Seite - 151 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

151 capitalism, scHizopHrenia, and #Vanlife more radical mode of setting off to disrupt signal towers in the Mediterranean that supply television programming to Western Europe or simply by removing oneself from society to watch waves crash on a beach or to build a hut in the forest with an imaginary friend. Nature Calls The Edukators established Weingart ner’s reputation as one of the chroniclers of the growing urban hipness of Berlin in the early naughts. That the non-urban in the film nonetheless received academic attention speaks to its significance. Rachel Palfreyman identified The Edukators as “a generically hybrid film which might be described as a love triangle, a Heimatfilm, a heist film, a family melodrama, a mountain film, or an anti-capitalist fable” (Palfreyman 2011, 169), but it soon becomes clear which of these genres captures her imagination. While noting that the film’s “love triangle recalls the mountain films The Holy Mountain (Der heilige Berg, 1926) and The White Hell of Piz Palü in which rivalry over a woman leads to disaster” (ibid., 179), she prefers to read the mountains as a “Heimat locale” (ibid., 169), a “Hei- mat setting” (ibid., 181) “in the middle of a Heimatfilm” (ibid., 184), in which a “Heimat intermezzo” (ibid., 169) takes place that features “a kind of Heimat commune” (ibid., 182). For their part, Paul Cooke and Rob Stone pick up the question of genre Palfreyman raises in reading the film as part of a longer politi- cized cultural tradition about drifters, noting that The Edukators even “seems to drift across genres” (Cooke and Stone 2013, 95), including that of the mountain film. They see Weingart ner as having averted “the potential problems of invoking the moun- tain film” (ibid., 97) because the mountain locale “that recalls the films of Riefenstahl and National Socialism […] provides a space for the Edukators to learn about the ghosts of Germany’s activist past” at the same time as it “gestures to earlier genera- tional conflicts and the anger the 68ers felt towards their parents for failing to accept their culpability for the crimes of the Third Reich” (ibid., 96). Positioning the 68er as a representative of the