ABSTRACT

Studies in mountain cinema often focus on the innovations and legacies of the classical German film of the 1920s and ’30s. This introduction to a special issue on cinematic mountains proposes to rethink the relationship between mountains and cinema along a different path. Drawing on the criticism of Jean Epstein, Béla Balázs, André Bazin, and Luc Moullet, we discuss three film-theoretical figurations of mountains. The first one concerns the politics of cinema; it invokes mountains as sites of creative visions at a remove from accustomed habits, standards, and conventions. The second addresses the environmental relation of cinema as a spatial and geographic artform. The third cinematic figuration of mountains regards filmic techniques and their virtue to reveal new facets of mountains and meaningful environmental connections.

摘要

对山地电影的研究通常侧重于 1920 年代和 30 年代德国经典电影的创新和遗产。这本关于电影山的特刊的介绍建议沿着不同的路径重新思考山与电影之间的关系。借鉴让·爱泼斯坦、贝拉·巴拉兹、安德烈·巴赞和吕克·穆莱特的批评，我们讨论了山的三种电影理论形象。第一个涉及电影政治。它将山区作为创造性愿景的场所，摆脱了习惯、标准和惯例。第二个解决电影作为空间和地理艺术形式的环境关系。山脉的第三种电影形象考虑了电影技术及其揭示山脉新面貌和有意义的环境联系的优点。