穿越冰雪。二、三十年代的山地电影作为教育片

Marie-Noëlle Yazdanpanah
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摘要

本文着重分析了20世纪二三十年代维也纳人民教育节目中对高山主义的两种电影表现及其多媒体表演实践:首先是阿诺德·方克的早期山地电影《我在山上奋斗》(1921年)。我并不是在讲弗兰克的电影版本,而是讲由乌拉尼亚为大众教育制作的版本,这个版本作为乌拉尼亚文化电影在奥地利各地发行。我问,乌拉尼亚如何利用“我为民主奋斗”作为整套媒体(包括电影、讲座和幻灯片)的一部分,并因此采用了哪些媒体教学方法和实践。娱乐和教育是如何相互关联的?我要看的第二部电影是雄心勃勃的奥地利业余电影《施泰格森和艾斯皮克尔》(1934年),由一群登山者制作和拍摄。我研究了这部电影是如何将一个既定的图像库与教育片的元素联系起来,向观众介绍攀冰的新技术:哪些展示和指导的技术是可辨别的,在多大程度上这部电影及其表演实践是“教育”的?综上所述,我将山岳电影解读为教育片,探究作为媒介的电影作为一种教学工具,在传达和传播当代山岳思想方面的作用和品质。
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Through Ice and Snow. Mountain Films as Educational Films in the 1920s and 1930s
The article focuses on two cinematic representations of alpinism and its multimedia performance practice in the popular education programmes of the Vienna Urania in the 1920s and 30s: First on Arnold Fanck’s early mountain film Im Kampf mit dem Berge (DE 1921). I am not concentrating on Fanck’s film version, but on the version produced by the Urania for popular education, which was distributed throughout Austria as Urania-Kulturfilm. I ask how the Urania utilised Im Kampf mit dem Berge as part of a media package (consisting of films, lectures and slides) and which media-pedagogical methods and practices were thereby employed. How did entertainment and instruction relate to each other? The second film I will look at is the ambitious Austrian amateur film Mit Steigeisen und Eispickel (c. 1934) produced and filmed by a group of mountaineers. I investigate how this film relates an established repertoire of images to elements of educational films to introduce the audience to new techniques of ice climbing: What techniques of showing and instructing are discernible and to what extent are the film and its performance practice ‘educational’? To sum it up, I interpret the mountain and alpine film as educational film and investigate the role and qualities attributed to the medium film as a teaching tool for conveying and disseminating contemporary ideas of the mountain and alpinism.
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