Chapters in this book

1. Frontmatter i
2. Contents v
3. Introduction New Austrian Film: Th e Non-exceptional Exception 1
4. Part I Early Visions/Influential Sites
5. Chapter 1 “The Experiment Is Not Yet Finished”: VALIE EXPORT’s Avant-garde Film and Multimedia Art 19
6. Chapter 2 Franz Antel’s Bockerer Series: Constructing the Historical Myths of Second Republic Austria 43
7. Chapter 3 Historical Drama of a Well-intentioned Kind: Wolfgang Glück’s 38 – Auch das war Wien 54
8. Chapter 4 Cartographies of Identity: Memory and History in Ruth Beckermann’s Documentary Films 64
9. Part II Barbara Albert and the Female Re-focus
10. Chapter 5 A New Community of Women: Barbara Albert’s Nordrand 79
11. Chapter 6 Metonymic Visions: Globalization, Consumer Culture, and Mediated Aff ect in Barbara Albert’s Böse Zellen 94
12. Chapter 7 Place and Space of Contemporary Austria in Barbara Albert’s Feature Films 108
13. Chapter 8 Connecting with Others, Mirroring Diff erence: Th e Films of Kathrin Resetarits 122
14. Chapter 9 Not Politics but People: Th e “Feminine Aesthetic” of Valeska Grisebach and Jessica Hausner 136
15. Part III Michael Haneke and Ulrich Seidl: A Question of Spectatorial Destination
16. Chapter 10 Allegory in Michael Haneke’s Th e Seventh Continent 149
17. Chapter 11 “What Goes without Saying”: Michael Haneke’s Confrontation with Myths in Funny Games 166
18. Chapter 12 Unseen/Obscene: The (Non-)Framing of the Sexual Act in Michael Haneke’s La Pianiste 177
19. Chapter 13 The Possibility of Desire in a Conformist World: Th e Cinema of Ulrich Seidl 189
20. Chapter 14 Dog Days: Ulrich Seidl’s Fin-de-siècle Vision 199
21. Chapter 15 Import and Export: Ulrich Seidl’s Indiscreet Anthropology of Migration 207
22. Part IV Re-visions, Shifting Centers, Crossing Borders
23. Chapter 16 Crossing Borders in Austrian Cinema at the Turn of the Century: Flicker, Allahyari, Albert 225
24. 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 242
25. Chapter 18 Trapped Bodies, Roaming Fantasies: Mobilizing Constructions of Place and Identity in Florian Flicker’s Suzie Washington 251
26. Chapter 19 A Cinephilic Avant-garde: Th e Films of Peter Tscherkassky, Martin Arnold, and Gustav Deutsch 263
27. Part V Stefan Ruzowitzky and Neo-classic Trends
28. Chapter 20 Screening Nazism and Reclaiming the Horror Genre: Stefan Ruzowitzky’s Anatomy Films 277
29. Chapter 21 Beyond Borders and across Genre Boundaries: Critical Heimat in Stefan Ruzowitzky’s Th e Inheritors 292
30. Chapter 22 A Genuine Dilemma: Ruzowitzky’s The Counterfeiters as Moral Experiment 307
31. Chapter 23 National Box-office Hits or International “Arthouse”? The New Austrokomödie 320
32. Part VI Austria and Beyond as Terra Incognita: Glawogger, Sauper, Spielmann
33. Chapter 24 Austria Plays Itself and Sees Da Him: Notes on the Image of Austria in the Films of Michael Glawogger 333
34. Chapter 25 Configurations of the Authentic in Hubert Sauper’s Darwin’s Nightmare 343
35. Chapter 26 The Lady in the Lake: Austria’s Images in Götz Spielmann’s Antares 356
36. Chapter 27 “Children of Optimism”: An Interview with Götz Spielmann on Revanche and New Austrian Film 368
37. Select Filmography 377
38. Notes on Contributors 387
39. Index 393