Austria and Film in the Twenty-First Century

Katya Krylova; Dora Osborne

Austria and Film in the Twenty-First Century

Edited by Katya Krylova and Dora Osborne

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Austrian Studies 33

Modern Humanities Research Association

10 February 2026

ISBN: 978-1-839542-67-1 (paperback)

Access online: At Project MUSE

Twenty years after Dennis Lim labelled Austria the ‘world capital of feel-bad cinema’, Austrian Studies 33 takes stock of films from and relating to Austria in the twenty-first century. In many ways Lim’s conjunction of nation and negative feeling remains pertinent, but as the contributions in this volume attest, the relationship between Austria and film is nuanced and multifaceted, and directors have variously adopted, rejected and subverted the ‘feel-bad’ label. The place, too, of Austria in the global context of cinema, has shifted: while international exports such as Michael Haneke and Ulrich Seidl continue to fascinate audiences around the world, many other directors (e.g. Ruth Beckermann, Umut Dağ, Adrian Goiginger, Jessica Hausner, Marie Kreutzer, Stefan Ruzowitzky) have shored up a reputation at home and abroad. This oscillation between Austria and the world is also characteristic of a cinema that focuses variously on the domestic and the global, and moves between adaptation of the Heimat genre and large-scale documentary visions of global capitalism and ecological collapse. And, as this volume shows, although many filmmakers focus on contemporary concerns, the past – imperial, fascist and colonial – continues to shape twenty-first century productions.

Volume 33 of Austrian Studies is edited by Katya Krylova and Dora Osborne.

See news item: Austria and Film in the Twenty-First Century: Call for Papers (13 September 2023)

Contents:

1-19	Introduction: Austria and Film in the Twenty-First Century Katya Krylova, Dora Osborne doi:https://doi.org/10.1353/aus.00033	Cite
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20-43	'Feel-Bad Cinema' Meets 'Bad Feminists': Gender, Nation, and Affect in the Films of Jessica Hausner Maria San Filippo doi:https://doi.org/10.1353/aus.00034	Cite
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44-61	Sites of Memory and Youth on Screen: Sebastian Brameshuber's Und in der Mitte, da sind wir (2014) Alexandra Lloyd doi:https://doi.org/10.1353/aus.00035	Cite
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62-80	Between Self-Discovery and Self-Destruction: The Neo-Heimat Films Hochwald (2020), Märzengrund (2022) and Ein ganzes Leben (2023) Jakub Gortat doi:https://doi.org/10.1353/aus.00036	Cite
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81-102	Under the Surface: Hunting, Collecting and Taxidermy in Ulrich Seidl's Safari (2016) and Joerg Burger's Archiv der Zukunft (2023) Dora Osborne doi:https://doi.org/10.1353/aus.00037	Cite
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103-119	Representing Austria's Wartime History for a Global Audience: Terrence Malick's A Hidden Life (2019) Katya Krylova doi:https://doi.org/10.1353/aus.00038	Cite
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120-136	Expressionism Revisited: Stefan Ruzowitzky's Hinterland (2021) Malcolm Spencer doi:https://doi.org/10.1353/aus.00039	Cite
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137-155	Sisi Unchained: Female Auteurs and the Sisi Fetish Heidi Schlipphacke doi:https://doi.org/10.1353/aus.00040	Cite
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156-177	Disillusionment and Community: The Queer Feminist Aesthetics of Barbara Albert's Fallen (2006) Imke Meyer doi:https://doi.org/10.1353/aus.00041	Cite
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178-202	Performing Sex Work in Contemporary Viennese Documentary: Choric, Confessional, and Citational Dynamics in Brüder Der Nacht (2016) and Mutzenbacher (2022) Lawrence Alexander doi:https://doi.org/10.1353/aus.00042	Cite
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203-204	Review of Rocio Lilliana Günther, 'Wir tanzten und tanzten zu jeder Zeit': Der Tanz in Vicki Baums Werken 1920–1950 Andrea Capovilla doi:https://doi.org/10.1353/aus.00043	Cite
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205-206	Review of Christine Dysers, Bernhard Lang Matthias Wurz doi:https://doi.org/10.1353/aus.00044	Cite
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207-210	Review of Felix Diergarten, Anton Bruckner: Ein Leben mit Musik; Rüdiger Görner, Bruckner: Der Anarch in der Musik Andrew Barker doi:https://doi.org/10.1353/aus.00045	Cite
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211-212	Review of Benjamin M. Korstvedt, Bruckner's Fourth: The Biography of a Symphony Andrew Barker doi:https://doi.org/10.1353/aus.00046	Cite
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213-214	Review of Rüdiger Görner, In the Future of Yesterday: A Life of Stefan Zweig Leo A. Lensing doi:https://doi.org/10.1353/aus.00047	Cite
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215-216	Review of Mary Bergstein, Visual Culture in Freud's Vienna: Science, Eros, and the Psychoanalytic Imagination Martin Liebscher doi:https://doi.org/10.1353/aus.00048	Cite
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217-219	Review of Cathie Carmichael, The Habsburg Garrison Complex in Trebinje: A Lost World Matthew Stibbe doi:https://doi.org/10.1353/aus.00049	Cite
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220-221	Review of Cara Tovey and Julian Klinner (ed.), Karl-Marx-Hof: Schlüsselbau der Moderne Anna Stuhlpfarrer doi:https://doi.org/10.1353/aus.00050	Cite
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222-224	Review of Elana Shapira (ed.), Austrian Identity and Modernity: Culture and Politics in the 20th Century Ritchie Robertson doi:https://doi.org/10.1353/aus.00051	Cite
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225-226	Review of Frances Tanzer, Vanishing Vienna: Modernism, Philosemitism, and Jews in a Postwar City Ritchie Robertson doi:https://doi.org/10.1353/aus.00052	Cite
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227-229	Review of Richard Bassett, Maria Theresa: Empress: The Making of the Austrian Enlightenment Joachim Whaley doi:https://doi.org/10.1353/aus.00053	Cite
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Cite this volume in standard MHRA style

Bibliography entry:

Krylova, Katya, and Dora Osborne (eds), Austria and Film in the Twenty-First Century (= Austrian Studies, 33 (2026))

First footnote reference: ³⁵ Austria and Film in the Twenty-First Century, ed. by Katya Krylova and Dora Osborne (= Austrian Studies, 33 (2026)), p. 21.

Subsequent footnote reference: ³⁷ Krylova and Osborne, p. 47.

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Bibliography entry:

Krylova, Katya, and Dora Osborne (eds). 2026. Austria and Film in the Twenty-First Century (= Austrian Studies, 33)

Example citation: ‘A quotation occurring on page 21 of this work’ (Krylova and Osborne 2026: 21).

Example footnote reference: ³⁵ Krylova and Osborne 2026: 21.

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Permanent link to this title:

www.mhra.org.uk/publications/Austria-Film-in-Twenty-First-Century
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