{"id":79254,"date":"2022-02-15T14:30:55","date_gmt":"2022-02-15T13:30:55","guid":{"rendered":"https:\/\/www.diagonale.at\/historisches-special-rausch\/"},"modified":"2022-02-21T14:09:13","modified_gmt":"2022-02-21T13:09:13","slug":"historisches-special-rausch","status":"publish","type":"page","link":"https:\/\/www.diagonale.at\/en\/historisches-special-rausch\/","title":{"rendered":"Historical Special RAUSCH"},"content":{"rendered":"

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Happy-End, Peter Tscherkassky \u00a9 Sammlung O\u0308sterreichisches Filmmuseum<\/p><\/div>\n
The Diagonale is pleased to announce two historical specials that will be available for viewing in April at the Festival of Austrian Film.<\/p>\n
The first historical special of this year\u2019s Diagonale is called RAUSCH<\/u> and comprises six programs that were selected by the Diagonale, Filmarchiv Austria, the Austrian Film Museum, and the ORF Archive: How does cinema conceive of, stage, deal with, and thematize intoxication (Rausch)? There\u2019s no denying, Austrian film \u2013 perhaps Austria per se \u2013 has a tendency for getting a bit tipsy. In an era in which an inebriated escape from the impositions of everyday life including its highs, lows, and abysses is almost entirely suppressed from public view, the gaze into narcotic cinema is worthwhile in more ways than one. Due to the pandemic, intoxication has become a political stage \u2013 personal as well as societal ways of handling it fundamental decisions. From April 6 to 10, the film series RAUSCH<\/u> in Graz will lead from Michael Glawogger and Kurt Kren to Mara Mattuschka, Ulrich Seidl, and Sabine Derflinger \u2026 Prost<\/em>!<\/p>\n
The historical specials RAUSCH<\/u> and COME AND SHOOT IN THALIWOOD<\/u><\/a> can be seen from April 6 to 10 as part of the Diagonale in Graz and offer the rare occasion to see works, some specially restored, from Austria\u2019s film archives away from the capital.<\/p>\n
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Ekstase, Gustav Machat\u00fd \u00a9 Filmarchiv Austria<\/p><\/div>\n
Film program RAUSCH
\n<\/u>\u2014 Nacktschnecken<\/em> (D: Michael Glawogger, AT 2004)
\n\u2014 In Reference: Attabambi Scheissmichan<\/em> (D: Paul Poet, AT\/DE 2020)
\n\u2014 Contact High<\/em> (D: Michael Glawogger, AT\/DE\/LU\/PL 2009)
\n\u2014 Hotel Rock\u2019n\u2019Roll<\/em> (D: Michael Ostrowski, Helmut K\u00f6pping, AT 2016)
\n\u2014 Plasma<\/em> (D: Mara Mattuschka, AT 2004)
\n\u2014 Ekstase<\/em> (D: Gustav Machat\u00fd, AT\/CZ 1933)
\n\u2014 Rauschlied aus \u201eK\u00fcnstlerblut\u201c. Tonbild mit Alexander Girardi<\/em> (AT 1906)
\n\u2014 Vollgas<\/em> (D: Sabine Derflinger, AT\/DE 2001)
\n\u2014 H\u00e4nde zum Himmel<\/em> (D: Ulrike Putzer, Matthias van Baaren, AT 2013)
\n\u2014 Che bella \u00e8 la<\/em> vita<\/em> (D: Rainer Frimmel, AT 1997)
\n\u2014 Erdbeerland<\/em> (D: Florian Pochlatko, AT 2012)
\n\u2014 Der Ball<\/em> (D: Ulrich Seidl, AT 1982)
\n\u2014 Prost<\/em> (D: Ernst Schmidt jr., AT 1968)
\n\u2014 Schwechater<\/em> (D: Peter Kubelka, AT 1958)
\n\u2014 17\/68 Gr\u00fcn-rot<\/em> (D: Kurt Kren, AT 1968)
\n\u2014 Rauchen und Saufen<\/em> (D: Albert Sackl, AT 1997)
\n\u2014 Odessa<\/em> (D: Catrin Bolt, AT 2011)
\n\u2014 Happy-End<\/em> (D: Peter Tscherkassky, AT 1996)
\n\u2014 Dreh & Trink<\/em> (D: Veronika Franz, Severin Fiala, AT 2013)
\n\u2014 23\/69 Underground Explosion<\/em> (D: Kurt Kren, AT 1969)
\n\u2014 Die Totenschmecker<\/em> (D: Richard Jackson, i. e. Ernst Ritter von Theumer sen., DE 1979)
\n\u2014 Club 2 <\/em>miniatures (selected and compiled by Camillo Foramitti)<\/p>\n
Intoxication is a central topic in Austrian cinema. Between expanding the senses and limiting one\u2019s life, it works as a motor in feature film scripts and television shows. Often, however, the films themselves are intoxicating. As a screen subject shaped in a multitude of ways, it suggests a great deal: Lightness, the desire for emancipation, delirium, repression, unconsciousness, idiocy, distortion, and destruction \u2026.<\/p>\n
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Ha\u0308nde zum Himmel, Ulrike Putzer, Matthias van Baaren \u00a9 sixpackfilm<\/p><\/div>\n
From the province into the city, from youth to old age, from the tourist industry to the private realm, on life and death \u2026<\/u><\/h3>\n
Michael Glawogger\u2019s sex, drugs and rock\u2019n\u2019roll trilogy forms the heart of the RAUSCH<\/u> series. While the first part Nacktschnecken<\/em> (AT 2004) is already a perplexing exception in the landscape of Austrian comedy, it is especially the middle part, Contact High<\/em> (AT\/DE\/LU\/PL 2009), that is seen as a milestone, due to its psychedelic joy. The three-part feature film program celebrates its grand finale with Hotel Rock\u2019n\u2019Roll<\/em> (AT 2016), which after Glawogger\u2019s early death was realized by Michael Ostrowski and co-director Helmut K\u00f6pping. To set the mood for Contact High<\/em>, also shown will be the perception-altering short Plasma<\/em> (AT 2004) by the multitalented filmmaker Mara Mattuschka, who also contributed animations to Glawogger\u2019s feature film.<\/p>\n
Apropos perception-altering: \u201cNo one has ever regretted a bit of tipsiness, when it is timed right.\u201d With these words, operetta star Alexander Girardi sets the proper mood by means of sound image \u2013 an early, quaint form of the music video \u2013 already in 1906. Following this, screened in the same program will be the unleashed excess of emotion Ekstase<\/em> (AT\/CZ 1933) by Gustav Machat\u00fd. Ekstase<\/em> is a happening \u2013 not only, and perhaps even least so, because of the scandalous nude scene by the later (Hollywood) icon Hedy Lamarr. After being available for decades only in countless reworked or mutilated forms, the Filmarchiv Austria has now successfully restored the original version of Ekstase<\/em>. In the context of the Diagonale\u201922, the film will finally be presented again in the way that Machat\u00fd conceived it.<\/p>\n
The third program promises intoxication in the Alps: In Sabine Derflinger\u2019s Vollgas<\/em> (AT\/DE 2001), the apr\u00e8s-ski machine is still running at its pre-pandemic, well-oiled peak \u2013 a cinematic blueprint of an Austrian intoxication mentality and the associated business acumen in the tourist industry. Not far from the radically escapist winter season party delirium, in H\u00e4nde zum Himmel<\/em> (D: Ulrike Putzer, Matthias van Baaren, AT 2013) \u2013 a true gem of Austrian documentary \u2013 Hansi Hinterseer, legendary ski racer and hit singer, extends an invitation to a relaxed mountain mass on Kitzb\u00fchel\u2019s Hahnenkamm. The atmosphere is peaceful, drug-free inebriation, fascinating \u2013 yet nonetheless, somehow haunting.<\/p>\n
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17\/68 Gr\u00fcn-rot, Kurt Kren \u00a9 Sammlung O\u0308sterreichisches Filmmuseum<\/p><\/div>\n
Souvenir images from Tyrol are also in Rainer Frimmel\u2019s short, witty (anti-)Heimatfilm<\/em> Che bella \u00e8 la vita<\/em> (AT 1997). It forms the starting note to a rural section that continues with Florian Pochlatko\u2019s euphorically celebrated final film at the Film Academy Vienna Erdbeerland<\/em> (AT 2012, Diagonale Prize for Best Short Feature). Erdbeerland<\/em> tells of the dilemma of being a teen between gym class, everyday life, and languishing uncertainties in dealing with the desired sex. Exactly thirty years earlier and likewise shot at the Film Academy Vienna is Ulrich Seidl\u2019s \u201cprovincial burlesque\u201d (Stefan Grissemann) Der Ball<\/em> (AT 1982), in which the interview partners speak with euphoric anticipation of the annual school ball in the town of Horn. Der Ball<\/em> will be screened for the first time in Graz in the context of the Diagonale.<\/p>\n
The short film program of the historical special ultimately also condenses intoxicating experiences. It bears the telling title \u201cProst!\u201d and gathers avant-garde films that make it possible to experience ecstasy, trance, and euphoria without any side effects. Their common denominator? The influence of alcohol. Available for viewing are Prost<\/em> by Ernst Schmidt jr. (an expanded-cinema light show, AT 1968) Schwechater<\/em> by Peter Kubelka (the innovative use of beer as film material, AT 1958), 17\/68 Gr\u00fcn-rot<\/em> by Kurt Kren (a bottle-light poem, AT 1968), Rauchen und Saufen<\/em> by Albert Sackl (cigarettes and wine \u201cad nauseum\u201d, AT 1997), Odessa<\/em> by Catrin Bolt (the drunk demystification of the famous silent film scene from Battleship Potemkin<\/em>, AT 2011), Happy-End<\/em> by Peter Tscherkassky (a quaffable home movie time study, AT 1996), Dreh & Trink<\/em> by Veronika Franz and Severin Fiala (an alcoholic self-experiment with a rotating camera, AT 2013) as well as 23\/69 Underground Explosion<\/em> by Kurt Kren (with alcohol and amphetamines to avant-garde film, AT 1969). Along these lines: Prost<\/em>!<\/p>\n
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Club 2 with Nina Hagen \u00a9 ORF-Archiv<\/p><\/div>\n
Die Totenschmecker<\/em> by Ernst Ritter von Theumer sen. (DE 1979), who operates here under the pseudonym Richard Jackson, is entirely in tune with a murderous frenzy. Die Totenschmecker<\/em> is a bizarre 1970s blend of Heimatfilm<\/em> and Texas Chain Saw Massacre<\/em>, in which the director simply reverses the signs of what is otherwise tranquil, ideal-world entertainment. Just as odd as von Theumer\u2019s manifold filmography, which is worthy of rediscovery, is the commercialization history of Die Totenschmecker<\/em>, which after several unsuccessful cinema starts with different titles, was even shown on television later in a slightly toned-down version. The Diagonale\u201922 offers the chance to now see the film in the cinema as a 35 mm projection.<\/p>\n
As complement and open commentary, the Diagonale will show miniatures from the legendary television show Club 2<\/em> as short supporting films for the historical special RAUSCH.<\/u> The miniatures have been selected and compiled by Camillo Foramitti. The first Club 2<\/em> was broadcast on ORF in 1976 and supplied Austria with conversation material and unforgettable television moments for twenty years. Coming together on Club 2<\/em>\u2019s leather sofa are: a 1968 student leader, the widow of a war criminal, a porno hunter, U.S. Foreign Minister, Nobel prize winner, self-proclaimed witches, the Dalai Lama, and a later serial killer. They have something to say. Clever and daft, inspiring, disconcerting, and at times bewildering.<\/p>\n
\u201cA program that doesn\u2019t let itself become unenjoyable by either drinking to delusion or acidic morality. A proposal to stagger. Always on the brink of the abyss.\u201d
\n\u2014 Sebastian H\u00f6glinger and Peter Schernhuber, Festival directors<\/p>\n
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The historical special RAUSCH comprises six programs jointly selected by the Diagonale, Filmarchiv Austria, the Austrian Film Museum, and the ORF Archive.<\/p>\n","protected":false},"author":39,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-79254","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages\/79254","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/users\/39"}],"replies":[{"embeddable":true,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/comments?post=79254"}],"version-history":[{"count":0,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages\/79254\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/media?parent=79254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}