Seite - 36 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

36 siting futurity Schlingensief’s preference for political grands récits and the kind of local historical knowledge Beckermann champions. Chapter five reveals a similar locationality in Wes Anderson’s much beloved Grand Budapest Hotel (2014) and unpacks An- derson’s displacement of Stefan Zweig’s historical legacy in the service of creating Cold War-inflected Eastern European ruin porn by comparing its film location, Görlitz, on the borders where Germany meets Poland and the Czech Republic, to first Detroit and then to the struggling Austrian Ur-kurort of Sem- mering. The next chapter, chapter six, then revisits a film that could well have served as a touchstone for much of the work already discussed, Hans Wein gartner’s 2004 hit Die fetten Jahre sind vor- bei, cleverly translated into English as The Edukators. As We- ingarnter’s oeuvre centers on Berlin, he tends to be treated in Cinema Studies circles as an outlier of the Berliner Schule. As my reading demonstrates, his early hit is more properly placed in the tradition of the “feel good” Viennese cultural produc- tion delineated in this study. While the influence of the Berliner Schule does increasingly make itself felt in Wein gartner’s grow- ing oeuvre, political locationality can be shown to radiate from its sensitivity to the classed positionality of urban and non-ur- ban locations. Die fetten Jahre sind vorbei, for example, features a climactic getaway to Achenkirch in the Tirolean Alps, which allows for a revisiting of the Bergfilm tradition. In the final chapter we see how it all comes together in Hall- statt, an über-picturesque lakeside village in the Salzkammergut south of Salzburg. Hallstatt’s capacity to help us reflect on the role that images play in place-making was strengthened when it was cloned to produce a gated community in the booming industrial heartland of China’s southern Guangdong province on the South China Sea. Two intricate visual works, Ella Raidel’s Double Happiness and Norbert Artner’s Hallstatt Revisited I, tap into the Chinese interest in Hallstatt’s impressive history and natural attributes and demonstrate how the locality has pro- duced an intrinsically fractured imaginary that continues to in- vite, and, indeed, thrive on mediatization. Mediatization points