previously landed Hollywood and other films in the Category III rating in this publication for its unattractive violence and, as the papal encyclical “ Vigilanti cura ” had reported in the 1 September 1936 issue, such aspects were part of the “ wrong path ” for cinema. The Neues Wiener Journal of 6 February 1937 goes even further with an anti-American stance, declaring triumphantly: “ Das Monopol Hollywoods auf dem Gebiete des Revuefilms scheint ein für allemal gebrochen. ” It praises the music film ’ s hybridization with the crime mystery genre as more substantive entertainment than just a typical revueserving narrative. The usual rivalry with German film is not evoked. The concept of an independent Austrian cinema has de facto perished along with its Hollywood hope the year prior to Nazi annexation. The representation of burgeoning Viennese and Vienna-associated musical talent in the 1930s Austrian musical film genre points to the creation of a growing national cultural consciousness through cinema. Operetta fantasies which so identified Viennese culture function as extratextual reference in these films by dint of their difference, and in the attempt to reframe the unique cinematic topos of Vienna beyond imperial nostalgia. A mainstay in Austrian cinema since the early silent era, operetta had become too fanciful to function as bankable cinematic escapism given the severe economic hardships of the country, and as a competitive product of a film industry striving to locate and promote its own identity. The attempt to position Austrian film, particularly the musical entertainment genre, against Nazi German film and its ideologically-aimed co-opting of the Viennese cinematic idiom, and battle Hollywood ’ s flattering but market-dominating filmic “ Vienna, ” would ultimately signal Austria ’ s frustrated geopolitical isolation long before Hitler ’ s demands for National Socialist representation in Vienna ’ s government in his meeting with Chancellor Schuschnigg at Berchtesgaden in February 1937. Works Cited Ball im Savoy [Ball at the Savoy]. Dir. Stephan Szekely. Elektra-Film, 1935. “ Ball im Savoy. ” Der gute Film 22 Dec. 1933: 6. “ Ball im Savoy. ” Illustrierte Kronen-Zeitung 5 Feb. 1935: 9. Bernold, Monika. “ Eva, Johannes Reimann (1935). ” Der österreichische Film von seinen Anfängen bis heute. Ed. Gottfried Schlemmer and Brigitte Mayr. Vienna: Synema, 2000. 2 — 23. Brinkmann, Christine N. “ Sonnenstrahl, Paul Fejos (1933). ” Der österreichische Film von seinen Anfängen bis heute. Ed. Gottfried Schlemmer and Brigitte Mayr. Vienna: Synema, 1999. 1 — 26. 338 Robert Dassanowsky Café Elektric. Dir. Gustav Ucicky. Sascha-Film, 1927. Dassanowsky, Robert von. Austrian Cinema: A History. Jefferson, NC and London: McFarland, 2005. — . “ Gendering the Crusade: Representations of Female Roles and Sexuality in Film under Austrofascism. ” Sexuality, Eroticism and Gender in Austrian Literature and Culture. Austrian Culture Series. Ed. Clemens Ruthner. New York: Peter Lang, 2012. 288 — 96. “ Der erste Adele Kern Film. Frühlingsstimmen. ” Illustrierte Kronen-Zeitung 18 Nov. 1933: 9. “ Der Film: Eva. ” Neues Wiener Tageblatt 22 Aug. 1935: 9. “ Der Film: Frühlingsstimmen. ” Neues Wiener Tageblatt 18 Nov. 1933: 12. “ Der neue Film. Ball im Savoy. Festpremiere im Lustspieltheater. ” Neues Wiener Journal 2 Feb. 1935: 12. “ Der neue Film. Premiere. ” Neues Wiener Journal 6 Feb. 1937: 11. “ Die päpstliche Enzyklika ‘ Vigilante cura ‘ über das Filmwesen. ” Der gute Film 1 Sept. 1936: 1. Die freudlose Gasse [The Joyless Street]. Dir. G. W. Pabst. Sofar-Film, 1925. Ein Lied geht um die Welt [My Song Goes ‘ Round the World]. Dir. Richard Oswald. Terra-Filmkunst, 1933. Ein Stern fällt vom Himmel [A Star Fell from Heaven]. Dir. Max Neufeld. Styria- Film, 1934. Eva [Eva, The Factory Girl]. Dir. Johannes Riemann. Atlantis-Film, 1935. “ Eva. ” Der gute Film 30 Aug. 1935: 7 — 8. Ekstase [Ecstasy]. Dir. Gustav Machaty. Elektra-Film, 1933. “ Film: Frühlingsstimmen. Adele Kerns Filmdebüt. ” Neues Wiener Journal 19 Nov. 1933: 30. Frey, David. “ Just What is Hungarian? Concepts of National Identity in the Hungarian Film Industry, 1931 — 1944. ” Constructing Nationalities in East Central Europe. Ed. Pieter M. Judson and Marsha L. Rozenblit. New York and Oxford: Berghahn, 2005. 203 — 22. Frühlingsstimmen [Voices of Spring]. Dir. Paul Fejos. Ernst-Wolff-Film, 1933. “ Frühlingstimmen. ” Neue Freie Presse 18 Nov. 1933: 10. Heut ’ ist der schönste Tag in meinem Leben [Today is the Best Day of My Life]. Dir. Richard Oswald. Globe-Film, 1936. “ Kardinal Dr. Theodor Innitzer über den Film. ” Der gute Film 22 Dec. 1933: 1. “ Kiepura-Rummel im Kino. ” Illustrierte Kronen-Zeitung 22 Aug. 1936: 6. Koszarski, Richard. Hollywood Directors 1914 — 1940. New York: Oxford University Press, 1976. “ Lehár ’ s Eva im Film. ” Neue Freie Presse 22 Aug. 1935: 8. Liebelei [Flirtation]. Dir. Max Ophüls. Elite-Tonfilm, 1933. Machaty, Gustav. “ Der steile Weg zur Filmkunst. ” Der gute Film 8 Feb. 1935: 1. Mitteilung der Filmstelle des Deutsch-Österreichischen Jugendbundes 24 Nov. 1933: 4. “ Neuer Kiepura-Film: Opernring. ” Neue Freie Presse 22 Aug. 1936: 7. Nocturno [Nocturne]. Dir. Gustav Machaty. Mawo Filmproduktion, 1934. 339 A Reasonable Fantasy Nugent, Frank S. “ The Screen. Masquerade in Vienna with Paula Wessely Opens at the Fifty-Fifth Street Playhouse. ” New York Times, 26 Jan. 1937. 19 Mar. 2013. <http: / / movies.nytimes.com/ movie/ review? res=9905E5D7143AE23ABC4E51DFB7668 38C629EDE>. Opernring [Thank you, Madame]. Dir. Carmine Gallone. Gloria-Film, 1936. “ Opernring. ” Der gute Film 1 Sept. 1936: 12. Premiere. Dir. Geza von Bolvary. Gloria-Film, 1937. “ Premiere. ” Der gute Film Folge 199/ 1937: 9 — 10. “ Premiere. ” Neue Freie Presse 9 Feb. 1937: 9. Sonnenstrahl [Ray of Sun]. Dir. Paul Fejos. Tobis-Sascha, 1933. “ Sonnenstrahl. ” Der gute Film 22 Dec. 1933: 5 — 6. “ Sonnenstrahl. ” Neue Freie Presse 17 Dec. 1933: 23. “ Sonnenstrahl. ” Neues Wiener Journal 17 Dec. 1933: 35. “ Sonnenstrahl. ” Neues Wiener Tageblatt 17 Dec. 1933: 17. Sunrise. Dir. F. W. Murnau. Fox Film Corporation, 1927. Wenn du jung bist gehört dir die Welt [When you are Young, the World Belongs to You] Dir. Richard Oswald. Haas-Film, 1934. Zauber der Boheme [The Charm of the Boheme]. Dir. Geza von Bolvary. Intergloria, 1937. Zuckmayer, Carl. Geheimreport. Ed. Gunther Nickel and Johanna Schrön. Göttingen: Wallstein, 2002. 340 Robert Dassanowsky