Visions of Vienna

Alexandra Seibel holds a PhD from New York University in Cinema Studies.

Auteur

Alexandra Seibel holds a PhD from New York University in Cinema Studies.

Texte du rabat

Alexandra Seibel holds a PhD from New York University in Cinema Studies.

Contenu

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