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siting futurity
these films religious difference is depicted as unbridgeable and
fundamentally cultural. It is understood as naturalized, some-
thing one imbibes with one’s mother’s milk and language and is
to be played for laughs. Their generic status as comedies comes
not so much from the humor of their content, which is based
on laughing at rather than laughing with. As Peter Verstraten
points out of the Dutch versions of the genre, “[t]he primary
function of the coarse humour in these films is to test the limits
of ‘bad taste’” (Verstraten 2016, 83). In actor and theater founder
Alexander Pschill’s astute analysis,
Meiner Meinung nach ist die Komödie die beste Form, In-
halte zu transportieren und sie einem Publikum näherzu-
bringen, einem Publikum, das die Wahl hat, mit einem In-
halt konform zu gehen oder nicht. Die Komödie erzwingt
nichts. Die Komödie vermittelt von Natur aus die “kind hu-
man message.” Sie funktioniert im Idealfall frei von Trends
und Traditionen und entflieht somit leichtfüßig sowohl der
Daumenschraube der verstaubten Erwartungen, also des
Konservativen, als auch dem Diktat des bemüht Angesagten.
[In my opinion, comedy is the best form to convey con-
tent and bring it closer to an audience, an audience that has
the choice to deal with context in a conformist way or not.
Comedy isn’t extortive. In its nature comedy communicates
the “kind human message.” Ideally, its functioning is free of
trends and traditions and in that way nimbly escapes both
the thumbnail screw of dusty expectations, that is, of the con-
servatives, but also the prescribed views of the well-meaning
followers of fashion.] (Affenzeller 2019).
Because their idealistic liberalism is so bothered by talk of
homogeneous cultures with “proper” locations that they can-
not help but desire to show up their shortcomings, culture-clash
comedies find themselves locked into the populist positions of
tion reveals, much better than the more neutral “multicultural” does.
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Titel
- Siting Futurity
- Untertitel
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Autor
- Susan Ingram
- Verlag
- punctumbooks
- Ort
- New York
- Datum
- 2021
- Sprache
- englisch
- Lizenz
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Abmessungen
- 12.6 x 20.2 cm
- Seiten
- 224
- Schlagwörter
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Kategorie
- Geographie, Land und Leute
Inhaltsverzeichnis
- 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