Austria, the multicultural crossroad of the European continent, has been the genesis of many artistic concepts. Just as late 19th and early 20th century Austria gave influential modernism to the world in the fields of medicine, urban planning, architecture, design, literature, music, and theater, so its film industry created a significant national cinema that seeded talents and concepts internationally. Nevertheless, the value of Austrian cinema to international film has been long obscured. Austria's important bond with American film is also underappreciated because of the lack of accessible English language scholarship on the early careers of Austro-Hollywood artists and on influential developments in Austrian film history. This first comprehensive English survey of Austrian film introduces more than a century of cinema, following the development of the industry chronologically through the nation's various transformations since 1895. Important industry movements, genres and films are highlighted with sociopolitical, cultural and aesthetic details. An analysis of the economic trends that have influenced Austrian film is also provided. The survey considers the directors, actors, producers, writers, cinematographers, editors, composers and other film artists who have been essential to the development and influence of Austrian cinema. The closing chapter anticipates new faces of the Austrian film industry in the 21st century.
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.
Austria was the first victim of Hitler's policy of aggression. The Ger man domination of that country (the so-called Anschluss) heralded the beginning of a diplomatie demarche. The event also had deep implications for the legal system of the international community. The Allied occupation of Austria after W orId War II and the long delay in attaining aState Treaty to arrange for the Allied withdrawal from Austrian territory eventually gave rise to some doubts as to the international legal status of the latter. This study is confined to an examination of the international legal problems involved in Austria's changed status from the Anschluss of March 13, I938, until the signing of the State Treaty on May 15, 1955. It is not intended to be a history of the period covered and no attempt is made to treat fully such fascinating topics as the diplo matie negotiations leading up to the Anschluss or the story of the long struggle between the occupying powers to attain aState Treaty for Austria. The time span of this work was deliberately chosen in a desire to confine it to an appraisal ofthe legal continuity ofthe Austrian State and an evaluation of the impact of the Austrian question on the traditional law of state succession and recognition. The problem of Austria's new neutralized status resulting from the negotiations in connection with and subsequent to the signing of the Austrian State Treaty is worthy of separate treatment and is not dealt with in the present study.
Not only does Keyserlingk show that Great Britain and the US recognized the Anschluss both in fact and in law throughout the war, he also reveals the growing importance of propaganda as a tool of government.
The collapse of the Habsburg monarchy in 1918 galvanized discussion about national identity in the new Republic of Austria. As Robert Pyrah shows in this thoroughly documented study, the complex identity politics of interwar Austria were played out in the theatres of Vienna, which enjoyed a cultural prominence rarely matched in other countries. By 1934, productions across the city were being co-opted to serve the newly patriotic cause of the Dollfuss and Schuschnigg regimes, and the Burgtheater, once known as the first German stage, had been transformed into a national theatre for Austria. Using case studies of key productions and a wealth of previously unseen archival material, Pyrah sheds new light on artistic and ideological developments throughout the period, including the neglected earlier years. He documents previously unexplored overlaps in the cultural programmes of Left and Right, and unearths evidence that key institutions were subverted by the Right well before the suspension of parliamentary rule in 1933.
Reveals Ann Tizia Leitich, American correspondent for Austrian newspapers in the 1920s and 1930s, as an important cultural mediator between the two countries.
Because of the high fatality rate of untreated pneumococcal pneumonia, both the disease and its principal cause, the pneumococcus, were objects of intense scrutiny by physicians and bacteriologists during the last two decades of the nineteenth century and the first half of the twentieth. As a result, scientists learned much of the fundamental importance to microbiology, immunology, and genetics while developing the pneumococcal vaccine.
Robert Musil (1880 - 1942) was an Austro-Hungarian novelist and essayist, known for his masterpiece "The Man Without Qualities." He was born on November 6, 1880, in Klagenfurt, Austria, during the era of the Austro-Hungarian monarchy. Musil, influenced by the philosophical and cultural currents of his time, stood out for his keen observation of society and his profound psychological analysis. His most famous work, "The Man Without Qualities," is a monumental novel that examines the decadence of European society on the eve of World War I. Musil addressed themes such as alienation, the search for meaning, and the crisis of traditional values, establishing himself as a precursor of existentialism.
Andreas lives his whole life in the Austrian Alps, where he arrives as a young boy taken in by a farming family. He is a man of very few words and so, when he falls in love with Marie, he doesn't ask for her hand in marriage, but instead has some of his friends light her name at dusk across the mountain. When Marie dies in an avalanche, pregnant with their first child, Andreas' heart is broken. He leaves his valley just once more, to fight in WWII -- where he is taken prisoner in the Caucasus -- and returns to find that modernity has reached his remote haven . . . Like John Williams' Stoner or Denis Johnson's Train Dreams, A Whole Life is a tender book about finding dignity and beauty in solitude. An exquisite novel about a simple life, it has already demonstrated its power to move thousands of readers with a message of solace and truth. It looks at the moments, big and small, that make us what we are.
The Confusions of Young Torless is a taut, powerful depiction of teenage masculinity in this short novel set in an Austrian military academy. An unpopular boy is gradually bullied and humiliated by a coterie of better-off classmates until the almost unbearable conclusion. This was the work which made Musil's name and is his most popular work before his unfinished masterpiece, The Man Without Qualities.
Austria was the first victim of Hitler's policy of aggression. The Ger man domination of that country (the so-called Anschluss) heralded the beginning of a diplomatie demarche. The event also had deep implications for the legal system of the international community. The Allied occupation of Austria after W orId War II and the long delay in attaining aState Treaty to arrange for the Allied withdrawal from Austrian territory eventually gave rise to some doubts as to the international legal status of the latter. This study is confined to an examination of the international legal problems involved in Austria's changed status from the Anschluss of March 13, I938, until the signing of the State Treaty on May 15, 1955. It is not intended to be a history of the period covered and no attempt is made to treat fully such fascinating topics as the diplo matie negotiations leading up to the Anschluss or the story of the long struggle between the occupying powers to attain aState Treaty for Austria. The time span of this work was deliberately chosen in a desire to confine it to an appraisal ofthe legal continuity ofthe Austrian State and an evaluation of the impact of the Austrian question on the traditional law of state succession and recognition. The problem of Austria's new neutralized status resulting from the negotiations in connection with and subsequent to the signing of the Austrian State Treaty is worthy of separate treatment and is not dealt with in the present study.
Austria, the multicultural crossroad of the European continent, has been the genesis of many artistic concepts. Just as late 19th and early 20th century Austria gave influential modernism to the world in the fields of medicine, urban planning, architecture, design, literature, music, and theater, so its film industry created a significant national cinema that seeded talents and concepts internationally. Nevertheless, the value of Austrian cinema to international film has been long obscured. Austria's important bond with American film is also underappreciated because of the lack of accessible English language scholarship on the early careers of Austro-Hollywood artists and on influential developments in Austrian film history. This first comprehensive English survey of Austrian film introduces more than a century of cinema, following the development of the industry chronologically through the nation's various transformations since 1895. Important industry movements, genres and films are highlighted with sociopolitical, cultural and aesthetic details. An analysis of the economic trends that have influenced Austrian film is also provided. The survey considers the directors, actors, producers, writers, cinematographers, editors, composers and other film artists who have been essential to the development and influence of Austrian cinema. The closing chapter anticipates new faces of the Austrian film industry in the 21st century.
Robert Knight's book examines how the 60,000 strong Slovene community in the Austrian borderland province of Carinthia continued to suffer in the wake of Nazism's fall. It explores how and why Nazi values continued to be influential in a post-Nazi era in postwar Central Europe and provides valuable insights into the Cold War as a point of interaction of local, national and international politics. Though Austria was re-established in 1945 as Hitler's 'first victim', many Austrians continued to share principles which had underpinned the Third Reich. Long treated as both inferior and threatening prior to the rise of Hitler and then persecuted during his time in power, the Slovenes of Carinthia were prevented from equality of schooling by local Nazis in the years that followed World War Two, behavior that was tolerated in Vienna and largely ignored by the rest of the world. Slavs in Post-Nazi Austria uses this vital case study to discuss wider issues relating to the stubborn legacy of Nazism in postwar Europe and to instill a deeper understanding of the interplay between collective and individual (liberal) rights in Central Europe. This is a fascinating study for anyone interested in knowing more about the disturbing imprint that Nazism left in some parts of Europe in the postwar years.
This book aims to give information about the situation of separated fathers in Austria. All the life circumstances of this group of people who have suffered curtailment of their rights have one thing in common: as a result of the impossibility of being sufficiently involved in the life of their own children, they suffer incurable wounds which break open again repeatedly and continue to accompany the persons affected until the end of their lives.
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.
One of the foremost philosophers of our time, Robert Nozick continues the Socratic tradition of investigation. This volume, which illustrates the originality, force, and scope of his work, also displays Nozick's trademark blending of extraordinary analytical rigor with intellectual playfulness. As such, Socratic Puzzles testifies to the great pleasure that both doing and reading philosophy can be. Comprising essays and philosophical fictions, classics and new work, the book ranges from Socrates to W. V. Quine, from the implications of an Israeli kibbutz to the flawed arguments of Ayn Rand. Nozick considers the figure of Socrates himself as well as the Socratic method (why is it a "method" of getting at the truth?). Many of these essays bring classic methods to bear on new questions about choice. How should you choose in a disconcerting situation ("Newcomb's Problem") when your decisions are completely predictable? Why do threats and not offers typically coerce our choices? How do we make moral judgments when we realize that our moral principles have exceptions? Other essays present new approaches to familiar intellectual puzzles, from the stress on simplicity in scientific hypotheses to the tendency of intellectuals to oppose capitalism. As up to date as the latest reflections on animal rights; as perennial as the essentials of aesthetic merit (doggerel by Isaac Newton goes to prove that changing our view of the world won't suffice); as whimsical as a look at how some philosophical problems might appear from God's point of view: these essays attest to the timeliness and timelessness of Nozick's thinking. With a personal introduction, in which Nozick discusses the origins, tools, and themes of his work, Socratic Puzzles demonstrates how philosophy can constitute a way of life.
German film is diverse and multi-faceted; its history includes five distinct German governments (Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany, and the German Democratic Republic), two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as the natural inclination of artists to rebel and create new styles, allow for the construction of a narrative of German film. While the disjuncture generates distinct points of separation, it also highlights continuities between the ruptures. Outlining the richness of German film, The A to Z of German Cinema covers mainstream, alternative, and experimental film from 1895 to the present through a chronology, introductory essay, appendix of the 100 most significant German films, a bibliography, and hundreds of cross-referenced dictionary entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. The book's broad canvas will lead students and scholars of cinema to appreciate the complex nature of German film.
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