Seite - 76 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

76 siting futurity Türkei geboren, ebenso viele verfügten 2001 über die türki- sche Staatsangehörigkeit. [Not less than 37.5% of the population in the district had a birthplace outside of Austria. At the time the percentage of non-Austrian citizens was at 32.1%. In keeping with Vi- enna’s immigration history of the last decades groups with ex-Yugoslav and Turkish backgrounds dominated: 17.4% of the population living there had been born in the former Yu- goslavia (10.3% in Serbia and Montenegro) while 16.8% were citizens of states resulting from the breakup of Yugoslavia. 8.0% of inhabitants had been born in Turkey, and as many were Turkish citizens in 2001.] (Antalovsky et al. 2008, 42) Unlike culture-clash comedies, Riebl’s film does not play up the unsettling, “uncivilized” habits of non-Christian groups for laughs (they slaughter lambs and donkeys! They circum- cise their sons!). Rather, Planet Ottakring depicts a community whose members all face the same debilitating financial forces, which serves to draw attention to the working-class status of the majority of immigrants and to question why racialized groups are denied access to working-class identities in the Austrian mainstream. While neither Sammy nor Valerie has a “migra- tional” background, many of their friends and neighbors do, such as Sammy’s girlfriend at the beginning of the film and the bartender in his establishment. Sammy and Valerie serve as a linchpin around which an alternative community emerges, in Gibson-Graham and the Community Economies Collective’s sense of “not a fixed identity nor a bounded locality, but […] a never-ending process of being together, of struggling over the boundaries and substance of togetherness, and of coproducing this togetherness in complex relations of power” (Gibson-Gra- ham et al 2018, 5). That Christian marriage is not a necessary foundation for this community is made clear in the fact that Sammy’s grandparents are divorced and his parents completely absent, while Valerie’s landlady, Frau Jahn, and Disko are both