\nThe historical special Sehnsucht 2020 \u2013 City and Desire<\/u> is presented by \u00d61<\/a>.<\/p>\n
xxx<\/pre>\n<\/div>\nNordrand \u00a9 Lotus Film\/Petro Domenigg<\/p><\/div>\n
The 22 films in Sehnsucht 2020 \u2013 City and Desire<\/u> \u2013 a joint special by Diagonale, Filmarchiv Austria, the Austrian Film Museum, and the ORF Archive \u2013 revolve around the key words city and desire in Austrian film.<\/h2>\n
The films in the Diagonale\u2019s historical special lead to sites that make the interplay of built and lived city comprehensible \u2013 from public housing in Red Vienna to a beach dominated by the Viennese on the upper Adriatic, from the idyllic provincial countryside through the urban periphery and further, into the mega cities of this world, from the seedy underworld of Frankfurt through to the most colorful corners of the queer opera milieu, from auspicious Manhattan through to magically trashy Graz.<\/p>\n
Following the lead of Graz Year of Culture 2020<\/u>, which in these days will be discussing visions of the urban future and ideas for the city of tomorrow, Sehnsucht 2020 \u2013 City and Desire<\/u> inquires into mutual historical foundations, and searches for possible clues and answers on the movie screen. The historical special offers the rare chance to see works from the Austrian film archives, some of which have been specially digitized and restored.<\/p>\n
Film program Sehnsucht 2020 \u2013 City and Desire<\/u>
\n\u2014 It looks like a Japanese Film<\/em> (D: Sasha Pirker, AT 2011)
\n\u00a0 \u00a0 \u00a0Megacities<\/em> (D: Michael Glawogger, AT 1998)
\n\u2014 Sehnsucht 202<\/em> (D: Max Neufeld, DE\/AT 1932)
\n\u2014 Sonnenstrahl<\/em> (D: Paul Fejos, AT 1933)
\n\u2014 Sonnenflecken<\/em> (D: Barbara Albert, AT 1988)
\n\u00a0 \u00a0 \u00a0Nordrand<\/em> (D: Barbara Albert, AT 1999)
\n\u2014 Der Traum der bleibt<\/em> (D: Leopold Lummerstorfer, AT 1996)
\n\u00a0 \u00a0 \u00a0Prince of Peace<\/em> (D: Hans Scheugl, AT 1993)
\n\u2014 Frankfurt Kaiserstra\u00dfe<\/em> (D: Roger Fritz, BRD 1981)
\n\u2014 Irgendwann einmal \u2026 <\/em>
\n\u00a0 \u00a0 \u00a0Probleme der Jugendlichen in Gro\u00dfsiedlungen<\/em> (D: Robert Dornhelm, AT 1973)
\n\u00a0 \u00a0 \u00a0Jugendzentrum Per-Albin-Hansson-Siedlung Ost<\/em> (D: Gustav Deutsch, AT 1977)
\n\u00a0 \u00a0 \u00a0Losgelassen \u2013 Jugend in Graz<\/em> (D: Rene Brueger, AT 1986)
\n\u2014 Bez\u00fa\u010deln\u00e1 proch\u00e1zka (Aimless Walk \u2013 Spaziergang ins Blaue)<\/em>
\n\u00a0 \u00a0 \u00a0<\/em>(D: Alexander Hammid, CZ 1930)
\n\u00a0 \u00a0 \u00a0Aimless Walk \u2013 Alexander Hammid<\/em> (D: Martina Kudl\u00e1\u010dek, AT\/CZ 1996)
\n\u00a0 \u00a0 \u00a0Go! Go! Go! <\/em>(D: Marie Menken, FR 1962\u20131964)
\n\u00a0 \u00a0 \u00a0A Tale of Two Cities<\/em> (D: Jem Cohen, AT 2007)
\n\u00a0 \u00a0 \u00a0cityscapes<\/em> (D: Michaela Grill, Martin Siewert, AT 2007)
\n\u2014 Eintritt zum Paradies um 3\u20ac20<\/em> (D: Edith Stauber, AT 2008)
\n\u00a0 \u00a0 \u00a0Wie Sand am Meer \u2013 Familiennotizen aus Urlaub und Alltag<\/em> (D: Bernhard Frankfurter, AT 1976)
\n\u00a0 \u00a0 \u00a0quadro<\/em> (D: Lotte Schreiber, AT\/IT 2002)
\n\u2014 Magic Graz<\/em> (D: Curt M. Faudon, Max Vrecer, AT 1972)
\n\u00a0 \u00a0 \u00a0Canale Grande<\/em> (D: Friederike Pezold, AT 1983)<\/p>\n<\/h3>\n
<\/p>\n
Sonnenstrahl \u00a9 Filmarchiv Austria<\/p><\/div>\n
Cinema, film, and city
\nCongenial from time eternal<\/u><\/h3>\nIt\u2019s not far from the city (railway) into the cinema. Historical analogies between city and film abound. For example, between the flow of images through the film projector and the segmented view of building fronts swiftly passing by that passengers catch through the window of the city railway. Also, the aspect of anonymity seems equally appreciated by city dwellers and cinema goers alike: Both enjoy being alone, together. Furthermore, movie theaters and cinemas entice with distraction and pleasure \u2013 a promise of happiness that they share with the diverse stimulants of urban habitats. Cinema, film, and city \u2013 all symbolize fantasies and desires that are constantly in danger of topplin, all offer the chance to get lost in the enchanting scintillating lights. Behind them: a reality that is also, at times, dismal. These intersections are the starting point for numerous confrontations with the congenialities of city and film \u2013 in this case, the Austrian ones. Sehnsucht 2020 \u2013 City and Desire<\/u> tells of strollers and city dwellers. Of those who moved from the provinces to the city to start a new life. Of those who become disappointed when this very promise of happiness becomes their downfall in the moloch of the metropolis.<\/p>\n
<\/p>\n
Megacities \u00a9 Sammlung \u00d6sterreichisches Filmmuseum\/Michael Glawogger<\/p><\/div>\n
On social and architectural structures<\/u><\/h3>\n
The historical special\u2019s tale begins with early film pearls \u2013 two new specially prepared restorations from Filmarchiv Austria: Sonnenstrahl <\/em>(D: Paul Fejos, AT 1933), a turbulent comedy of errors, and Sehnsucht 202 <\/em>(D: Max Neufeld, DE\/AT 1932), a public housing story, revolve around the interwar period shaped by social tensions and rifts. Aspects of eroding solidarity run through the entire program, as does a confrontation with one\u2019s cultural identity. The very question of a worthwhile way of living, is also ultimately posed by the young adults in two works by Barbara Albert: Sonnenflecken<\/em> (AT 1988) and her cult film Nordrand<\/em> (AT 1999), which shortly before the turn of the millennium, exemplarily represents the emergence mounted by a new generation of Austrian filmmakers. Already a year before Nordrand,<\/em> director Michael Glawogger was drawn to the Megacities<\/em> (AT 1998) of our planet for his iconic documentary. A lot of political debates were influenced by the buzzword globalization back then, which also linked regional challenges and geopolitical issues. In his long-term documentary observation Der Traum der bleibt<\/em> (AT 1996), Leopold Lummerstorfer traces the worries, desires, and hopes of the inhabitants of Vienna\u2019s Trabrenngr\u00fcnde housing estate. This opus magnum, one of Austria\u2019s most remarkable documentaries, can also be seen again after many years \u2013 as can an early ORF report by Robert Dornhelm on youth gangs in the then brand-new Gro\u00dffeldsiedlung housing estate. The recently deceased artist and filmmaker Gustav Deutsch thwarts these official recordings made for the public broadcasting service. His first film (Jugendzentrum Per-Albin-Hansson-Siedlung Ost<\/em>, AT 1977) is a valuable, private documentary on the youth center at the Per-Albin-Hansson housing estate and the era\u2019s sociopolitical concepts for dealing with young people. Meanwhile, in 1986, Rene Brueger asked young people in Styria about their desires for Losgelassen \u2013 Jugend in Graz.<\/em><\/p>\n
<\/p>\n
Eintritt zum Paradies um 3\u20ac20 \u00a9 sixpackfilm<\/p><\/div>\n
Where the city takes its holiday <\/u>
\nOr: Happiness is so close (and far away)<\/u><\/h3>\nThe film program for Sehnsucht 2020 \u2013 City and Desire<\/u>\u00a0also shows sites where a little happiness resides. The park pool in Linz, for example, promises entry to paradise, for 3 euros, 20 cents: Eintritt zum Paradies um 3\u20ac20<\/em> (D: Edith Stauber, AT 2008). Whereas the legendary ORF television producer Bernhard Frankfurter followed traveling urbanites to the northern Adriatic in the 1970s and 1980s (Wie Sand am Meer \u2013 Familiennotizen aus Urlaub und Alltag<\/em>, AT 1976) \u2013 symbolic of summertime distraction and a brief respite from the workaday world. The city is considered a site of densification and also a space to pass through: a reference to mobility and diversity as core features of urban environments. Martina Kudl\u00e1\u010dek\u2019s exceptional portrait of photographer and filmmaker Alexander Hammid (Aimless Walk \u2013 Alexander Hammid<\/em>, AT\/CZ 1996) is characterized by fast-paced observations, minor details, and a precise eye that catches the apparently incidental. Born in Linz in 1907 as Alexander Hackenschmied, Hammid ultimately made his way first to Prague, and then to New York. Martina Kudl\u00e1\u010dek\u2019s portrait is a vivid urban story, in which during subway rides through Manhattan, what are probably the most iconic images of the city surface. Resonating in the recordings is Hammid\u2019s first film made in 1930. Bez\u00fa\u010deln\u00e1 proch\u00e1zka (Aimless Walk \u2013 Spaziergang ins Blaue)<\/em> (CZ 1930), filmed in the heyday of Prague\u2019s film avant-garde and before Hammid\u2019s emigration, is likewise part of the historical special. In 2020, we also meet again with the classic rascal Hanno P\u00f6schl \u2013 also beyond the country\u2019s borders: What brought the Viennese underworld king Johnny to Germany in Frankfurt Kaiserstra\u00dfe<\/em> (D: Roger Fritz, BRD 1981) \u2013 who knows? The gem Frankfurt Kaiserstra\u00dfe<\/em> will be screened together with the piercing Prince of Peace<\/em> (AT 1993) by Hans Scheugl.<\/p>\n
<\/p>\n
Irgendwann einmal \u2026 Probleme der Jugendlichen in Gro\u00dfsiedlungen \u00a9 ORF-Archiv<\/p><\/div>\n
Brutal regionalism meets architectural brutalism<\/u><\/h3>\n
Rarities and hitherto rarely screened works, such as the quaint advertising clip Magic Graz<\/em> (AT 1972) by the recently deceased Styrian film director Curt M. Faudon and his cameraman Max Vrecer, which attempts to heap praise on Styria along the lines of the then current political zeitgeist, between cultural heritage and rebellion, tradition and avant-garde, balancing Jazz, Spielberg, and Lodenjanker, meets media-reflective avant-garde films, such as Friederike Pezold\u2019s Canale Grande <\/em>(AT 1983). The program also includes two filmmakers Sasha Pirker and Lotte Schreiber who in their films frequently follow the line of thought that the city is always two things: the physical, built architectural space, as well as a mentality made up of perceptions, life styles, and ideologies \u2013 that is, the city as society.<\/p>\n
Supplementing the historical special, SYNEMA \u2013 Gesellschaft f\u00fcr Film und Medien is presenting four film programs under the title Displaced Persons \u2013 Keine Heimat, nirgendwo!<\/u>. With a view to current events, the program is meant to recall historical migration movements with films thematizing the lives of so-called displaced persons in camps, and works made by emigrated filmmakers, such as Peter Lorre, Fred Zinnemann, Alexander Hammid, Terence Fisher, and Jonas Mekas.<\/p>\n
<\/p>\n
xxx<\/pre>\n<\/p>\n","protected":false},"excerpt":{"rendered":"
The Diagonale\u201920 was cancelled due to official measures to contain the spread of COVID-19. The historical special Sehnsucht 2020 \u2013 City and Desire is presented by \u00d61. The 22 films in Sehnsucht 2020 \u2013 City and Desire \u2013 a joint special by Diagonale, Filmarchiv Austria, the Austrian Film Museum, and the ORF Archive \u2013 […]<\/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-81717","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages\/81717","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=81717"}],"version-history":[{"count":0,"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/pages\/81717\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.diagonale.at\/en\/wp-json\/wp\/v2\/media?parent=81717"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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