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125
from grand Hotels to tiny treasures
surviving Jugendstil department store in Germany,” which had
closed in 2009 (ibid., 66, 67, 69).3
Görlitz proved to be exactly the type of ravaged, Eastern Eu-
ropean location Anderson was looking for. A small city in Ger-
many’s easternmost district on the German-Polish border, close
to the Czech Republic and less than three hours by car from the
Babelsberg Studio in Potsdam, where the American-German
co-production was based, it was ideally suited to Anderson’s
purposes because the quirks of history first allowed it to develop
and then prevented its outright destruction while at the same
time providing it with considerable patina: “[i]t was beyond the
range of the RAF [Royal Air Force] (who gave it the code name
Nautilus) and thus not subject to the devastating firebombing
meted out to other German cities” (ibid., 68).4 While one arti-
cle drily claimed that “Armut ist der beste Denkmalschützer”
[“poverty is the best preserver of monuments”] (Heinz 2015),
Görlitz has only been poor since it escaped the decimation of
nearby Dresden during World War II. Before that, because of
its cloth production and location on the ancient and medieval
trade route known as the Via Regia, it was a very prosperous
town, which is how it came to have the impressive historic in-
frastructure it does (Firebrace 2014, 68). Görlitz managed to en-
ter the twenty-first century “as though on an ark” with around
4000 “Baudenkmale” [“monumental buildings”] (Heinz 2015),
including:
[R]emarkable medieval churches and towers, an unusual
full-scale reproduction of the Holy Tomb in Jerusalem and
a large number of Renaissance and baroque palaces and
streets. To the south of the centre is a sizeable nineteenth-
century extension, with wide streets, tree-filled squares and
3 Given that Berlin’s Kaufhaus des Westens, which opened in 1907, six years
before the Görlitz Kaufhaus, still exists, what I take Firebrace to be claim-
ing here is that the Görlitz Kaufhaus is the only one not to have experi-
enced extensive damage and restoration.
4 That it was not located in an alpine setting was not a factor, given Ander-
son’s propensity for interiors and fantasy landscapes.
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book Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna"
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Title
- Siting Futurity
- Subtitle
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Author
- Susan Ingram
- Publisher
- punctumbooks
- Location
- New York
- Date
- 2021
- Language
- English
- License
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Size
- 12.6 x 20.2 cm
- Pages
- 224
- Keywords
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Category
- Geographie, Land und Leute
Table of contents
- Preface 11
- Introduction 19
- 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
- 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
- 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
- 4. Hardly Homemad(e): #Schlingensief’s Container 101
- 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
- 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
- 7. #Hallstatt: Welcome to Jurassic World 161
- Bibliography 189
- Filmography 215