This article explores the little-studied 1957 Heimatfilm Das Schloss in Tirol (The Castle in Tyrol) and sheds light on the seemingly contradictory collaboration of the Austrian-Jewish exile Gina Kaus (1893–1985) on this Austrian-German production. The analysis of Das Schloss in Tirol and Kaus's autobiographical impressions of her drastically different and rapidly changing postwar Austrian Heimat in her book Von Wien nach Hollywood aid in illustrating her own as well as the Heimatfilm audiences' wish to reconcile nostalgic longings with the inexorable postwar modernization. The analysis aims to draw attention to Kaus's transnational and postwar film work, which has arguably been neglected by scholars, while also investigating this postwar Heimatfilm as a discursive means for renegotiating the rapid postwar modernization of Austria and Germany. Das Schloss in Tirol, as this article argues, assisted in the construction of a new idea of Heimat and a new postwar identity.


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pp. 41-54
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