{"product_id":"new-austrian-film-9781845457006","title":"New Austrian Film","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tOut 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. \u003cem\u003eNew Austrian Film \u003c\/em\u003eis 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t\u003cem\u003e“In this excellent collection of essays on recent Austrian cinema – the first to attempt to define this body of films as a coherent whole – the editors Robert Dassanowsky and Oliver C. Speck settle upon the term \u003c\/em\u003e\u003cem\u003eNew Austrian Film\u003c\/em\u003e\u003cem\u003e. They have assembled an impressive team of scholars with diverse backgrounds, interests and perspectives to offer 27 chapters analysing various aspects of Austrian cinema at the turn of the 21st century…[The editors] have done an exemplary editorial job, bringing the contributions together nicely without forcing them into a monotonous similarity of style, approach, or argument. Like the best examples of the films it analyses, \u003c\/em\u003e\u003cem\u003eNew Austrian Film\u003c\/em\u003e\u003cem\u003eweaves together a wide variety of narratives and perspectives to challenge its audience to see things differently. The volume is as handsome and professionally presented as we have come to expect from the publisher, Berghahn Books.”\u003c\/em\u003e \u003cstrong\u003e· Senses of Cinema\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“…highly recommended to scholars, students, and film lovers.”\u003c\/em\u003e \u003cstrong\u003e· Monatshefte\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“This volume is unreservedly recommended to those who are already familiar with Austrian film to some extent. They will welcome the in-depth treatment and overview of Austrian cinema and its most important representatives.”\u003c\/em\u003e \u003cstrong\u003e· Media Studies\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“This is a rich volume that will broaden understanding and appreciation of Austrian film and Austrian-trained filmmakers.”\u003c\/em\u003e \u003cstrong\u003e· Austrian Studies\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“A substantive, coherent, and nuanced volume that brings together first-class authors and presents up-to-date research not only by German-speaking but also by foreign scholars - a reflection of the growing awareness of Austrian film internationally… The scholarly expertise to be found in these rich contributions make reading this volume a pleasant experience.”\u003c\/em\u003e \u003cstrong\u003e· RAY Magazine\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“\u003c\/em\u003e\u003cem\u003eAlmost all of the essays are well written and argued; they are well worth the attention of anyone interested in contemporary German-language cinema or in the contemporary German-speaking world. They provide a useful introduction to a national cinema that should be of interest to cinephiles everywhere.”\u003c\/em\u003e \u003cstrong\u003e·Journal of Austrian Studies\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“This book opens by referencing a 2006 \u003c\/em\u003e\u003cem\u003eNew York Times\u003c\/em\u003e\u003cem\u003earticle that characterized Austria as the ‘world capital of feel-bad cinema,’ and then sets out to complicate this aesthetic, an objective which the diverse and engaging contributions more than accomplish… Beyond the pessimistic storylines, it seems, there is another level on which these films function, a productive, didactic and perhaps even optimistic level that is tested and chronicled in this unique and valuable collection of current perspectives.”\u003c\/em\u003e \u003cstrong\u003e· Austrian Studies Newsletter\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“\u003c\/em\u003eNew Austrian Film \u003cem\u003eintroduces 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.”\u003c\/em\u003e \u003cstrong\u003e· Katherine Arens\u003c\/strong\u003e, University of Texas at Austin\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“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.”\u003c\/em\u003e \u003cstrong\u003e· Chris Fujiwara\u003c\/strong\u003e, editor of the International Federation of Film Critics journal, \u003cem\u003eUndercurrents\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t\u003cb\u003eIntroduction:\u003c\/b\u003e New Austrian Film: The Non-Exceptional Exception\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003ePART I: EARLY VISIONS\/INFLUENTIAL SITES\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 1.\u003c\/b\u003e \"The Experiment is Not Yet Finished\": VALIE EXPORT's Avant Garde Film\u003cbr\u003e \t\u003ci\u003eMargarete Lamb-Faffelberger\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 2.\u003c\/b\u003e Franz Antel's \u003ci\u003eBockerer\u003c\/i\u003e Series: Constructing the Historical Myth of the Austrian Second Republic\u003cbr\u003e \t\u003ci\u003eJoseph Moser\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 3.\u003c\/b\u003e Historical Drama of a Well-Intentioned Kind: Wolfgang Glück's: \u003ci\u003e38: Auch das war Wien\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eFelix Tweraser\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 4.\u003c\/b\u003e Cartographies of Identity: Memory and History in Ruth Beckermann's Documentary Films\u003cbr\u003e \t\u003ci\u003eChristina Guenther\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003ePART II: BARBARA ALBERT AND THE FEMALE RE-FOCUS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 5.\u003c\/b\u003e A New Community of Women: Barbara Albert's \u003ci\u003eNordrand\/Northern Skirts\u003c\/i\u003e\u003cbr\u003e \t\u003cem\u003eDagmar Lorenz \u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 6.\u003c\/b\u003e Metonymic Visions: Globalization, Consumer Culture, and Mediated Affect in Barbara Albert's \u003ci\u003eBöse Zellen\/Free Radicals\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eImke Meyer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 7.\u003c\/b\u003e Place and Space of Contemporary Austria in Barbara Albert's Feature Films\u003cbr\u003e \t\u003ci\u003eMary Wauchope\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 8.\u003c\/b\u003e Connecting with Others; Mirroring Difference: Films by Kathrin Resetarits – Director, Actress, and Writer\u003cbr\u003e \t\u003ci\u003eVerena Mund\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 9.\u003c\/b\u003e Not Politics but People: The \"Feminine Aesthetic\" of Valeska Grisebach and Jessica Hausner\u003cbr\u003e \t\u003ci\u003eCatherine Wheatley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003ePART III: MICHAEL HANEKE AND ULRICH SEIDL: A QUESTION OF SPECTATORIAL DESTINATION\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 10.\u003c\/b\u003e Allegory in Michael Haneke's \u003ci\u003eThe Seventh Continent\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eEva Kuttenberg\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 11.\u003c\/b\u003e \"What-Goes-Without-Saying\": Michael Haneke's Confrontation with Myths in \u003ci\u003eFunny Games\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eGabi Wurmitzer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 12.\u003c\/b\u003e Unseen\/Obscene: The (Non-) Framing of the Sexual Act in Michael Haneke's \u003ci\u003eLa Pianiste\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eCatherine Wheatley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 13.\u003c\/b\u003e The Possibility of Desire in a Conformist World: The Cinema of Ulrich Seidl\u003cbr\u003e \t\u003ci\u003eMatthias Frey\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 14.\u003c\/b\u003e \u003ci\u003eDog Days\u003c\/i\u003e: Ulrich Seidl’s Fin-de-Siecle Vision\u003cbr\u003e \t\u003ci\u003eJustin Vicari\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 15.\u003c\/b\u003e Import and Export: Ulrich Seidl’s Indiscreet Anthropology of Migration\u003cbr\u003e \t\u003ci\u003eMartin Brady\u003c\/i\u003e and \u003ci\u003eHelen Hughes\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003ePART IV: RE-VISIONS, SHIFTING CENTERS, CROSSING BORDERS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 16.\u003c\/b\u003e Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, Albert\u003cbr\u003e \t\u003ci\u003eNikhil Sathe\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 17.\u003c\/b\u003e The Resentment of One's Fellow Citizens Intensified into a Strong Sense of Community: Psychology and Misanthropy in \u003ci\u003eTotal Therapy, The Hold-up\u003c\/i\u003e, and \u003ci\u003eCaché\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eAndreas Böhn\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 18.\u003c\/b\u003e Trapped Bodies, Roaming Fantasies: Mobilizing the Constructions of Place and Identity in Florian Flicker's \u003ci\u003eSuzie Washington\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eGundolf Graml\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 19.\u003c\/b\u003e A Cinephilic Avant-Garde: The Films of Peter Tscherkassky, Martin Arnold, and Gustav Deutsch\u003cbr\u003e \t\u003ci\u003eErika \u003c\/i\u003e\u003ci\u003eBalsom\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003ePART V: STEFAN RUZOWITZKY AND NEO-CLASSIC TRENDS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 20.\u003c\/b\u003e Screening Nazisms and Reclaiming the Horror Genre: Stefan Ruzowitzky's \u003ci\u003eAnatomy\u003c\/i\u003e Films\u003cbr\u003e \t\u003ci\u003eAlexandra Ludewig\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 21.\u003c\/b\u003e Beyond Borders and Across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky's \u003ci\u003eThe Inheritors\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eRachel Palfreyman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 22.\u003c\/b\u003e A Genuine Dilemma: Ruzowitzky's \u003ci\u003eThe Counterfeiters\u003c\/i\u003e as Moral Experiment\u003cbr\u003e \t\u003ci\u003eRaymond Burt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 23.\u003c\/b\u003e National Box Office Hits - International \"Arthouse\"? The New \u003ci\u003eAustrokomödie\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eRegina Standún\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003ePART VI: AUSTRIA AND BEYOND AS TERRA INCOGNITA: GLAWOGGER, SAUPER, SPIELMANN\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 24.\u003c\/b\u003e Austria Plays Itself and Sees Da Him: Notes on the Image of Austria in the Films of Michael Glawogger\u003cbr\u003e \t\u003ci\u003eChristoph Huber\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 25.\u003c\/b\u003e Configurations of the Authentic in Hubert Sauper's\u003ci\u003eDarwin's Nightmare\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eArno Russegger\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 26.\u003c\/b\u003e The Lady in the Lake: Austria's Images in Götz Spielmann's\u003ci\u003eAntares\u003c\/i\u003e\u003cbr\u003e \t\u003ci\u003eSara Hall\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cb\u003eChapter 27.\u003c\/b\u003e \"Children of Optimism\": An Interview with Götz Spielmann on Revanche and New Austrian Film\u003cbr\u003e \t\u003ci\u003eCatherine Wheatley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \tSelected Filmography\u003cbr\u003e \tContributors\u003cbr\u003e \tIndex\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default Title","offer_id":51042984690007,"sku":"9781845457006","price":96.3,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781845457006.jpg?v=1750956524","url":"https:\/\/bookcurl.com\/products\/new-austrian-film-9781845457006","provider":"Book Curl","version":"1.0","type":"link"}