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Global mountain cinema

The first academic book to approach mountain film culture from transgeneric, transnational, ecotritical, and transmedial perspectives Reconsiders the legacy of the mountain film by exploring mountains as sites of cinematic innovation across a variety of genres and aesthetic traditionsTraces cinemati...

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Other Authors: Fuchs, Michael (Contributor) , Gunning, Tom (Contributor) , Haque, Kamaal (Editor, Contributor) , Höbusch, Harald (Contributor) , Liu, Mia Yinxing (Contributor) , Marini, Anna Marta (Contributor) , Mehrbrey, Sophia (Contributor) , Mossner, Alexa Weik von (Contributor) , Müller, Eva-Maria (Contributor) , Peabody, Seth (Contributor) , Poole, Ralph J. (Contributor) , Quendler, Christian (Editor, Contributor) , Rak, Julie (Contributor) , Reynolds, Daniel (Contributor) , Schaumann, Caroline (Editor, Contributor) , Shen, Qinna (Contributor) , Winkler, Daniel (Contributor)
Format: Book/Monograph
Language:English
Published: Edinburgh Edinburgh University Press [2025]
Series:Traditions in World Cinema TWC
Volumes / Articles: Show Volumes / Articles.
DOI:10.1515/9781399519991
Online Access:Resolving-System, kostenfrei: https://doi.org/10.1515/9781399519991
Verlag, kostenfrei: https://www.degruyterbrill.com/isbn/9781399519991
Verlag, Cover: https://www.degruyterbrill.com/document/cover/isbn/9781399519991/original
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Author Notes:ed. by Caroline Schaumann, Kamaal Haque, Christian Quendler

MARC

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505 8 |a Frontmatter -- CONTENTS -- FIGURES -- ACKNOWLEDGMENTS -- NOTES ON CONTRIBUTORS -- INTRODUCTION -- PART I GENRE -- 1. CINEMATIC MOUNTAINS: THE WORLD AND VISION FROM A HEIGHT -- 2. SKI COMEDY: ON THE LIGHT SIDE OF MOUNTAIN FILM -- 3. HIGH AND LOW: POROSITY IN THE NEAPOLITAN ANTHOLOGY FILM I VESUVIANI (THE VESUVIANS, 1997) AND MARIO MARTONE’S EPISODE “THE ASCENT” -- 4. INVERSIONS OF MOUNTAIN CINEMA: POST-HUMANIST ETHICS AND AESTHETICS IN ZHAO LIANG’S BEHEMOTH (2015) -- PART II NATION -- 5. CREATIVE GEOGRAPHY AND VOLCANIC MOUNTAINS: ARNOLD FANCK’S DIE TOCHTER DES SAMURAI (1937) AS MOUNTAIN FILM -- 6. SCALING THE MOUNTAIN, ELEVATING THE NATION: THE “GOLDEN AGE OF HIMALAYAN CLIMBING” ON FILM -- 7. UNSHAMING BROKEBACK MOUNTAIN: ROCKING HEIMAT IN TRANSNATIONAL COMING-OUT MOUNTAIN MOVIES -- 8. TRANSCULTURAL NEGOTIATIONS OF MOUNTAIN AESTHETICS IN TIGER ZINDA HAI (2017) -- PART III ENVIRONMENT -- 9. LENI RIEFENSTAHL’S MOUNTAIN FILMS: ECOLOGIZING THE GENRE -- 10. A GLACIAL PACE? MOUNTAIN CINEMA AND THE IMAGINATION OF CLIMATE CHANGE -- 11. FROM LOCUS AMOENUS TO LOCUS ABSURDUM: SKIING AT THE END OF NATURE IN RUBEN ÖSTLUND’S FORCE MAJEURE (2014) -- 12. FESTIVAL OBSCURA: GENDER IN FESTIVAL-DRIVEN MOUNTAINEERING DOCUMENTARIES -- PART IV MEDIA -- 13. THE EVENING RAINS IN BASHAN: MOUNTAINS IN CHINESE CINEMA IN 1980 -- 14. FILM, MEMORY, AND INTERMEDIALITY: EXPLORING THE ANDES IN LA CORDILLERA DE LOS SUEÑOS (2019) -- 15. LIBERATING THE CAPTURED IMAGE: BERGFILM LEGACIES AND DIGITAL TECHNOLOGIES IN FREE SOLO (2018) AND THE ALPINIST (2021) -- 16. GEOGRAPHICAL PLATFORMS, EMBODIED INFRASTRUCTURES: ON THE MOUNTAINS IN DEATH STRANDING (2019) -- INDEX 
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520 |a The first academic book to approach mountain film culture from transgeneric, transnational, ecotritical, and transmedial perspectives Reconsiders the legacy of the mountain film by exploring mountains as sites of cinematic innovation across a variety of genres and aesthetic traditionsTraces cinematic production routes from Europe to Asia, the United States, and South America, moving beyond generic and national confines toward a transnational history of mountain cinemaAnalyzes the diverse and wide-ranging cinematic strategies used to depict the human impact on mountain environmentsExamines how mountainous ‘reinventions of cinema’ remediate environmental awareness and understandingThis book is dedicated to the particular challenges and opportunities mountains raise for histories and theories of cinema. In German-speaking countries, the relationship between mountains and cinema has been largely reduced to a small canon of Alpine filmmakers whose work has been categorized as the Classical Bergfilm. However, from a transnational and transgeneric perspective, the field of mountain cinema is not only much richer and more diverse, but also addresses questions that are vital to film and media studies and inform postcolonial and environmental discourses in the Anthropocene. In this vein, our volume goes beyond national contexts to provide a timely and much-needed investigation into the generic innovations and intersectional negotiations of national, ethnic, and gender norms that take place in mountain cinema and its related media forms 
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