| Popis: |
Drawing inspiration from Anna Wiener’s conception of tech industry ‘garbage language’, this chapter traces the breakdown in communication in Maren Ade’s 2016 Austro-German coproduction Toni Erdmann, assessing the film’s content and reception within trans- and international contexts. Though the focus of this chapter is the granular communicative nuance between characters in Toni Erdmann, the initial argument focuses on the movement and distribution of Ade’s films. Highlighting a range of international critical responses to Toni Erdmann, translingual and rhetorical inconsistencies are then traced within the film’s coverage. Furthering these inconsistencies, The second half of this chapter focuses on relating the film’s central familial relationship to larger cultural and economic features of the recent European Union member state of Romania (where the film is set). I position Toni Erdmann as concentrated on distinctive conceptions of its national, international and transnational contexts, drawing cross-references with Germany’s post-2003 positioning as Old Europe or ‘altes Europa’ within an accelerating new millennial modernism. |
