Call of the mountain: modern enchantment on and off the screen
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 mount...
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Taylor and Francis Group
2020
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| Dans: |
Culture and religion
Année: 2020, Volume: 21, Numéro: 1, Pages: 58-71 |
| Sujets / Chaînes de mots-clés standardisés: | B
Film
/ Alpinisme (Motif)
/ Expérience religieuse
/ Montagne sacrée
/ Histoire 1926-2018
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| RelBib Classification: | AD Sociologie des religions AF Géographie religieuse AG Vie religieuse AZ Nouveau mouvement religieux |
| Sujets non-standardisés: | B
cinema studies
B Numinous B Liminality B Agency B Film B Holy B Death B Mountaineering B Sacred |
| Accès en ligne: |
Volltext (lizenzpflichtig) |
| Résumé: | 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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| ISSN: | 1475-5629 |
| Contient: | Enthalten in: Culture and religion
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| Persistent identifiers: | DOI: 10.1080/14755610.2020.1858548 |