Visions of Vienna – Narrating the City in 1920s and 1930s Cinema: Film Culture in Transition
Autor Alexandra Seibelen Limba Engleză Hardback – 30 iul 2017
Vienna, with its stunning architecture and unforgettable streetscape, has long provided a backdrop for filmmakers. Visions of Vienna offers a close look at how directors such as Erich von Stroheim, Ernst Lubitsch, and Max Ophüls made use of the city, and how the nostalgic glorification of the Habsburg era can be seen as directly tied to crucial issues of modernity. Films set in Vienna, Alexandra Seibel shows, persistently articulate the experience of displacement due to emigration, changing gender relations and anti-feminism, class distinction, and anti-Semitism, themes that run counter to the ongoing mystification of Vienna as the incarnation of "waltz dreams" and schmaltz.
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Specificații
ISBN-13: 9789462981898
ISBN-10: 9462981892
Pagini: 260
Ilustrații: 30 halftones
Dimensiuni: 168 x 240 x 20 mm
Greutate: 0.54 kg
Editura: Amsterdam University Press
Seria Film Culture in Transition
ISBN-10: 9462981892
Pagini: 260
Ilustrații: 30 halftones
Dimensiuni: 168 x 240 x 20 mm
Greutate: 0.54 kg
Editura: Amsterdam University Press
Seria Film Culture in Transition
Notă biografică
Alexandra Seibel holds a PhD from New York University in Cinema Studies.
Cuprins
1 Introduction
Viennese Modernity and the Impact on Cinema
The Structure of the Cinematic City
2 Fairgrounds and Vineyards: Urban Topographies in the Viennese Films of Erich von Stroheim
Introduction
Reflections at the Fairground: Erich von Stroheim’s and Rupert Julian’s MERRY-GO-ROUND (1923)
Melodrama, Mass Culture, and Social Masquerade
Deception and Reflection: The Entertainment machinery
Sex, Romance, and Spectacle: Leaving the Prater Behind
Excess and Analysis: Erich von Stroheim’s THE WEDDING MARCH (1928)
Concentric City: Center, Circle, and Suburbs
Baroque Modernity: The Aesthetics of the Rotten
Repressed and Restricted Looks: A Geography of the Gaze
Meet Me at the ‘Heuriger’: Tales of the Iron Man
3 Critical, Controversial, Conventional: Viennese Girls in Films by Ophüls, Feyder, Hochbaum, and Forst
Introduction
Arthur Schnitzler’s Sweet Young Thing: Male Fantasy and Female Misery
The Viennese Girl vs. the Femme Fatale
The Viennese Girl in International Cinema
Max Ophüls, Vienna, and LIEBELEI (1933)
Variations of Reality in LIEBELEI: The Military and the Theater
The Gaze of Oppressive Masculinity and the Need for Disguise
The Kaiser and The Viennese Girl: Doing Away with the Habsburg Myth in LIEBELEI and DE MAYERLING À SARAJEVO (1938)
Happy Endings in Hollywood: Sidney Franklin’s REUNION IN VIENNA (1933) and Jacques Feyder’s DAYBREAK (1931)
The Viennese Girl and the Truth of Music in LIEBELEI
The Viennese Girl on Stage: Werner Hochbaum’s VORSTADTVARIETÉ (1935)
Will Forst’s MASKERADE (1934): The Viennese Girl and Social Folklore
Living Bakcstage, Dying in the Backyard: The Drama of Marginalization in LIEBELEI
4 Women and the Market of Modernity: G.W. Pabst’s THE JOYLESS STREET (1925)
Introduction
Leaving the Habsburg Myth Behind: Postwar Misery, Hugo Bettauer, and the Literature of Inflation
A Taste for the Real: New Objectivity, Cynicism, and the Cult of Distance in Weimar Modernity
The Weimar Street Film, the Street, and THE JOYLESS STREET
The Semi-Public Hotel: In the Realm of Purchasing Power
The Public Street: Taking a Walk in Melchiorgasse
Upstairs, Downstairs: Social Climbing Along a Vertical Axis
Mother and Whore: The Convolution of the Inside and the Outside World
Challenging the Male Gaze: The Female Subject in Armor
The Tranfer of Agency: Reclaiming the Joyless Streets
Pabst’s Film Adaptation of Bettauer’s Book: Omitting the (Anti-)Semitic Discourse in THE JOYLESS STREET
Death in the Mirror: The Killing of a Jewish Femme Fatale
5 The Sound of Make-Believe: Ernst Lubitsch and the World of the Operetta
Introduction
‘Retrospective Utopia’: The Myth of Vienna and the Operetta
The Meaning of the Waltz: The High, the Low, and the Great Fall
Contested Territory: The Operetta and Its Allure fro Cinema
Becoming Viennese: Music and Sexual Agency
Ernst Lubitsch and the Naughty Operetta Tradition
‘What a Speller!’: Noise and Speech versus Song and Dance
Making Love on a Park Bench: Private Boredom and Public Bliss
The Taste of Mandelbaum and the Greenstein: The Masquerade of Otherness
Jewish Sophistication and the Viennese Operetta
Coda
6 Conclusion
Acknowledgements
Notes
Illustration Credits
Filmography
Bibliography
Index of Film Titles
Index of Names and Subjects
Viennese Modernity and the Impact on Cinema
The Structure of the Cinematic City
2 Fairgrounds and Vineyards: Urban Topographies in the Viennese Films of Erich von Stroheim
Introduction
Reflections at the Fairground: Erich von Stroheim’s and Rupert Julian’s MERRY-GO-ROUND (1923)
Melodrama, Mass Culture, and Social Masquerade
Deception and Reflection: The Entertainment machinery
Sex, Romance, and Spectacle: Leaving the Prater Behind
Excess and Analysis: Erich von Stroheim’s THE WEDDING MARCH (1928)
Concentric City: Center, Circle, and Suburbs
Baroque Modernity: The Aesthetics of the Rotten
Repressed and Restricted Looks: A Geography of the Gaze
Meet Me at the ‘Heuriger’: Tales of the Iron Man
3 Critical, Controversial, Conventional: Viennese Girls in Films by Ophüls, Feyder, Hochbaum, and Forst
Introduction
Arthur Schnitzler’s Sweet Young Thing: Male Fantasy and Female Misery
The Viennese Girl vs. the Femme Fatale
The Viennese Girl in International Cinema
Max Ophüls, Vienna, and LIEBELEI (1933)
Variations of Reality in LIEBELEI: The Military and the Theater
The Gaze of Oppressive Masculinity and the Need for Disguise
The Kaiser and The Viennese Girl: Doing Away with the Habsburg Myth in LIEBELEI and DE MAYERLING À SARAJEVO (1938)
Happy Endings in Hollywood: Sidney Franklin’s REUNION IN VIENNA (1933) and Jacques Feyder’s DAYBREAK (1931)
The Viennese Girl and the Truth of Music in LIEBELEI
The Viennese Girl on Stage: Werner Hochbaum’s VORSTADTVARIETÉ (1935)
Will Forst’s MASKERADE (1934): The Viennese Girl and Social Folklore
Living Bakcstage, Dying in the Backyard: The Drama of Marginalization in LIEBELEI
4 Women and the Market of Modernity: G.W. Pabst’s THE JOYLESS STREET (1925)
Introduction
Leaving the Habsburg Myth Behind: Postwar Misery, Hugo Bettauer, and the Literature of Inflation
A Taste for the Real: New Objectivity, Cynicism, and the Cult of Distance in Weimar Modernity
The Weimar Street Film, the Street, and THE JOYLESS STREET
The Semi-Public Hotel: In the Realm of Purchasing Power
The Public Street: Taking a Walk in Melchiorgasse
Upstairs, Downstairs: Social Climbing Along a Vertical Axis
Mother and Whore: The Convolution of the Inside and the Outside World
Challenging the Male Gaze: The Female Subject in Armor
The Tranfer of Agency: Reclaiming the Joyless Streets
Pabst’s Film Adaptation of Bettauer’s Book: Omitting the (Anti-)Semitic Discourse in THE JOYLESS STREET
Death in the Mirror: The Killing of a Jewish Femme Fatale
5 The Sound of Make-Believe: Ernst Lubitsch and the World of the Operetta
Introduction
‘Retrospective Utopia’: The Myth of Vienna and the Operetta
The Meaning of the Waltz: The High, the Low, and the Great Fall
Contested Territory: The Operetta and Its Allure fro Cinema
Becoming Viennese: Music and Sexual Agency
Ernst Lubitsch and the Naughty Operetta Tradition
‘What a Speller!’: Noise and Speech versus Song and Dance
Making Love on a Park Bench: Private Boredom and Public Bliss
The Taste of Mandelbaum and the Greenstein: The Masquerade of Otherness
Jewish Sophistication and the Viennese Operetta
Coda
6 Conclusion
Acknowledgements
Notes
Illustration Credits
Filmography
Bibliography
Index of Film Titles
Index of Names and Subjects