Visions of Vienna : Narrating the city in 1920s and 1930s cinema /
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 o...
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| Main Author: | |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Amsterdam :
Amsterdam University Press,
2017
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| Series: | Film culture in transition.
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| Subjects: | |
| Local Note: | ProQuest Ebook Central |
Table of Contents:
- Cover
- Contents
- 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)
- Willi Forst's Maskerade (1934): The Viennese Girl and Social Folklore
- Living Backstage, 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 Street9
- 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 Transfer 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 for 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 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.
