Bady Minck’s tourist imaginaries
in The traumatic surreal
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This chapter analyses Minck’s 2003 film Im Anfang war der Blick as a surreal and densely intertextual exploration of Austria’s landscapes, which it reads as allegories of the country’s history. The chapter explores the film’s focus on the importance of the Styrian Erzberg, the site of Nazi atrocities and now a key tourist attraction, and on Salzburg and its musical traditions and their relations to Austria’s Nazi history.

The traumatic surreal

Germanophone women artists and Surrealism after the Second World War


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