New Austrian Film / / ed. by Robert von Dassanowsky, Oliver C. Speck.

• Superior document: Title is part of eBook package: De Gruyter Berghahn Books Complete eBook-Package 2000-2013
• MitwirkendeR: Balsom, Erika,; Brady, Martin,; Burt, Raymond L.,; Böhn, Andreas,; Dassanowsky, Robert von,; Frey, Mattias,; Graml, Gundolf,; Guenther, Christina,; Hall, Sara F.,; Huber, Christoph,; Hughes, Helen,; Kuttenberg, Eva,; Lamb-Faffelberger, Margarete,; Lorenz, Dagmar,; Ludewig, Alexandra,; Meyer, Imke,; Moser, Joseph,; Mund, Verena,; Palfreyman, Rachel,; Russegger, Arno,; Sathe, Nikhil,; Speck, Oliver C.,; Standún, Regina,; Tweraser, Felix W,; Vicari, Justin,; Wauchope, Mary,; Wheatley, Catherine,; Wurmitzer, Gabriele,
• HerausgeberIn: Dassanowsky, Robert von,; Speck, Oliver C.,
• Place / Publishing House: New York; , Oxford : : Berghahn Books, , [2011]; ©2011
• Year of Publication: 2011
• Language: English
• Physical Description: 1 online resource (408 p.)

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 anthol...

Table of Contents

• Frontmatter
• Contents
• Introduction New Austrian Film: Th e Non-exceptional Exception
• Part I Early Visions/Influential Sites
• Chapter 1 “The Experiment Is Not Yet Finished”: VALIE EXPORT’s Avant-garde Film and Multimedia Art
• Chapter 2 Franz Antel’s Bockerer Series: Constructing the Historical Myths of Second Republic Austria
• Chapter 3 Historical Drama of a Well-intentioned Kind: Wolfgang Glück’s 38 – Auch das war Wien
• Chapter 4 Cartographies of Identity: Memory and History in Ruth Beckermann’s Documentary Films
• Part II Barbara Albert and the Female Re-focus
• Chapter 5 A New Community of Women: Barbara Albert’s Nordrand
• Chapter 6 Metonymic Visions: Globalization, Consumer Culture, and Mediated Aff ect in Barbara Albert’s Böse Zellen
• Chapter 7 Place and Space of Contemporary Austria in Barbara Albert’s Feature Films
• Chapter 8 Connecting with Others, Mirroring Diff erence: Th e Films of Kathrin Resetarits
• Chapter 9 Not Politics but People: Th e “Feminine Aesthetic” of Valeska Grisebach and Jessica Hausner
• Part III Michael Haneke and Ulrich Seidl: A Question of Spectatorial Destination
• Chapter 10 Allegory in Michael Haneke’s Th e Seventh Continent
• Chapter 11 “What Goes without Saying”: Michael Haneke’s Confrontation with Myths in Funny Games
• Chapter 12 Unseen/Obscene: The (Non-)Framing of the Sexual Act in Michael Haneke’s La Pianiste
• Chapter 13 The Possibility of Desire in a Conformist World: Th e Cinema of Ulrich Seidl
• Chapter 14 Dog Days: Ulrich Seidl’s Fin-de-siècle Vision
• Chapter 15 Import and Export: Ulrich Seidl’s Indiscreet Anthropology of Migration
• Part IV Re-visions, Shifting Centers, Crossing Borders
• Chapter 16 Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, Albert
• Chapter 17 “Th e Resentment of One’s Fellow Citizens Intensifi ed into a Strong Sense of Community”: Psychology and Misanthropy in Frosch’s Total Therapy, Flicker’s Hold-Up, and Haneke’s Caché
• Chapter 18 Trapped Bodies, Roaming Fantasies: Mobilizing Constructions of Place and Identity in Florian Flicker’s Suzie Washington
• Chapter 19 A Cinephilic Avant-garde: Th e Films of Peter Tscherkassky, Martin Arnold, and Gustav Deutsch
• Part V Stefan Ruzowitzky and Neo-classic Trends
• Chapter 20 Screening Nazism and Reclaiming the Horror Genre: Stefan Ruzowitzky’s Anatomy Films
• Chapter 21 Beyond Borders and across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky’s Th e Inheritors
• Chapter 22 A Genuine Dilemma: Ruzowitzky’s The Counterfeiters as Moral Experiment
• Chapter 23 National Box-office Hits or International “Arthouse”? The New Austrokomödie
• 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
• Chapter 25 Configurations of the Authentic in Hubert Sauper’s Darwin’s Nightmare
• Chapter 26 The Lady in the Lake: Austria’s Images in Götz Spielmann’s Antares
• Chapter 27 “Children of Optimism”: An Interview with Götz Spielmann on Revanche and New Austrian Film
• Select Filmography
• Notes on Contributors
• Index