- Summary
- During the 1930s, Austrian film production companies developed a process to navigate the competing demands of audiences in Nazi Germany and those found in broader Western markets. In Screening Transcendence, film historian Robert Dassanowsky explores how Austrian filmmakers during the Austrofascist period (1933-1938) developed two overlapping industries: "Aryanized" films for distribution in Germany, its largest market, and "Emigrantenfilm," which employed émigré and Jewish talent that appealed to international audiences. Through detailed archival research in both Vienna and the United States, Dassanowsky reveals what was culturally, socially, and politically at stake in these two simultaneous and overlapping film industries. Influenced by French auteurism, admired by Italian cinephiles, and ardently remade by Hollywood, these period Austrian films demonstrate a distinctive regional style mixed with transnational influences. Combining brilliant close readings of individual films with thoroughly informed historical and cultural observations, Dassanowsky presents the story of a nation and an industry mired in politics, power, and intrigue on the brink of Nazi occupation. -- Provided by publisher.
- Format
- Book
- Author/Creator
- Dassanowsky, Robert, author.
- Published
- Bloomington, Indiana : Indiana University Press, [2018]
- Locale
- Austria
Österreich
- Contents
-
pt. 1 Structures
1. System of Faith and Aesthetics of Loss: Austrian Cultural Politics in the First Republic and the Christian Corporate State
2. Scopic Regimes: Notes on Newsreel and Culture Film Production, the Legacy of Baroque and Fin de Siecle Vienna, and Political Catholicism in Public Spectacle
3. Against Nazism and with Catholicism? Two Film Industries and the Jewish Filmmaker's Conundrum
pt. 2 Genres, Narratives, Contexts
4. Cinema Baroque: Reconsidering the Willi Forst / Walter Reisch Viennese Film Genre and its Trans/National/ist Value
5. Projecting Transcendence: Emigrantenfilm, the Church, and the Construction of a Catholic-Political Identity in Singende Jugend and Der Pfarrer von Kirchfeld
6. Gendering the Crusade: Female Types and Sexuality in Feature Film
7. Tales of the Patriarchy: Of Cavaliers, Cads, and the Common Man
8. Reasonable Fantasies: Cine-Operetta, Sangerfilm, and Sociocritical Music Film
9. New Order Out of Chaos: The Austrian Screwball and Hybrid Comedy
10. Contemporary Conflicts: Experimentalism, Controversy, and the Question of National Film Style
11. Snow Blinded: The Alps versus Vienna in Film at the End of the Regime
pt. 3 Locations
12. From Rome to the Hollywood Hope: Shared Aesthetics, the 1936
1937 Vienna-Hollywood Coproduction Plan, and Cine-Economic Brinkmanship with Berlin.
- Notes
-
Includes bibliographical references (pages 401-413) and index.
pt. 1 Structures -- 1. System of Faith and Aesthetics of Loss: Austrian Cultural Politics in the First Republic and the Christian Corporate State -- 2. Scopic Regimes: Notes on Newsreel and Culture Film Production, the Legacy of Baroque and Fin de Siecle Vienna, and Political Catholicism in Public Spectacle -- 3. Against Nazism and with Catholicism? Two Film Industries and the Jewish Filmmaker's Conundrum -- pt. 2 Genres, Narratives, Contexts -- 4. Cinema Baroque: Reconsidering the Willi Forst / Walter Reisch Viennese Film Genre and its Trans/National/ist Value -- 5. Projecting Transcendence: Emigrantenfilm, the Church, and the Construction of a Catholic-Political Identity in Singende Jugend and Der Pfarrer von Kirchfeld -- 6. Gendering the Crusade: Female Types and Sexuality in Feature Film -- 7. Tales of the Patriarchy: Of Cavaliers, Cads, and the Common Man -- 8. Reasonable Fantasies: Cine-Operetta, Sangerfilm, and Sociocritical Music Film -- 9. New Order Out of Chaos: The Austrian Screwball and Hybrid Comedy -- 10. Contemporary Conflicts: Experimentalism, Controversy, and the Question of National Film Style -- 11. Snow Blinded: The Alps versus Vienna in Film at the End of the Regime -- pt. 3 Locations -- 12. From Rome to the Hollywood Hope: Shared Aesthetics, the 1936 -- 1937 Vienna-Hollywood Coproduction Plan, and Cine-Economic Brinkmanship with Berlin.
