Page - 167 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

167 #Hallstatt later, four members of the thirteen-member town council be- long to an association, the BfH — Bürger für Hallstatt [Citizens for Hallstatt], that campaigned with the slogan “Tourismus mit Maß und Ziel” [“Moderate and Targeted Tourism”] (“Wahlzei- tung” 2015).6 I will return to the sentiment that “Vienna must not become Hallstatt” (Bruckner 2018) in the conclusion. Calling Hallstatt’s story “a true romance of globalization,” Raidel, who comes from Gmunden on the nearby Traunsee and had at that point lived in Taiwan for more than ten years, set out to make a documentary that would help audiences un- derstand that “romance,” and especially the Chinese side of it (Raidel 2018).7 To that end, the majority of the film focuses on Hallstatt See in China, including clips from a Chinese promo- tional video for the gated community, a discussion of it and the Chinese propensity for theming on a Hong Kong television talk show,8 interviews with star architect Ma Yansong and not one but two urban planners who work in Shenzhen, as well as foot- 6 As Kazim reported, “Die Bürgerliste Hallstatt, die sich dafür einsetzt, ist 2015 auf Anhieb mit 28 Prozent der Stimmen ins Kommunalparlament gewählt worden. Man wolle Qualitätstourismus, nicht Massentourismus, sagen deren Mitglieder. Sprich: Die Besucher sollen nicht nur ein paar Stunden, sondern mehrere Tage bleiben” [“the Citizens for Hallstatt list, which is mobilizing [in order to increase bus parking fees] was elected in 2015 with 28% of the vote. Its members say that people want quality tour- ism not mass tourism. In other words: visitors shouldn’t stay for just a few hours but rather for several days”] (Kazim 2018). The group also explicitly states in its election materials that it is an association and not a political party and therefore open to the views of all citizens and not only those who support it. 7 Since 2017 she has been working at the Kunstuniversität [Art University] in Linz, the same institution at which she earned her MA in 1989 and her PhD in 2009 and where Artner is doing his PhD. 8 Like all the other Chinese-language dialogue in the film, this clip is in Mandarin despite the fact that is not one of the main languages spo- ken either in Hong Kong or in Huizhou, where the main languages are Hakka Chinese (Huiyang dialect), Huizhou dialect, Hokkien dialect, and Cantonese. This could simply be a reflection of Riedel’s own language abilities, given that she lived in Taiwan, but it nevertheless draws attention to the fact that Hong Kong television is being increasingly colonized by mainland forces.