DOCSLIB.ORG

Renegotiating and Deterritorialising Heimat in New Austrian Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Renegotiating and Deterritorialising Heimat in New Austrian Film Heimat, fremde Heimat: Renegotiating and Deterritorialising Heimat in New Austrian Film Rachel Louise Green Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies September 2016 i The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Rachel Louise Green to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2016 The University of Leeds and Rachel Louise Green ii Acknowledgements I would firstly like to thank my supervisors, Dr Chris Homewood and Professor Paul Cooke, for their unending support over the last four years. Without their expertise, guidance and dedication this PhD would not have been possible. I would also like to express my sincere gratitude to the Arts and Humanities Research Council for funding my project and for providing me with the additional financial support to conduct research at the Vienna Film Archive. Furthermore, I would like to thank the School of Languages, Cultures and Societies at the University of Leeds for providing me with a supportive and stimulating research environment in which to conduct my study. I would also like to extend my thanks to Esther Harper and the Educational Engagement team at Leeds for offering me invaluable part-time work as an Educational Outreach Fellow alongside my research. On a personal level, I wish to thank my family and friends for supporting me and encouraging me during the stressful, tedious and tiresome periods that can often accompany postgraduate study. Without their love and support I would never have been able to complete this thesis. In particular, I would like to thank Elizabeth Ward for her therapeutic and enlightening coffee-dates, my sisters for always offering me much-needed distractions, my parents for always believing in me during crises of confidence, and most importantly, my partner, Andrew Wild, for providing me with the love, patience, care and encouragement needed to complete this work. Last but not least, a big thank you goes out to my best pals, Naomi Green, Sukey James and Nicola Simcock, for ‘keeping the dream alive.’ iii Abstract This thesis explores the complex relationship between the concepts of Heimat and Fremde in a number of contemporary Austrian films. Firstly, by revisiting and re-examining a variety of Heimatfilme, from the genre’s inception in the 1920s up until the present day, I aim to draw on the ideas posed by scholars including Johannes von Moltke which challenge the common assumption that Heimat exists in direct opposition to Fremde, and argue that the two seemingly contradictory concepts are in fact mutually contingent on one another. Then, focussing on key works by the New Austrian Filmmakers, Houchang Allahyari (I Love Vienna, 1991), Florian Flicker (Suzie Washington, 1998) and Barbara Albert (Nordrand, 1999), I demonstrate the manner in which these filmmakers continue to draw on the semantics and syntax of the Heimatfilm genre in order to re-evaluate the complex relationship between Heimat and Fremde within the context of post-1990 Europe. These filmmakers, as this thesis demonstrates, return to the Heimatfilm genre as a means to probe issues of space, place, identity and belonging, which, I maintain, also undergo a series of renegotiations and redefinitions within their films. By drawing on contemporary globalisation and migrant and diasporic film studies, and by critically engaging with contemporary Heimat discourse, this thesis seeks to investigate the manner in which these New Austrian Filmmakers attempt to renegotiate and deterritorialise the concept of Heimat in response to the changing needs of an increasingly globalised and multicultural society. iv Contents Acknowledgements………………………………………..………............ii Abstract……………………………………………………………………iii Contents……………………………………………………………………iv List of Figures……………..………………………………………..……viii Introduction…………..……………………………………………………1 Setting the Scene………………………………………………..…...1 Recent Discourses……………………………………………….......3 Towards a Definition…………………………………….……..…...7 Locating the Fremde in Heimat……………………………..….….14 Renegotiating and Deterritorialising Heimat in New Austrian Film …………………………………………………………..……19 Frameworks…………………………………...…………………...26 Structure………………………………………………………...…32 Chapter 1: Retracing the Colourful History of the Heimatfilm……….38 Literary Beginnings………………………………………………..38 Heimat and Nazism: The Bergfilme of the 1920s………………….40 The Classical Heimatfilme of the 1950s………………...…………44 v Deconstructing Heimat in the New German Cinema…………...…62 Deconstructing Heimat (Later) in New Austrian Film……...……..75 Contemporary Engagements with Heimat in Post-Unification German Cinema…………………….……………………………...81 Filling the Void: Contemporary Engagements with Heimat in Post- 1990s New Austrian Film…………………….……………………87 Chapter 2: Constructing Heimat in the Works of Houchang Allahyari……………………………………………………….……….....90 Introduction……………………..…………………………………90 Subjectivity and Autobiography in the (Accented) Films of Allahyari…………………………………………………………...95 A Return to the Rural in Höhenangst (1994)……………..……....101 Impossible Homecomings in Geboren in Absurdistan (2002)……………………………………………………………..107 Constructing Heimat in I Love Vienna (1991)……….………..….114 Culture Clashes in I Love Vienna…………..…………….………116 Cross-Cultural Embracing in I Love Vienna…………..….………125 Vienna as Liminal Space………..……………………,………….134 Conclusion………………………………...……………………...137 vi Chapter 3: Desperately Seeking Heimat in the Works of Florian Flicker…..……………………………………………………………..…139 Introduction……………………………………………………....139 ‘Das ICH ist jener Punkt in ständiger bewegung’ – Mobility and the Search for Self in the Feature Films of Florian Flicker……..……141 Halbe Welt (1993) and the Hei-Sci-Fi………………...………….146 Grenzgänger (2012) and the Heimat-Western………………………156 Suzie Washington (1998) and the Heimat-Road-movie……..…....164 Socio-Political Context…………..……………………………….167 The Road to Nowhere: Closing Open Spaces in Suzie Washington……………………………………………………….172 Tourist Haven/Migrant Hell: Undoing the Austrian Heimat……………………………………………………………186 Conclusion…………………...…………………………………...195 Chapter 4: Deterritorialising Heimat in the Works of Barbara Albert….....................................................................................................198 Introduction……………………..……………………….……….198 Renegotiating Heimat in the Works of Barbara Albert…………..201 vii Homeless at Home: Böse Zellen (2003)………………...………..202 Heimat as Utopia: Fallen (2006)…………………...…………….204 Towards a Multicultural Heimat: Zur Lage: Österreich in sechs Kapiteln (2002)…………………………………………………...207 Deterritorialising Heimat in Nordrand (1999)………………...…210 Towards a Global Vienna…………………………………...……216 Transient Spaces, Transient People………………………………227 The Warzone at Home……………………………………………233 Conclusion………………..………………………………………241 Conclusion……………………………………………………………….245 Filmography………..……..……………………………………………..257 Bibliography………...…………………………………………………...262 viii List of Figures Figure 1: The beautiful untouched German alpine wilderness in Arnold Fanck’s Die weiße Hölle vom Piz Palü (1929) and Leni Riefenstahl climbing toward the high mystical goal in Das blaue Licht (1932)………………………………………………………………………43 Figure 2: While the Viennese artist Max remains an ‘outsider’ in the film, the Eastern expellee Hubert is able to rekindle a Heimat in the Austrian village of Hochmoos by proving an affinity with the natural landscape and marrying the Heimat girl in Alfons Stümmer’s Echo der Berge (1954)……………………………………………………………………....53 Figure 3: A return to black and white in the West German anti-Heimatfilme of the 1960s and 70s. Close-up shot to represent the cramped living conditions of the poor in Volker Schlöndorff’s Der plötzliche Reichtum der armen Leute von Kombach (1971) and the hunting of the outsider, Abram, in Peter Fleischmann’s Jagdszenen aus Niederbayern (1968)……………………………………………………………………...66 Figure 4: Fernweh: Paul leaves his Heimat of Schabbach for the USA in Edgar Reitz’s Heimat (1984)………………………………………………74 Figure 5: Undoing the majestic mountainous setting in Wolfram Paulus’ Heidenlöcher (1986)……………………………………………………….80 Figure 6: A multi-cultural, bacchanalian, urban Heimat that welcomes people of all walks of life in Fatih Akin’s Soul Kitchen (2009)…………............................................................................................87 Figure 7: New Austrian Film redeploys the critical Heimatfilm mode in Stefan Ruzowitzky’s Die Siebtelbauern (1998)……………………………………………………………………....88 ix Figure 8: Mario leaves the city to find a new life in the Austrian provinces in Houchang Allahyari’s Höhenangst (1994)……………………………………………………………………..103 Figure 9: The Dönmezs and the Strohmeyers eschew ethnic and cultural differences by rejecting a paternity test and choosing to embrace both children together in Houchang Allahyari’s Geboren in Absurdistan (2002)……………………………………………………………………..111 Figure 10: A three-day informal Islamic marriage ceremony allows Ali Mohammed and Marianne to meet in the middle in Houchang Allahyari’s I Love Vienna (1991)……………………………………………………….123 Figure 11: Karol Tarnovsky and Marjam marry in a ceremony that incorporates both cultures in Houchang
Load more

Recommended publications
  • Film Funding Grants Programme 2013
    Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe.
    [Show full text]
  • A New Perspective on Post-Migration German Identity Sandra Digruber
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 A New Perspective on Post-Migration German Identity Sandra Digruber Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES A NEW PERSPECTIVE ON POST-MIGRATION GERMAN IDENTITY By SANDRA DIGRUBER A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2015 Sandra Digruber defended this thesis on April 3, 2015. The members of the supervisory committee were: Christian Weber Professor Directing Thesis Birgit Maier-Katkin Committee Member A. Dana Weber Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii TABLE OF CONTENTS Abstract .......................................................................................................................................... iv 1. INTRODUCTION ...................................................................................................................... 1 2. ATTEMPTS TO DEFINE GERMAN IDENTITY IN THE 19TH-CENTURY ......................... 3 2.1 Johann Gottlieb Fichte ........................................................................................................ 7 2.2 Richard Wagner ...............................................................................................................
    [Show full text]
  • Jewish Identity and German Landscapes in Konrad Wolf's I Was Nineteen
    Religions 2012, 3, 130–150; doi:10.3390/rel3010130 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Homecoming as a National Founding Myth: Jewish Identity and German Landscapes in Konrad Wolf’s I was Nineteen Ofer Ashkenazi History Department, University of Minnesota, 1110 Heller Hall, 271 19th Ave S, Minneapolis, MN 55455, USA; E-Mail: [email protected]; Tel.: 1-651-442-3030 Received: 5 January 2012; in revised form: 13 March 2012 / Accepted: 14 March 2012 / Published: 22 March 2012 Abstract: Konrad Wolf was one of the most enigmatic intellectuals of East Germany. The son of the Jewish Communist playwright Friedrich Wolf and the brother of Markus Wolf— the head of the GDR‘s Foreign Intelligence Agency—Konrad Wolf was exiled in Moscow during the Nazi era and returned to Germany as a Red Army soldier by the end of World War Two. This article examines Wolf‘s 1968 autobiographical film I was Nineteen (Ich war Neunzehn), which narrates the final days of World War II—and the initial formation of postwar reality—from the point of view of an exiled German volunteer in the Soviet Army. In analyzing Wolf‘s portrayals of the German landscape, I argue that he used the audio- visual clichés of Heimat-symbolism in order to undermine the sense of a homogenous and apolitical community commonly associated with this concept. Thrown out of their original contexts, his displaced Heimat images negotiate a sense of a heterogeneous community, which assumes multi-layered identities and highlights the shared ideology rather than the shared origins of the members of the national community.
    [Show full text]
  • From Home Chronicle of a Vision
    HOME FROM HOME CHRONICLE OF A VISION A FILM BY EDGAR REITZ Set in a dreary, unforgiving mid-19th century German village in Hunsrück, Home From Home captures the plight of hundreds of thousands of Europeans who emigrated to faraway South America to escape the famine, poverty and despotism that ruled at home. Their motto was: “Any fate is better than death”. Edgar Reitz’s film is a heart-wrenching drama and love story set against the backdrop of this forgotten tragedy. It encompasses a time of tribulation and illuminates the revolutionary and intellectual spirit present in the souls who are center of this tale. Jakob, our protagonist, tries to immerse himself in literature and learning, as the rest of his family toils to fend off starvation. He dreams about leaving his village, Schabbach, for a new life in Brazil and the freedom of the wild South American jungle. Jakob’s brother, Gustav, returns from military service and his appearance is destined to shatter Jakob’s world and his love for Henriette, as it symbolizes the necessary rift that will set into motion the unraveling of the regimented family structure. 2013 | Germany | 230 min | German w/English Subtitles | B&W | Historical Fiction CORINTH FILMS PRESENTS AN ERF EDGAR REITZ FILMPRODUCTION MUNICH IN CO-PRODUCTION WITH LES FILMS DU LOSANGE PARIS AND ARD DEGETO BR WDR ARTE WITH THE PARTICIPATION OF CENTRE NATIONAL DE CINEMA ET DE L’IMAGE ANIMEE ARTE FRANCE CINE+ STARRING JAN DIETER SCHNEIDER ANTONIA BILL MAXIMILIAN SCHEIDT MARITA BREUER RÜDIGER KRIESE PHILINE LEMBECK AND MÉLANIE FOUCHÉ PRODUCED BY CHRISTIAN REITZ CO-PRODUCED BY MARGARET MENEGOZ SCREENWRITERS EDGAR REITZ GERT HEIDENREICH CINEMATOGRAPHY GERNOT ROLL PRODUCTION DESIGN TONI GERG† HUCKY HORBERGER COSTUME DESIGN ESTHER AMUSER MAKE UP ARTIST NICOLE STOEWESAND SOUND DESIGNER MARC PARISOTTO PHILIPPE WELSH EDITOR UWE KLIMMECK ORIGINAL MUSIC BY MICHAEL RIESSLER DIRECTED BY EDGAR REITZ German filmmaker, author and producer, Edgar Reitz grew up in the Hunsrück region, studied German language and literature, journalism and dramatics in Munich.
    [Show full text]
  • Gesamtkatalog BRD (Regionalcode 2) Spielfilme Nr. 94 (Mai 2010)
    Gesamtkatalog BRD (Regionalcode 2) Spielfilme -Kurzübersicht- Detaillierte Informationen finden Sie auf unserer Website und in unse- rem 14tägigen Newsletter Nr. 94 (Mai 2010) LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS Talstr. 11 - 70825 Korntal Tel.: (0711) 83 21 88 - Fax: (0711) 8 38 05 18 INTERNET: www.laserhotline.de e-mail: [email protected] Katalog DVD BRD (Spielfilme) Nr. 94 Mai 2010 (500) Days of Summer 10 Dinge, die ich an dir 20009447 25,90 EUR 12 Monkeys (Remastered) 20033666 20,90 EUR hasse (Jubiläums-Edition) 20009576 25,90 EUR 20033272 20,90 EUR Der 100.000-Dollar-Fisch (K)Ein bisschen schwanger 20022334 15,90 EUR 12 Uhr mittags 20032742 18,90 EUR Die 10 Gebote 20000905 25,90 EUR 20029526 20,90 EUR 1000 - Blut wird fließen! (Traum)Job gesucht - Will- 20026828 13,90 EUR 12 Uhr mittags - High Noon kommen im Leben Das 10 Gebote Movie (Arthaus Premium, 2 DVDs) 20033907 20,90 EUR 20032688 15,90 EUR 1000 Dollar Kopfgeld 20024022 25,90 EUR 20034268 15,90 EUR .45 Das 10 Gebote Movie Die 120 Tage von Bottrop 20024092 22,90 EUR (Special Edition, 2 DVDs) Die 1001 Nacht Collection – 20016851 20,90 EUR 20032696 20,90 EUR Teil 1 (3 DVDs) .com for Murder 20023726 45,90 EUR 13 - Tzameti (k.J.) 20006094 15,90 EUR 10 Items or Less - Du bist 20030224 25,90 EUR wen du triffst 101 Dalmatiner (Special [Rec] (k.J.) 20024380 20,90 EUR Edition) 13 Dead Men 20027733 18,90 EUR 20003285 25,90 EUR 20028397 9,90 EUR 10 Kanus, 150 Speere und [Rec] (k.J.) drei Frauen 101 Reykjavik 13 Dead Men (k.J.) 20032991 13,90 EUR 20024742 20,90 EUR 20006974 25,90 EUR 20011131 20,90 EUR 0 Uhr 15 Zimmer 9 Die 10 Regeln der Liebe 102 Dalmatiner 13 Geister 20028243 tba 20005842 16,90 EUR 20003284 25,90 EUR 20005364 16,90 EUR 00 Schneider - Jagd auf 10 Tage die die Welt er- Das 10te Königreich (Box 13 Semester - Der frühe Nihil Baxter schütterten Set) Vogel kann mich mal 20014776 20,90 EUR 20008361 12,90 EUR 20004254 102,90 EUR 20034750 tba 08/15 Der 10.
    [Show full text]
  • Eastern Europe
    NAZI PLANS for EASTE RN EUR OPE A Study of Lebensraum Policies SECRET NAZI PLANS for EASTERN EUROPE A Study of Lebensraum Policies hy Ihor Kamenetsky ---- BOOKMAN ASSOCIATES :: New York Copyright © 1961 by Ihor Kamenetsky Library of Congress Catalog Card Number 61-9850 MANUFACTURED IN THE UNITED STATES OF AMERICA BY UNITED PRINTING SERVICES, INC. NEW HAVEN, CONN. TO MY PARENTS Preface The dawn of the twentieth century witnessed the climax of imperialistic competition in Europe among the Great Pow­ ers. Entrenched in two opposing camps, they glared at each other over mountainous stockpiles of weapons gathered in feverish armament races. In the one camp was situated the Triple Entente, in the other the Triple Alliance of the Central Powers under Germany's leadership. The final and tragic re­ sult of this rivalry was World War I, during which Germany attempted to realize her imperialistic conception of M itteleuropa with the Berlin-Baghdad-Basra railway project to the Near East. Thus there would have been established a transcontinental highway for German industrial and commercial expansion through the Persian Gull to the Asian market. The security of this highway required that the pressure of Russian imperi­ alism on the Middle East be eliminated by the fragmentation of the Russian colonial empire into its ethnic components. Germany· planned the formation of a belt of buffer states ( asso­ ciated with the Central Powers and Turkey) from Finland, Beloruthenia ( Belorussia), Lithuania, Poland to Ukraine, the Caucasus, and even to Turkestan. The outbreak and nature of the Russian Revolution in 1917 offered an opportunity for Imperial Germany to realize this plan.
    [Show full text]
  • Podium Operette: Du Mein Schönbrunn
    Podium Operette: Du mein Schönbrunn Kaiserin, Kaiser und Imperiales als Topoi der Wiener Operette Zum 300. Geburtstag Maria Theresias Universitätslehrgang Klassische Operette (Leitung: Wolfgang Dosch) Donnerstag, 11. Mai 2017 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM Leo Fall (1873, Olmütz – 1925, Wien) aus Die Kaiserin (Text: Julius Brammer/ Alfred Grünwald), 1915, Berlin Metropoltheater Wenn die Wiener Edelknaben Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Jantus Philaretou, Bariton Wir sind drei feine Diplomaten Seungmo Jung, Tenor Wonbae Cho, Tenor Jantus Philaretou, Bariton Die Kaiserin: Original Klavierauszug Du mein Schönbrunn Adriana Hernandez Flores, Sopran Mir hat heute Nacht von ein’ Tanzerl geträumt Adriana Hernandes Flores, Sopran Jantus Philaretou, Bariton Ja, so singt man und tanzt man in Wien Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Fritzi Massary als Maria Theresia, UA Berlin 1915 2 Nico Dostal (1895, Korneuburg – 1981, Salzburg) aus Die ungarische Hochzeit (Text: Hermann Hermecke), 1939, Stuttgart Märchentraum der Liebe Wonbae Cho, Tenor Bruno Granichstaedten (1879, Wien – 1944, New York) aus Auf Befehl der Kaiserin (Text: Leopold Jacobson/ Robert Bodanzky), 1915, Wien Wann die Musik spielt Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Dolores Schmidinger als Maria Theresia, Komm’, die Kaiserin will tanzen Die Ungarische Hochzeit, Lehár Festival Bad Ischl, 2015 © Foto Hofer Sonja Gebert, Sopran Branimir Agovi, Bariton
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Depopulation: on the Logic of Heidegger's Volk
    Research research in phenomenology 47 (2017) 297–330 in Phenomenology brill.com/rp Depopulation: On the Logic of Heidegger’s Volk Nicolai Krejberg Knudsen Aarhus University [email protected] Abstract This article provides a detailed analysis of the function of the notion of Volk in Martin Heidegger’s philosophy. At first glance, this term is an appeal to the revolutionary mass- es of the National Socialist revolution in a way that demarcates a distinction between the rootedness of the German People (capital “P”) and the rootlessness of the modern rabble (or people). But this distinction is not a sufficient explanation of Heidegger’s position, because Heidegger simultaneously seems to hold that even the Germans are characterized by a lack of identity. What is required is a further appropriation of the proper. My suggestion is that this logic of the Volk is not only useful for understanding Heidegger’s thought during the war, but also an indication of what happened after he lost faith in the National Socialist movement and thus had to make the lack of the People the basis of his thought. Keywords Heidegger – Nazism – Schwarze Hefte – Black Notebooks – Volk – people Introduction In § 74 of Sein und Zeit, Heidegger introduces the notorious term “the People” [das Volk]. For Heidegger, this term functions as the intersection between phi- losophy and politics and, consequently, it preoccupies him throughout the turbulent years from the National Socialist revolution in 1933 to the end of WWII in 1945. The shift from individual Dasein to the Dasein of the German People has often been noted as the very point at which Heidegger’s fundamen- tal ontology intersects with his disastrous political views.
    [Show full text]
  • Sissi in Amerika“
    DIPLOMARBEIT Titel der Diplomarbeit „Sissi in Amerika“ Verfasserin Elisabeth Niklas angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Rainer Maria Köppl 2 Danksagung: An dieser Stelle möchte ich mich bei all jenen Personen bedanken, die mich auf meinem Studienweg begeleitet haben, und dazu beigetragen haben, dass die vorliegende Arbeit in dieser Form zustande gekommen ist. Professor Rainer M. Köppl danke ich für die Anregung zu diesem Thema, die gute Betreuung, die interessanten Seminare im Laufe des Studiums und die Geduld, die er mir bis zur Fertigstellung der Arbeit entgegen brachte. Den Mitarbeitern des Filmarchivs Austria, Thomas Ballhausen, und Günter Krenn danke ich für die Unterstützung bei den ersten Recherchen. Clara Huber, die mir in ihrer eigenen Studienabschlussphase wertvolle Informationen zur Verfügung stellte, sei ebenfalls gedankt. Weiters möchte ich mich bei Kristine Krueger von der Margaret Herrick Library in Kalifornien bedanken, die mir Pressematerial zum Film Forever my Love aus dem Archiv der Bibliothek zugesendet hat. Auch meiner Familie, meinen Eltern und Geschwistern möchte ich Danke sagen. Sie haben mich geformt und zu dem gemacht, was ich bin. Danke für den Rückhalt und die Unterstützung, die ich von euch erfahren habe. Ohne euch wäre ein Studium nicht möglich gewesen. Ebenso ist meinen Freunden zu danken und im Besonderen Andreas: für Diskussion,
    [Show full text]
  • 1848 Reitz-Flyer a 6 V.3.3.Indd
    EDGAR REITZ Die große Werkschau 5.1. – 4.3.2018 filmhaus.nuernberg.de EDGAR REITZ Die große Werkschau Edgar Reitz ist einer der bedeutendsten deutschen DIE ZWEITE HEIMAT, ein Rückblick in die bewegten Die ZuschauerInnen können sich aus einer „Film- Filmregisseure. Diesem großen Meister der Erzähl- 60er- und 70er Jahre, und HEIMAT 3, die die jüngste Speisekarte“ das Programm selbst zusammenstellen. kunst widmet das Filmhaus nun eine umfassende Episode deutscher Geschichte mit dem Mauerfall Werkschau, mit der erstmals nahezu das komplette und der Immigration von Ost nach West themati- Die Werkschau wird mit Diskussionen, Live Music filmische Schaffen des Regisseurs in einer Retro- siert. 2012 realisierte Reitz dann den großen Kino- Acts und Vorträgen begleitet, Edgar Reitz wird viele spektive zusammengefasst und in neuen restaurier- film DIE ANDERE HEIMAT über die Auswanderung Programmpunkte selbst vorstellen und für Gesprä- ten und digitalisierten Fassungen präsentiert wird. der Hunsrücker nach Brasilien im 19. Jahrhundert. che mit dem Publikum zur Verfügung stehen. Da- rüber hinaus freuen wir uns auf weitere Gäste, wie Mit seiner international gefeierten HEIMAT-Saga Edgar Reitz’ Werk umfasst mehr als 40 Dokumen- die Regisseurin Ula Stöckl, die SchauspielerInnen hat Edgar Reitz ein filmisches Epos geschaffen, tar- und Spielfilme, darunter MAHLZEITEN, der Hannelore Elsner, Hannelore Hoger, Tilo Prückner, das seinesgleichen sucht. Er hat damit nicht nur 1967 als bestes Erstlingswerk auf den Filmfest- Henry Arnold, Marita Breuer, Salome Kammer, Armin Filmgeschichte geschrieben, sondern gehört auch spielen in Venedig ausgezeichnet wurde, DIE REISE Fuchs und den Filmwissenschaftler Prof. Dr. Thomas zu den großen Erzählern deutscher Geschichte NACH WIEN (1973), STUNDE NULL (1977) und DER Koerber, Robert Fischer und viele andere.
    [Show full text]