山的呼唤:屏幕内外的现代魅力

IF 0.3 0 RELIGION Culture and Religion Pub Date : 2020-01-02 DOI:10.1080/14755610.2020.1858548
Magnus Echtler
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引用次数: 0

摘要

摘要在十九世纪和二十世纪,登山者在垂直的山墙中面临着致命的危险,他们把山脉想象成有感知力、极具吸引力的敌人。这一机构构成了山地宗教的基础,在山地宗教中,迷人的山脉让人想起了神圣或神圣的概念,而登山运动则表现为一种超越幻想的现代性的成人仪式。这些主题在早期和当代的登山电影中都有展示。死亡和恐惧是早期山地电影的核心元素,如Der heilige Berg(1926)或Der Berg ruft(1938),他们使用垂直的视觉表现来煽动身体反应,从而使观众能够在电影院中体验自己的商品化通道。最近的攀登纪录片,如Die drei Zinnen(2012)或Free Solo(2018),都采用了同样的摄影技术。正如这些电影所证明的那样,迷人山脉的文化制作依赖于山脉和相机的代理。
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Call of the mountain: modern enchantment on and off the screen
ABSTRACT In the nineteenth and twentieth centuries, mountaineers faced mortal danger in vertical mountain walls, and imagined mountains as sentient, terrifyingly attractive foes. This agency formed the basis of mountain religion, in which enchanting mountains recalled notions of the sacred or holy, and mountaineering presented itself as a rite-of-passage outside disenchanted modernity. Such themes are on display in early and contemporary cinematic accounts of mountaineering. Death and fear were central elements in early mountain movies like Der heilige Berg (1926) or Der Berg ruft (1938), who used visual representations of verticality to incite bodily reactions, thus enabling audiences to experience their own commodified passage in the cinema. Recent climbing documentaries like Die drei Zinnen (2012) or Free Solo (2018) employ the same cinematographic techniques. As evidenced in these films, the cultural production of enchanting mountains relies on the agency of both mountains and cameras.
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
8
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