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• W3080304927 abstract "Reviewed by: Austria Made in Hollywood by Jacqueline Vansant Laura A. Detre Jacqueline Vansant, Austria Made in Hollywood. Rochester, NY: Camden House, 2019. 196 pp. For a country of its size, Austria receives a lot of attention from American filmmakers. Not only has Hollywood made many movies set in both Imperial Austria and the Republic of Austria, but filmmakers' interest in the country has remained somewhat steady throughout the history of the industry. Whether [End Page 115] writers and directors were interested in documenting Nazism, Austria's role in the Cold War, or simply the myths of grandeur and elegance surrounding the former imperial capital, Vienna, they have been using the country as a setting for American films since the early days of moviemaking and continue to find inspiration there. This is the focus of Jacqueline Vansant's book Austria Made in Hollywood. She shows how Hollywood's Austrian films began in 1923 with Erich Stroheim's film Merry-Go-Round and remain an important part of American filmmaking through the 1960s with movies such as The Cardinal and The Sound of Music. Vansant makes the argument that these films were often vehicles for working through American social issues, particularly around social class and ethnicity, as well as global political movements that transcended both the United States and Austria. Vansant's book is organized into five chapters, which are essentially chronological but also focus on discrete topics in the history of this filmmaking. Chapter 1 looks closely at Erich Stroheim and his films that were set in Austria. She notes that other scholars' focus on Stroheim's rocky relationships with studio heads gives short shrift to the significance of his nostalgia for pre–World War I Austria and the way he simultaneously challenged contemporary mores. The topic of Chapter 2 spans a broader period, looking at films that depict romantic relationships between Americans and Austrians between 1932 and 1960. In particular, Vansant writes about four Paramount-produced comedies, Evenings for Sale, Champagne Waltz, The Emperor Waltz, and A Breath of Scandal. All four of these films use their Austrian settings to discuss social issues such as poverty, racism and eugenics, women's sexual empowerment, and the positive contributions to be made by immigrants. They were also deeply impacted by world events, such as the Great Depression, World War II and the Holocaust, and the Cold War. Chapter 3 looks at films set in the Austro-Hungarian Empire and made just before or during the Second World War, many of which contrasted Austria with Nazi Germany and posited the benefits of multicultural societies. Unfortunately, Vansant also notes that the subtleties of these films may have been lost on American audiences. She writes that the reviewers for the New York Times dismissed these films without connecting them to contemporary issues, and we can presume that most audiences did the same. Sticking with the theme of a general public that was less than enthusiastic about filmic delves into contemporary issues, Chapter 4 looks specifically at three films, So Ends Our [End Page 116] Night, They Dare Not Love, and Once Upon a Honeymoon, all of which depict the Anschluss. These films came in the context of American isolationism and were presented to a public that had little interest in international affairs. They also presented the true story of the annexation of the independent state of Austria to its larger neighbor through the particular lenses of their respective filmmakers' biases. In her final chapter, Vansant examines the depiction of Austria in The Cardinal and The Sound of Music, both of which came approximately twenty years after the majority of the other films discussed in this text. Because of this chronological difference, these two films view the country in significantly different ways. As she says, unlike the films discussed in the previous chapter, The Cardinal and The Sound of Music were neither a call to arms nor justification for US involvement in the war (113). Both films used Austria's recent history as material to primarily entertain audiences. An argument could be made for The Cardinal as a cautionary tale about silence in the face of evil, but ultimately it was made to get viewers..." @default.
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• W3080304927 title "Austria Made in Hollywood by Jacqueline Vansant" @default.
• W3080304927 doi "https://doi.org/10.1353/oas.2020.0015" @default.
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