Seite - 147 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

147 capitalism, scHizopHrenia, and #Vanlife ner has made to date have shuttled.3 His successful 2001 de- but, Das weiße Rauschen [The White Sound, lit. White Noise], starred Daniel Brühl as a young man diagnosed with paranoid schizophrenia, who struggles to deal with his condition. It was followed by the 2004 Die fetten Jahre sind vorbei [The Eduka- tors], which, as noted above, tackled the problem three young people, played by Daniel Brühl, Julia Jentsch, and Stipe Erceg, face in finding effective ways to challenge contemporary capi- talism in light of the failures of the ’68 generation, represented by Burghard Klaußner. Based on its success, Weingart ner raised the level and specificity of critique in his next film, the 2007 Free Rainer — Dein Fernseher lügt [Reclaim Your Brain, lit. Free Rainer, Your Television Lies], in which another star of the Ger- man screen, Moritz Bleibtreu of Lola rennt [Run Lola Run, 1998, dir. Tom Tykwer] fame, plays a fast-living tv station-manager who, after a Fatih Akin-like car accident, realizes the error of his ways and assembles a motley gang to hack television ratings and, in manipulating them, improve the level of television pro- gramming. However, the film did not resonate with audiences the way his previous films had, revealing the indifference of au- diences, and especially the youthful ones who had propelled The 3 He has also made a number of shorts, most notably an episode in Deutschland 09 (2009), a collection of 13 shorts on the state of the nation by leading German filmmakers initiated by Tom Tykwer. “Gefährder” [“Potential Threat”] was based on the hair-raising story of the 2007 arrest and jailing of Andrej Holm, a sociologist who was accused of conspir- ing with “terrorists” to firebomb a German military base, kept in solitary confinement for a month and then under surveillance until his case was formally dismissed in 2010 due to lack of evidence. The episode presents Germany as a police state and ends with three admonishing screens that inform audiences that: “Andrej Holm, auf dessen Geschichte dieser Film basiert, wurde noch ein Jahr nach seiner Freilassung überwacht. / Die ‘Antiterrordatenbank’ enthält mittlerweile 334 Datenbanken von Polizei und Geheimbediensten. Darin sind 112 Millionen Datensätze gespeichert. / Sie können davon ausgehen, dass auch Ihre Daten darin gespeichert sind” [“Andrej Holm, whose story this film is based on, was surveilled for a year after his release. / The ‘Antiterror database’ already contains 334 police and secret service databases containing 112 million pieces of data. / You should presume that your data too are stored there”].