12. FESTIVAL OBSCURA: GENDER IN FESTIVAL-DRIVEN MOUNTAINEERING DOCUMENTARIES

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. FIGURES viii
4. ACKNOWLEDGMENTS xi
5. NOTES ON CONTRIBUTORS xiii
6. INTRODUCTION 1
7. PART I GENRE
8. 1. CINEMATIC MOUNTAINS: THE WORLD AND VISION FROM A HEIGHT 21
9. 2. SKI COMEDY: ON THE LIGHT SIDE OF MOUNTAIN FILM 35
10. 3. HIGH AND LOW: POROSITY IN THE NEAPOLITAN ANTHOLOGY FILM I VESUVIANI (THE VESUVIANS, 1997) AND MARIO MARTONE’S EPISODE “THE ASCENT” 51
11. 4. INVERSIONS OF MOUNTAIN CINEMA: POST-HUMANIST ETHICS AND AESTHETICS IN ZHAO LIANG’S BEHEMOTH (2015) 67
12. PART II NATION
13. 5. CREATIVE GEOGRAPHY AND VOLCANIC MOUNTAINS: ARNOLD FANCK’S DIE TOCHTER DES SAMURAI (1937) AS MOUNTAIN FILM 87
14. 6. SCALING THE MOUNTAIN, ELEVATING THE NATION: THE “GOLDEN AGE OF HIMALAYAN CLIMBING” ON FILM 111
15. 7. UNSHAMING BROKEBACK MOUNTAIN: ROCKING HEIMAT IN TRANSNATIONAL COMING-OUT MOUNTAIN MOVIES 129
16. 8. TRANSCULTURAL NEGOTIATIONS OF MOUNTAIN AESTHETICS IN TIGER ZINDA HAI (2017) 149
17. PART III ENVIRONMENT
18. 9. LENI RIEFENSTAHL’S MOUNTAIN FILMS: ECOLOGIZING THE GENRE 167
19. 10. A GLACIAL PACE? MOUNTAIN CINEMA AND THE IMAGINATION OF CLIMATE CHANGE 179
20. 11. FROM LOCUS AMOENUS TO LOCUS ABSURDUM: SKIING AT THE END OF NATURE IN RUBEN ÖSTLUND’S FORCE MAJEURE (2014) 193
21. 12. FESTIVAL OBSCURA: GENDER IN FESTIVAL-DRIVEN MOUNTAINEERING DOCUMENTARIES 209
22. PART IV MEDIA
23. 13. THE EVENING RAINS IN BASHAN: MOUNTAINS IN CHINESE CINEMA IN 1980 227
24. 14. FILM, MEMORY, AND INTERMEDIALITY: EXPLORING THE ANDES IN LA CORDILLERA DE LOS SUEÑOS (2019) 243
25. 15. LIBERATING THE CAPTURED IMAGE: BERGFILM LEGACIES AND DIGITAL TECHNOLOGIES IN FREE SOLO (2018) AND THE ALPINIST (2021) 261
26. 16. GEOGRAPHICAL PLATFORMS, EMBODIED INFRASTRUCTURES: ON THE MOUNTAINS IN DEATH STRANDING (2019) 277
27. INDEX 291