Seite - 149 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

149 capitalism, scHizopHrenia, and #Vanlife In shifting back and forth between capitalism and schizo- phrenia, Weingart ner’s growing oeuvre makes their similarities increasingly clear by depicting how both function to isolate in- dividuals and make it difficult for them to communicate revolu- tionary ideas and work together to realize them. While he may share Deleuze and Guattari’s critique of normative structures, what Weingart ner promulgates is — as can be seen in the tag- line for The Edukators, “Jedes Herz ist eine revolutionäre Zelle” [“Every heart is a revolutionary cell”] — the opposite of a body without organs. Rather than reject “those aspects of subjec- tivity which constitute the liberal individual (such as agency, self-knowledge, consistency, coherence, and the ability to ef- fect change rather than be affected by it)” (Stark 2012, 102), all he wants is those individuals to become more critical of the capitalist waters in which they tread and the capitalist air they breathe, which is why he imparts their natural counterparts with the value he does. He may have started out his career be- lieving that if he only explained things properly so that people could understand them, they would be less afraid and able to see things as he does; as he put it in an interview, “das, was man versteht, davor hat man weniger Angst” [“one is less afraid of things one understands]” (Delius 2011). However, when asked ner has found the German film industry a challenging environment and one in which he remains an outsider can also be seen in the fact that 303 was his first film to be accepted by the Berlinale, and even then it was not selected for the main competition but rather for the “Berlinale-Sektion Generation für Kinder und Jugendliche,” the section for children and teenagers. In an interview about Hut in the Woods he had commented “Inzwischen ärgert mich das nicht mehr. Das Konkurrenz-Denken in diesen Festival-Wettbewerben ist doch genau das, wogegen sich mein neuer Film wendet” [“in the meantime it doesn’t even make me angry anymore. The competitive spirit of festival competition is precisely what my new film attacks”] (Weingart ner 2012). While it might seem puzzling from the position of the German film industry that Weingart ner expects it to support radical work highly critical of its workings, if that industry worked the way the production of academic knowledge traditionally has, that is, in a not-for-profit, state-supported mode with the aim of fostering an informed, critical citizenry, he would not have found it as difficult to find funding.