New Austrian Film

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Robert von Dassanowsky, Oliver C. Speck
Berghahn Books, 1 apr 2011 - 408 pagine
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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.

 

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Indice

Introduction
1
Early VisionsInfluential Sites
19
The Experiment Is Not Yet Finished VALIE EXPORTs Avantgarde Film and Multimedia Art
21
Franz Antels Bockerer Series Constructing the Historical Myths of Second Republic Austria
43
Historical Drama of a Wellintentioned Kind Wolfgang Glücks 38 Auch daswar Wien
54
Cartographies of Identity Memory and History in Ruth Beckermanns Documentary Films
64
Barbara Albert and the Female Refocus
79
A New Community of Women Barbara Alberts Nordrand
81
Revisions Shifting Centers Crossing Borders
225
Crossing Borders in Austrian Cinema at the Turn of the Century Flicker Allahyari Albert
227
The Resentment of Ones Fellow Citizens Intensified into a Strong Sense of Community Psychology and Misanthropy in Froschs Total Therapy Flicke...
242
Trapped Bodies Roaming Fantasies Mobilizing Constructions of Place and Identity in Florian Flickers Suzie Washington
251
A Cinephilic Avantgarde The Films of Peter Tscherkassky Martin Arnold and Gustav Deutsch
263
Stefan Ruzowitzky and Neoclassic Trends
277
Screening Nazism and Reclaiming the Horror Genre Stefan Ruzowitzkys Anatomy Films
279
Beyond Borders and across Genre Boundaries Critical Heimat in Stefan Ruzowitzkys Th e Inheritors
292

Metonymic Visions Globalization Consumer Culture and Mediated Affect in Barbara Alberts Böse Zellen
94
Place and Space of Contemporary Austria in Barbara Alberts Feature Films
108
Connecting with Others Mirroring Difference The Films of Kathrin Resetarits
122
Not Politics but People The Feminine Aesthetic of Valeska Grisebach and Jessica Hausner
136
Michael Haneke and Ulrich Seidl A Question of Spectatorial Destination
149
Allegory in Michael Hanekes The Seventh Continent
151
What Goes without Saying Michael Hanekes Confrontation with Myths in Funny Games
166
UnseenObscene The NonFraming of the Sexual Act in Michael Hanekes La Pianiste
177
The Possibility of Desire in a Conformist World The Cinema of Ulrich Seidl
189
Dog Days Ulrich Seidls Findesiècle Vision
199
Import and Export Ulrich Seidls Indiscreet Anthropology of Migration
207
A Genuine Dilemma Ruzowitzkys The Counterfeiters as Moral Experiment
307
National Boxoffice Hits or International Arthouse? The New Austrokomödie
320
Austria and Beyond as Terra Incognita Glawogger Sauper Spielmann
333
Austria Plays Itself and Sees Da Him Notes on the Image of Austria in the Films of Michael Glawogger
335
Configurations of the Authentic in Hubert Saupers Darwins Nightmare
343
The Lady in the Lake Austrias Images in Götz Spielmanns Antares
356
Children of Optimism An Interview with Götz Spielmann on Revanche and New Austrian Film
368
Select Filmography
377
Notes on Contributors
387
Index
393
Copyright

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Informazioni sull'autore (2011)

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).

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