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World Film Locations: Vienna provides a panorama of international motion pictures shot on location in Austria's once imperical capital. Informative reviews of 46 film scenes and evocative essays examine for the first time Vienna's relationship to cinema outside the waltz fantasies shot in the studios of Hollywood, London, Paris, Berlin... and Vienna. Illustrations and screen-grabs are set alongside current images, as well as city maps locating ‘cinematic Vienna’. A Vienna at the crossroads of a turbulent history, as a source of great music and literature, and a site of world-famous architecture ranging from gothic cathedrals and baroque palaces to Jugendstil (Vienna's art nouveau) to the eco-challenges of the postmodern is revealed. Spotlight essays cover the images that evoke the end of the Austro-Hungarian Empire; the pioneering filmmaking of Willi Forst and Walter Reisch in the 1930s; Vienna's role in the entertainment cinema of the Third Reich; opulent royal epics of the 1950s and the city as backdrop for international moviemaking; Jewish filmmakers and their take on lost cultural imagery; and a startling New Wave cinema from filmmakers such as Michael Haneke, Barbara Albert and Ulrich Seidl.

Maps/Scenes

Scenes 1-8 1922 - 1936

Scenes 9-16 1936 - 1955

Scenes 17-24 1957 - 1976

Scenes 25-32 1976 - 1986

Scenes 33-39 1987 - 2001

Scenes 40-46 2001 - 2011

Essays

Vienna: City of the Imagination – Michael Burri

Vienna Imperial at Home and Abroad: The City as Film Myth in the 1930s and 1940s – Joseph W. Moser

Vienna and the Films of Louise Kolm-Veltée – Robert Dassanowsky

The Jewish Topography of Filmic Vienna – Dagmar C. G. Lorenz

Vienna in Film 1945–55: Building a Post-War Identity – Mary Wauchope

Wonder Wheel: The Cinematic Prater – Todd Herzog

The Spaces of The Other Vienna in New Austrian Film – Nikhil Sathe

Sujets

Cinéma

Cinema

Film

General

General officer

Película fotográfica

Informations

Publié par	Intellect Books Ltd
Date de parution	18 avril 2013
Nombre de lectures	5
EAN13	9781841507361
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,0950€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

WORLD FILM LOCATIONS VIENNA
Edited by Robert Dassanowsky
First Published in the UK in 2012 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First Published in the USA in 2012 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 Intellect Ltd
Cover photo: Before Sunrise , 1995 (Castle Rock/Detour The Kobal Collection)
Copy Editor: Emma Rhys
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written consent.
A Catalogue record for this book is available from the British Library
World Film Locations Series ISSN: 2045-9009 eISSN: 2045-9017
World Film Locations Vienna ISBN: 978-1-84150-569-5 eISBN: 978-1-84150-736-1
Printed and bound by Bell Bain Limited, Glasgow
WORLD FILM LOCATIONS VIENNA
EDITOR Robert Dassanowsky
SERIES EDITOR DESIGN Gabriel Solomons
CONTRIBUTORS Thomas Ballhausen Michael Burri Robert Dassanowsky Laura Detre Todd Herzog Susan Ingram Dagmar C. G. Lorenz Joesph W. Moser Markus Reisenleitner Arno Russegger Nikhil Sathe Heidi Schlipphacke Oliver C. Speck Justin Vicari Mary Wauchope
LOCATION PHOTOGRAPHY Severin Dostal (unless otherwise credited)
LOCATION MAPS Joel Keightley

PUBLISHED BY Intellect The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK T: +44 (0) 117 9589910 F: +44 (0) 117 9589911 E: info@intellectbooks.com
Bookends: Internal courtyard of the Hofburg Palace complex (Severin Dostal)
This page: The Third Man (Kobal)
Overleaf: The Living Daylights / Mayerling (Kobal)
CONTENTS

Maps/Scenes

Scenes 1-8 1922 - 1936

Scenes 9-16 1936 - 1955

Scenes 17-24 1957 - 1976

Scenes 25-32 1976 - 1986

Scenes 33-39 1987 - 2001

Scenes 40-46 2001 - 2011

Essays

Vienna: City of the Imagination Michael Burri

Vienna Imperial at Home and Abroad: The City as Film Myth in the 1930s and 1940s Joseph W. Moser

Vienna and the Films of Louise Kolm-Velt e Robert Dassanowsky

The Jewish Topography of Filmic Vienna Dagmar C. G. Lorenz

Vienna in Film 1945-55: Building a Post-War Identity Mary Wauchope

Wonder Wheel: The Cinematic Prater Todd Herzog

The Spaces of The Other Vienna in New Austrian Film Nikhil Sathe

Backpages
Resources
Contributors
Filmography
ACKNOWLEDGEMENTS
This book would not have been possible without the motivation, support, direction, and patience of Gabriel Solomons at Intellect. I also wish to acknowledge the generous assistance of Michael Burri and Severin Dostal, and most certainly the superb work of each of the contributors in this unique cinematic-urban adventure. I dedicate the volume to the city and people of Vienna.
ROBERT DASSANOWSKY
INTRODUCTION
World Film Locations Vienna
THE VIENNA THAT NEVER WAS , is the greatest city in the world, commented Orson Welles as he attempted to film an experimental spy spoof on its grand circular boulevard of palaces, government buildings, museums and parks, the Ringstrasse, in 1968. He had become familiar with the city at a time in which it was at its least traditionally cinematic, as his character Harry Lime darted in and out of the war-torn shadows of The Third Man (Carol Reed, 1949). Along with The Sound of Music (Robert Wise, 1965), which is set wholly in Salzburg and its environs (on location for the most part), and a few additional films, these cinematic memories represent Austria in much of the world s imagination.
Throughout western film history Vienna, its capital, has most often appeared as a fantasy based on the imperial city it was until 1918. Austrian film took the lead in the perpetuation of this lost world with the Viennese Film of the 1930s and 1940s, a genre that was remade and imitated by Hollywood, often by its sizeable Austrian-Hungarian expatriate and exile population, which also contributed to the myth (e.g. Josef von Sternberg s Dishonored [1931], Henry Koster s Spring Parade [1940], Billy Wilder s The Emperor Waltz [1948], Michael Curtiz s A Breath of Scandal [1960], etc.). During the post-war Austrian film industry boom, Vienna was able to market itself on an international scale with historical backdrops for opulent Agfacolor melodramas, comedies, and operettas based on the myths of the Habsburg dynasty and the aristocratic-bourgeois world of the nineteenth and early twentieth century. The most indelible of these imperial epics is Ernst Marischka s Sissi series (1955-57) which made a world star of Romy Schneider and permanently romanticized the reputation of the penultimate Austrian Empress, Elisabeth or Sissi .
Vienna, much like Paris, is a film city obsessed with love - from pre- Blue Angel Marlene Dietrich and Willi Forst in Caf Elektric/Cafe Electric (Gustav Ucicky, 1924) to Omar Sharif and Catherine Deneuve in Mayerling (Terence Young, 1968) to Ethan Hawke and Julie Delpy in Before Sunset (Richard Linklater, 1994) - albeit this attitude presents a somewhat thornier prospect in the city of Freud, as the recent A Dangerous Method (David Cronenberg, 2011) aptly underscores. There have, of course, been other cinematic associations and Vienna has functioned as a stand-in for Budapest ( The Journey [Anatole Litvak, 1959]), a Vienna-esque Sweden ( A Little Night Music [Harold Prince, 1977]), Moscow ( Firefox [Clint Eastwood, 1982]) and Paris ( The Three Musketeers [Stephen Herek, 1993]), while Old Vienna has ironically been shot in Prague ( Amadeus [Milos Forman, 1984]; The Illusionist [Neil Burger, 2006]) and Paris ( Julia [Fred Zinnemann, 1977]). New Austrian Film has introduced a grittier image of Vienna through the iconoclastic visions of its contemporary creators. But German film-maker Benjamin Heisenberg insists that Vienna remains a fantastic cinema city . Beyond its iconic historical sites and new landscapes there are views that are not particularly beautiful and not touristic, but very exciting .
Robert Dassanowsky, Editor
VIENNA
City of the Imagination
Text by MICHAEL BURRI

A PRODIGIOUS IMAGE MACHINE , Vienna excels as a global brand. Far from the city s landmarks: St Stephen s Cathedral, the Sch nbrunn Palace, and the Ringstrasse, a lightly stamped made in Vienna is recognizable in character types and stories, sounds, settings and choreographies. Meanwhile, an aspirational Viennese lifestyle can be found in virtually any major North American or European city. A European cousin to Hollywood, Vienna is a soft power empire whose fictions and fantasies have colonized our imagination. This Vienna belongs to the world. But Vienna also belongs to film-makers who - whether they embrace or reject it - struggle with the extraordinary success of the global brand Vienna. Vienna films are always a tale of two cities. The first Vienna is a vast aggregation of artifacts, emotional associations, and histories - monarchy, Mozart, Freud, Blue Danube, two catastrophic world wars, and the rest. The second Vienna is the city that film directors adapt, redefine, and remake in the shadow of the first. Films set in Vienna thus unfold amid a surplus of images. The city does not have to introduce itself: we already know too much.
Ernst Lubitsch once quipped that he might prefer Paris, Paramount to Paris, France. Early big-budget films tended to present a studio Vienna reconstructed around visually dominant locations. In Der junge Medarus/The Young Medarus (1923) the pre-Hollywood Michael Curtiz recreated Sch nbrunn, St Charles Church, and St Stephen s as alternating backdrops. The Wedding March (1928), by Vienna-born Erich von Stroheim, actually did substitute Vienna, Paramount for Vienna, Austria. Like his Merry-Go-Round (1923), whose budget-busting rebuilding of Vienna in a southern California backlot cost him his director s job, The Wedding March mapped social hierarchies onto the urban space. The inner city marks the merging of religious and imperial tradition, high culture and the elite male, while the suburban periphery features popular entertainment, commerce, and the erotically-charged lower-class female.
Some early films did combine studio interiors with iconic city exteriors. Gustav Ucicky s Caf Elektric/Cafe Electric (1927) casts St Stephen s as a distant crime scene backdrop, while Paul Fej s s Sonnenstrahl/Ray of Sunshine (1933) transfers its visual focus from the old urban landmarks to the monumental apartment buildings recently built in the outer districts by the municipal socialist government. More characteristic, however, was Lubitsch s The Smiling Lieutenant (1931), a remake of Ludwig Berger s Ein Walzertraum/A Waltz Dream (1925), filmed at Vienna, Paramount. Stock footage of the cathedral-spired and domed skyline, Hofburg Palace and the Graben establish location and then yield to a Vienna of opulent interiors, garden restaurants and romantic park benches.

Dog Days (2001) 2001 Allegro Film
Recognizable cityscapes and exterior locations, even when reconstructed, imply an engagement with politics and a willingness to acknowledge a socially precarious urban environment. But it was the relocation of dramatic action to interior spaces that in the 1930s films of Willi Forst produced the most enduring and emulated cinematic articulation of Vienna. Indeed, his directorial debut, Leise flehen meine Lieder/Gently My Songs Entreat (1933) may be seen as an ironic farewell to the exterior location. Opening with a shot of St Stephens s, the camera pulls back. The image is revealed as a painting, freight on someone s back, on its way to a pawnshop to be sold. With Maskerade/Masquerade (1934), Forst - whom a 1936 German film trade paper called the man who created a city - most fully elaborated the formula of the Viennese Film . Its visual centre is the ballroom, a location that masterfully fused core elements of the Viennese brand: high society, music, conviviality, romantic intrigue