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New Austrian Film

BuchGebunden
410 Seiten
Englisch
Berghahn Bookserschienen am01.04.2011
From its scattered beginnings in the 1980s the Austrian new wave has developed into a cinema with broad international recognition.mehr
Verfügbare Formate
BuchGebunden
EUR165,60
BuchKartoniert, Paperback
EUR48,40
E-BookEPUBDRM AdobeE-Book
EUR40,99

Produkt

KlappentextFrom its scattered beginnings in the 1980s the Austrian new wave has developed into a cinema with broad international recognition.
Details
ISBN/GTIN978-1-84545-700-6
ProduktartBuch
EinbandartGebunden
Erscheinungsjahr2011
Erscheinungsdatum01.04.2011
ReiheFilm Europa
Seiten410 Seiten
SpracheEnglisch
MasseBreite 157 mm, Höhe 235 mm, Dicke 27 mm
Gewicht744 g
Artikel-Nr.13075743
Rubriken
GenreKunst/Architektur

Inhalt/Kritik

Inhaltsverzeichnis
Introduction: New Austrian Film: The Non-Exceptional ExceptionPART I: EARLY VISIONS/INFLUENTIAL SITESChapter 1. "The Experiment is Not Yet Finished": VALIE EXPORT's Avant Garde FilmMargarete Lamb-FaffelbergerChapter 2. Franz Antel's Bockerer Series: Constructing the Historical Myth of the Austrian Second RepublicJoseph MoserChapter 3. Historical Drama of a Well-Intentioned Kind: Wolfgang Glück's: 38: Auch das war WienFelix TweraserChapter 4. Cartographies of Identity: Memory and History in Ruth Beckermann's Documentary FilmsChristina GuentherPART II: BARBARA ALBERT AND THE FEMALE RE-FOCUSChapter 5. A New Community of Women: Barbara Albert's Nordrand/Northern SkirtsDagmar Lorenz Chapter 6. Metonymic Visions: Globalization, Consumer Culture, and Mediated Affect in Barbara Albert's Böse Zellen/Free RadicalsImke MeyerChapter 7. Place and Space of Contemporary Austria in Barbara Albert's Feature FilmsMary WauchopeChapter 8. Connecting with Others; Mirroring Difference: Films by Kathrin Resetarits - Director, Actress, and WriterVerena MundChapter 9. Not Politics but People: The "Feminine Aesthetic" of Valeska Grisebach and Jessica HausnerCatherine WheatleyPART III: MICHAEL HANEKE AND ULRICH SEIDL: A QUESTION OF SPECTATORIAL DESTINATIONChapter 10. Allegory in Michael Haneke's The Seventh ContinentEva KuttenbergChapter 11. "What-Goes-Without-Saying": Michael Haneke's Confrontation with Myths in Funny GamesGabi WurmitzerChapter 12. Unseen/Obscene: The (Non-) Framing of the Sexual Act in Michael Haneke's La PianisteCatherine WheatleyChapter 13. The Possibility of Desire in a Conformist World: The Cinema of Ulrich SeidlMatthias FreyChapter 14. Dog Days: Ulrich Seidl´s Fin-de-Siecle VisionJustin VicariChapter 15. Import and Export: Ulrich Seidl´s Indiscreet Anthropology of MigrationMartin Brady and Helen HughesPART IV: RE-VISIONS, SHIFTING CENTERS, CROSSING BORDERSChapter 16. Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, AlbertNikhil SatheChapter 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 CachéAndreas BöhnChapter 18. Trapped Bodies, Roaming Fantasies: Mobilizing the Constructions of Place and Identity in Florian Flicker's Suzie WashingtonGundolf GramlChapter 19. A Cinephilic Avant-Garde: The Films of Peter Tscherkassky, Martin Arnold, and Gustav DeutschErika BalsomPART V: STEFAN RUZOWITZKY AND NEO-CLASSIC TRENDSChapter 20. Screening Nazisms and Reclaiming the Horror Genre: Stefan Ruzowitzky's Anatomy FilmsAlexandra LudewigChapter 21. Beyond Borders and Across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky's The InheritorsRachel PalfreymanChapter 22. A Genuine Dilemma: Ruzowitzky's The Counterfeiters as Moral ExperimentRaymond BurtChapter 23. National Box Office Hits - International "Arthouse"? The New AustrokomödieRegina StandúnPART VI: AUSTRIA AND BEYOND AS TERRA INCOGNITA: GLAWOGGER, SAUPER, SPIELMANNChapter 24. Austria Plays Itself and Sees Da Him: Notes on the Image of Austria in the Films of Michael GlawoggerChristoph HuberChapter 25. Configurations of the Authentic in Hubert Sauper'sDarwin's NightmareArno RusseggerChapter 26. The Lady in the Lake: Austria's Images in Götz Spielmann'sAntaresSara HallChapter 27. "Children of Optimism": An Interview with Götz Spielmann on Revanche and New Austrian FilmCatherine WheatleySelected FilmographyContributorsIndexmehr
Kritik
"New Austrian Film introduces a generation of Austrian and Austrian-trained Central European filmmakers to world cinema scholars and cinephiles, opening a vista on a resolutely political and multicultural cinema ... This volume is well-balanced and conceived to provide historical, theoretical, and aesthetic frameworks that will draw both the professional and the enthusiast into a contemporary cinema too long overlooked as a distinctive voice on the international stage." * Katherine Arens, Professor of German Studies and Comparative Literature, University of Texas at Austin "The essays in this volume provide both historical context and critical analysis for the politically and aesthetically significant filmmaking now being done in Austria. This is an exemplary collection, comprehensive in scope and rich in fascinating detail, that will help bring closer attention to a remarkable national cinema." * Chris Fujiwara, writer and critic; editor of the International Federation of Film Critics journal, Undercurrents; author of studies on Jacques Tourneur, Jerry Lewis, and Otto Preminger.
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Autor

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).