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.)
• Other title: 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
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780857452320; 9783110998283
• DOI: 10.1515/9780857452320
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Robert von Dassanowsky, Oliver C. Speck.

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.