By K. Sieg
The e-book explores ecu artists' serious engagement with the pictures and tales that politicians and the media use to suggest globalization.
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Additional info for Choreographing the Global in European Cinema and Theater (Studies in European Culture and History)
Both venerate the random encounters prompted by constant movement and modern technology over a sense of traditional political alliances and cultural affinities. Europudding sits somewhere in between the coherent narratives and the episodic dramaturgies I sketched above. Like the former, it explores the transnational sexual economy in the European Union but 38 Choreographing the Global lacks their philosophical weight and elegiac tone. It shares with the latter the large, diverse cast of European characters, along with a playful, improvisational style, but presents the coherent story of a young French exchange student’s trials and tribulations in a shared household in Barcelona.
Since Frank Castorf assumed the theater’s artistic directorship in 1992, it has become one of the success stories of theaters surviving in the new funding environment. While its scaled pricing structures continues to ensure broad access 24 Choreographing the Global to nontraditional, especially young audiences, its cooperation with prison theater, homeless theater, and immigrant theater aligns it with a social-service mission. Castorf’s concept of creating a “people’s theater” prioritizes the fostering of cultural, technological, and electronic literacy and refers back to a long socialist tradition.
The romance between Scarlett Hazeltine (Pamela Tiffin), a nymphomaniac Coca-Cola heiress, and Otto Ludwig Piffl (Horst Buchholz), a hotheaded young communist from East Berlin, which results in his quick-time conversion into a capitalist, recalls the fantasy of the West’s erotic irresistibility à la Ninotchka. At the same time, the film inverts the gender codes of the East-West romance, which traditionally functioned to confirm the natural superiority of capitalism over communism. The affair between the film’s main character Charlie McNamara (James Cagney), the managing director of the Coca-Cola plant in West Berlin and a married man, and his blond bombshell secretary Ingeborg (Lilo Pulver), evokes the much older tradition of colonial fantasies that Susanne Zantop has described, which pair men from an advanced civilization with enamored native princesses—while inverting the historic coupling of European masters and colonized Americans.
Choreographing the Global in European Cinema and Theater (Studies in European Culture and History) by K. Sieg