Page - 58 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

58 siting futurity recognition factor is probably Ottakring, home to both the city’s one and only brewery and the city’s longest street market, which is the Brunnenmarkt, named for the fountain that enlightened monarch Joseph II had connected to the Hernalser water pipe in 1786, so that people outside the city walls had access to the fresh drinking water that flowed down from the Wienerwald to the Hofburg palace in the center of town. The district’s socio-cultur- al conditions came to be shaped by “an above average share of a migrant population, which started to become apparent mostly in a transforming local economy in the 1990s, and which was re- currently problematized in public discourse” (Suitner 2015, 36). That, together with the area’s low quality housing stock, led to a thorough-going revitalization between 2005 and 2010, spark- ing considerable culturally led gentrification in the surround- ing Brunnenviertel (ibid., 36). Developments in the area can be gauged in a section of a report on the district entitled “Vom gründerzeitlichen Arbeiterviertel zum ethnisch geprägten Quartier zur urbanen Trendzone” [“From nineteenth-century working-class quarter to a neighborhood known for its ethnici- ties to urban hipsterdom”] (Antalovsky et al. 2008). The tensions wrought by these developments have made Ottakring a favored location for contemporary screen culture interested in tackling issues related to multiculturalism and gentrification. Kebab mit Alles! [Kebab with Everything!] (2011, dir. Wolfgang Murnberger), Die Freischwimmerin [A Female Swimming without Supports] (2014, dir. Holger Barthel), Planet Ottakring (2015, dir. Michael Riebl), Kebab extra scharf! [Kebab Extra Spicy!] (2017, dir. Wolfgang Murnberger), and CopStories (since 2013 on oRF) all extrapolate the district’s demographics into thoughtfully trenchant, solution-oriented meditations on living together. Yet they differ considerably in focus, with the only local director, Michael Riebl, not representing the district in terms of an identitarian culture clash.2 In choosing to empha- theme of that special issue. 2 Riebl describes his childhood as spent between the Ottakring Cemetery and the Brunnenmarkt (“meine Kindheit hat sich zwischen Ottakringer