huber Chapter 25. Configurations of the Authentic in Hubert Sauper'sDarwin's Nightmare Arno Russegger Chapter 26. The Lady in the Lake: Austria's Images in Götz Spielmann's Antares Sara Hall Chapter 27. "Children of Optimism": An Interview with Götz Spielmann on Revanche and New Austrian Film Catherine Wheatley Selected Filmography Contributors Index
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