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Vienna has been the locale for nearly one hundred and fifty films and television productions in English, from 1920s through the first years of this century, with imaginative representations of Freud, Strauss, Franz Josef, Mozart, Beethoven, and Klimt; mad scientists, assassins, spies, refugees, romantics, and American professors; historical dramas, cartoons, documentaries, and Hitchcock's only musical comedy. The "City of Dreams" has appeared as an imperial court, a center of scientific and medical research, a Jewish and Catholic homeland, a locus of international espionage and domestic crime, the destination for innocents abroad, the birthplace of the waltz, a stage for performances and performers, and the site for romantic rendezvous. For many in English-language audiences, such productions have constituted the most significant representations of Vienna, a city that historically has been the capital of one of Europe's largest empires, one of the most important centers for classical music and opera, both a victim and an accomplice of Nazi Germany, and the home of international diplomacy. Cultural historians and Austrian writers have provided significant commentary on the city, but their influence has seldom reached such an extensive audience as the films and television productions screening Vienna for English-language audiences. Screening Vienna thus analyzes the representation of Vienna and the Viennese in English-language film and television, reviews the critical reception of these productions, and measures the representations against the cultural and historical contexts and the writings of contemporary Austrian writers.The book is unique in its scope (over one hundred and fifty productions from the 1920s to 2013) and in its inclusion of leading reviews of many films, references to cultural and historical studies of Vienna, and references to modern and contemporary Austrian fiction.Thus the analysis is more extensive in its coverage and more intensive in its analysis of each film than any previous study, with a focus on scene, language, plot, characterization, and the reception of these films. Scholars and students in American cultural studies, film studies, Austrian and Viennese history, and popular culture will find the book informative and essential for studies of Vienna in the American and British imagination. Given the extensive coverage and filmography, many libraries should also view the book as a reference work, in addition to its status in cultural and film studies. The book will also be useful for film studies and American popular culture studies courses at advanced or graduate level.
Considers over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of clichés. Maria von Trapp, watching the final scene of The Sound of Music for the first time as "her" family escaped into Switzerland, exclaimed, "Don't they know geography in Hollywood? Salzburg does not border on Switzerland!" Hadshe thought about the beginning of the film, which transports viewers to "Salzburg, Austria in the last Golden Days of the Thirties," when the country was in fact suffering from extreme political and social unrest, she might haveasked, "Don't they know history either?" In The Sound of Music as well as in Hollywood's many other "Austria" films, the projections on the screen resemble reflections in a funhouse mirror. Elements of a "real" place with a"real" history inhabited by "real" people can be found in the fractured distortions, which have both drawn from and contributed to the general public's perceptions of the country and its citizens. Austria Made in Hollywood focuses on films set in an identifiable Austria, examining them through the lenses of the historical contexts on both sides of the Atlantic and the prism of the ever-changing domestic film industry. The study chronicles theprotean screen images of Austria and Austrians that set them apart both from European projections of Austria and from Hollywood incarnations of other European nations and nationals. It explores explicit and implicit cultural commentaries on domestic and foreign issues inserted in the Austrian stories while considering the many, sometimes conflicting forces that shaped the films.
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The Bulletin of the Atomic Scientists is the premier public resource on scientific and technological developments that impact global security. Founded by Manhattan Project Scientists, the Bulletin's iconic "Doomsday Clock" stimulates solutions for a safer world.
The Bulletin of the Atomic Scientists is the premier public resource on scientific and technological developments that impact global security. Founded by Manhattan Project Scientists, the Bulletin's iconic "Doomsday Clock" stimulates solutions for a safer world.
Mexican filmmaking is traced from its early beginnings in 1896 to the present in this book. Of particular interest are the great changes from 1990 to 2004: the confluence of talented and dedicated filmmakers, important changes in Mexican cinematic infrastructure and significant social and cultural transformations. From Nicolas Echevarria's Cabeza de Vaca (1991), to the 1992 releases of Hellboy director Guillermo del Toro's Cronos and Alfonso Arau's Como agua para chocolate, to Alfonso Cuaron's Y tu mama tambien (2001), this work provides a close look at Mexican films that received international commercial success and critical acclaim and put Mexico on the cinematic world map. Arranged chronologically, this edition (originally published in 2005) covers the entire scope of Mexican cinema. The main films and their directors are discussed, together with the political, social and economic contexts of the times.
The Bulletin of the Atomic Scientists is the premier public resource on scientific and technological developments that impact global security. Founded by Manhattan Project Scientists, the Bulletin's iconic "Doomsday Clock" stimulates solutions for a safer world.