Seite - 153 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

153 capitalism, scHizopHrenia, and #Vanlife individual, biologically based quests (for the father of her baby and his biological father) in such a way that can transcend the individuation capitalism has proven so capable of exploiting. To claim, therefore, that Weingart ner’s films have “Bergfilm” or “Heimatfilm” components simply because they take place in the mountains or the forest diverts attention from the structural purpose that the nature settings in his films serve. The white noise of Weingart ner’s first feature (Das weiße Rauschen), which ends with a long take of the protagonist staring out at break- ing waves, could not be more different than Der weiße Rausch [The White Ecstasy, 1931], which Riefenstahl is depicted deriving from skiing exploits on death-defyingly high craggy slopes. It is not snowy mountain peaks such as those in what was already then the famous ski resort of Sankt Anton am Arlberg, where Der weiße Rausch was filmed, that feature in The Edukators, but rather a 2.0 version of Fanck’s alpine hut: a cozy vacation cabin on a verdant Tirolean hillside northeast of Innsbruck. More specifically, it is near Jenbach overlooking Tirol’s largest lake, the Achensee, which the Tirolean Tourist Board noted is “lovingly dubbed ‘Fiord of the Alps,’” when they hired Daniel Brühl to promote it over a decade after the film was shot there (“Set Jetting: Achensee Lake Area Starring Daniel Brühl in ‘The Edukators’” 2017). The mountains are not hell for Weingart ner, but rather something that can still provide a bulwark against hell while at the same time needing protection from the growing tourist industry and the Airbnb-ification of accommodation. The question of “Heimat” is more complicated. Since it emerged as a modern concept in the late eighteenth century “as ‘a feminized space of identity and origin’” (Eigler and Kugele 2012, 7), understandings have tended to shift generationally and to gain a welcome critical edge in the process, at least since the 1980s, leading to its having lost “much of its cringe factor for Germans” (Ludewig 2014, 435). The concept’s “rich set of cultural and ideological connotations that combine notions of belonging and identity with affective attachment to a specific place or region” (Eigler 2012, 27) are now “more likely to ques- tion what Heimat could be than to provide answers or to define