New Austrian Film

Robert von Dassanowsky is Professor of German and Film Studies at the University of Colorado, Colorado Springs. A Carnegie/CASE U.S. Professor of the Year for Colorado, he also works as an independent producer. His books include Phantom Empires: The Novels of Alexander Lernet-Holenia (1995), The Gale Encyclopedia of Multicultural America, 2nd Ed. (as Editor, 1999) and Austrian Cinema: A History (2005), the first English language survey of that nation's film art. Oliver C. Speck is Assistant Professor of Film Studies at Virginia Commonwealth University, School of World Studies. His scholarly writing focuses on narrative strategies and the representation of memory and history in European cinema. His new book Funny Frames: The Filmic Concepts of Michael Haneke (2010), explores how a political thinking manifests itself in the oeuvre of the Austrian director.

"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.

• INTRODUCTION New Austrian Film: The Non-Exceptional Exception I. EARLY VISIONS/INFLUENTIAL SITE 1.Margarete Lamb-Faffelberger - "The Experiment is Not Yet Finished": VALIE EXPORT's Avant Garde Film 2. Joseph Moser - Franz Antel's Bockerer Series: Constructing the Historical Myth of the Austrian Second Republic 3. Felix Tweraser - Historical Drama of a Well-Intentioned Kind: Wolfgang Gluck's 38: Auch das war Wien 4. Christina Guenther - Cartographies of Identity: Memory and History in Ruth Beckermann's Documentary Films II. BARBARA ALBERT AND THE FEMALE RE-FOCUS 5. Dagmar Lorenz - A New Community of Women: Barbara Albert's Nordrand/Northern Skirts 6. Imke Meyer - Metonymic Visions: Globalization, Consumer Culture, and Mediated Affect in Barbara Albert's Bose Zellen/Free Radicals 7.Mary Wauchope - Place and Space of Contemporary Austria in Barbara Albert's Feature Films 8. Verena Mund - Connecting with Others; Mirroring Difference: Films by Kathrin Resetarits - Director, Actress, and Writer 9.Catherine Wheatley - Not Politics but People: The "Feminine Aesthetic" of Valeska Grisebach and Jessica Hausner III. MICHAEL HANEKE AND ULRICH SEIDL: A QUESTION OF SPECTATORIAL DESTINATION 10.Eva Kuttenberg - Allegory in Michael Haneke's The Seventh Continent 11. Gabi Wurmitzer - "What-Goes-Without-Saying": Michael Haneke's Confrontation with Myths in Funny Games 12.Catherine Wheatley - Unseen/Obscene: The (Non-) Framing of the Sexual Act in Michael Haneke's La Pianiste 13.Matthias Frey - The Possibility of Desire in a Conformist World: The Cinema of Ulrich Seidl 14.Justin Vicari - Dog Days: Ulrich Seidl's Fin-de-Siecle Vision 15.Martin Brady and Helen Hughes - Import and Export: Ulrich Seidl's Indiscreet Anthropology of Migration IV. RE-VISIONS, SHIFTING CENTERS, CROSSING BORDERS 16.Nikhil Sathe - Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, Albert 17.Andreas Bohn - The Resentment of One's Fellow Citizens Intensified into a Strong Sense of Community: Psychology and Misanthropy in Total Therapy, The Hold-up, and Cache 18.Gundolf Graml - Trapped Bodies, Roaming Fantasies: Mobilizing the Constructions of Place and Identity in Florian Flicker's Suzie Washington 19.Erika Balsom - A Cinephilic Avant-Garde: The Films of Peter Tscherkassky, Martin Arnold, and Gustav Deutsch V. STEFAN RUZOWITZKY AND NEO-CLASSIC TRENDS 20.Alexandra Ludewig - Screening Nazisms and Reclaiming the Horror Genre: Stefan Ruzowitzky's Anatomy Films 21.Rachel Palfreyman - Beyond Borders and Across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky's The Inheritors 22.Raymond Burt - A Genuine Dilemma: Ruzowitzky's The Counterfeiters as Moral Experiment 23.Regina Standun - National Box Office Hits -- International "Arthouse"? The New Austrokomodie 24.Florian Kroppel - Wolfgang Murnberger's Silentium! Or, the Question of Who is Actually Keeping Silent VI. AUSTRIA AND BEYOND AS TERRA INCOGNITA: GLAWOGGER, SAUPER, SPIELMANN 25.Christoph Huber - Austria Plays Itself and Sees Da Him: Notes on the Image of Austria in the Films of Michael Glawogger 26.Arno Russegger - Configurations of the Authentic in Hubert Sauper's Darwin's Nightmare 27.Sara Hall - The Lady in the Lake: Austria's Images in Gotz Spielmann's Antares 28.Catherine Wheatley - "Children of Optimism": An Interview with Gotz Spielmann on Revanche and New Austrian Film Selected Filmography Contributors Index