Seite - 146 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

146 siting futurity Weingart ner’s political critique, which is, indeed, very much in the spirit of Guy Debord’s society of the spectacle, as Palfreyman establishes in connection with generational conflict and Cooke and Stone do in connection with American hobos, slackers à la Linklater, and idiots à la von Trier. his chapter probes how Wein gartner makes use of locations to mix and reversion genres in his work, particularly that most German of genres, the mountain film, a favoured form under the Nazis made famous in the 1930s by the likes of Leni Riefenstahl and Arnold Fanck, when the nation’s spectacular countryside provided a dramatic backdrop to their melodramatic stories of rural folk negotiating a new sense of belonging in the face of modernity. (Cooke and Stone 2013, 96) Its goal is to establish how attention to the specificity of location has contributed to whatever optimism Weingartner’s oeuvre has been able to maintain. Between Capitalism and Schizophrenia: The Problematic Place of Collectivities “Jedes Herz ist eine revolutionäre Zelle” [“Every heart is a revolutionary cell”] —The Edukators (2004) “live your life as if dread has not changed you.” —Hummel Not only an influential, two-volume tome by French theorists Gilles Deleuze and Félix Guattari, capitalism and schizophrenia mark the poles between which the five feature films Weingart-