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The Stage of the Mountains

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The Stage of the Mountains Leopold- Franzens Universität Innsbruck The Stage of the Mountains A TRANSNATIONAL AND HISTORICAL SURVEY OF THE MOUNTAINS AS A STAGE IN 100 YEARS OF MOUNTAIN CINEMA Diplomarbeit Zur Erlangung des akademischen Grades eines Mag. phil. an der Philologisch- Kulturwissenschaftlichen Fakultät der Leopold-Franzens-Universität Innsbruck Eingereicht bei PD Mag. Dr. Christian Quendler von Maximilian Büttner Innsbruck, im Oktober 2019 Eidesstattliche Erklärung Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Magister- /Master-/Diplomarbeit/Dissertation eingereicht. ______________________ ____________________________ Datum Unterschrift Table of Contents Acknowledgments .................................................................................................................... 4 Introduction .............................................................................................................................. 1 Mountain Cinema Overview ................................................................................................... 4 The Legacy: Documentaries, Bergfilm and Alpinism ........................................................... 4 Bergfilm, National Socialism and Hollywood ....................................................................... 6 Mountain Cinema as Genre .................................................................................................. 10 Cultural Mountain Experiences: National Narrative and Global Lifestyle ..................... 14 Mountaineering Memories (1919) – A Canadian Holiday Experience................................ 16 Mountain (2017) – Global Mountains and Humanity .......................................................... 23 Mountaineering Memories (1919) and Mountain (2017) – From National Tale to Global Movement and Community .................................................................................................. 40 Conclusion ............................................................................................................................ 50 Transnationalism, Gender-Roles and Rituals in Mountain Drama .................................. 51 Mountain Transnationalism: The Characters in Blind Husbands and Force Majeure ........ 52 Transnationalism, Masculinity, Femininity and Gender Roles ........................................ 54 Characters of Blind Husbands .......................................................................................... 60 Characters of Force Majeure ............................................................................................ 65 Ritualization and the Role of the Mountain(s) ..................................................................... 69 Femininity and Masculinity ................................................................................................. 78 Conclusion ............................................................................................................................ 87 Civilizing Appalachia and De-civilizing the Alps – Ethnographic Mountains ................. 89 American Hillbilly’s and European Counterparts ................................................................ 91 American Wilderness and Villains versus European Order and Corruption ..................... 102 American and European Revenge ...................................................................................... 119 Conclusion .......................................................................................................................... 124 Mountain Cinema in School ................................................................................................ 127 Arnold Fanck’s The Holy Mountain................................................................................... 128 Ruben Östlund’s Force Majeure ........................................................................................ 132 Conclusion .......................................................................................................................... 135 Conclusion ............................................................................................................................ 137 Bibliography ......................................................................................................................... 141 List of Figures ....................................................................................................................... 149 Acknowledgments Die vorliegende Arbeit ist das Endprodukt einer für mich nicht immer leichten Zeit and der Universität Innsbruck, die ich mit all ihren Höhen und Tiefen stets als Teil von mir in Erinnerung behalten werde. Als Abschlussarbeit markiert sie das Ende meiner Ära als Student. Im Folgenden möchte ich mich mit ein paar Worten bei den Menschen in meinem Leben bedanken, welche mir diese Zeit überhaupt erst ermöglicht haben und mit mir durch diese Zeit gegangen sind. Allen voran möchte ich mich bei meiner Freundin Ines Aster bedanken, welche mir wirklich in jeder Lebenslage liebend zur Seite steht, welche mich immer wieder zum Staunen, Lachen und Nachdenken bringt und welche mit mir Hand in Hand unserer gemeinsamen Zukunft entgegengeht. Als nächstes möchte ich meiner Familien danken, welche immer hinter mir steht in jeder erdenklichen Form und mir mit ihrer bedingungslosen Liebe und Güte mein Leben in jeglicher Hinsicht bereichert. Weiterer Dank gilt all meinen Freunden, die immer zu mir halten und auch wenn man sich nur selten sieht immer für unvergessliche Momente sorgen. Schließlich möchte ich mich bei meinem Professor Christian Quendler bedanken, welcher mir immer mit guten Ratschlägen und intelligenten Anmerkungen geholfen hat und bei dem ich stets das Gefühl hatte in guten Händen zu sein. Vielen lieben Dank für Alles. Die vorliegende Arbeit ist Ausdruck und Teil meines Lebens. Wer immer diese Arbeit in Händen hält, vielen Dank fürs Lesen und möge sie in welcher Form auch immer hilfreich sein. Liebe Grüße Maximilian Büttner Introduction Mountain cinema outlasts, as does its name giving natural phenomenon, the years and time, undergoing change, but never losing essential characteristics: A mountain stays a mountain, although climate change might melt its glaciers. Early mountain films in comparison to modern 21st century mountain films is the topic of this work, arguing that the mountains as constant and stage differ in their usage from a historical perspective, however, their function as stage remains. As mountain cinema in its entirety would go beyond the scope of this work, three classic mountain cinema topics shall be analysed from a historical and transatlantic perspective, namely geopolitical nation- and identity creation in the mountains, the melodramatic domestication of mountains and the self-eroticization and conceptualization of mountains – all of these topics are also closely related to one of the main origins and driving forces of mountain cinema: Alpinism. These three topics are respectively dealt with in three distinctive sub-genres of mountain cinema, namely travelogue/documentary, drama and crossover Western. The different utilization of the mountains as a stage throughout these topics and sub-genres over time proves interesting differences in the historicization of mountains and their usage in mountain cinema. Early and modern mountain films share characteristics and similarities when it comes to topics such as mountains as cultural experience, human/domestic drama and social debate amongst the mountains and politicization and an ethnographic discussion of mountains. Although humanity has undergone essential development and change between 1900 and today (2019), these similarities can be observed when comparing early and modern mountain films, showing ties of the genre and an interconnectivity of mountain films, although the usage of the stage that the mountains represent differs, which will be shown in this work. As an over-towering stage mountains pose as a constant playground and stage for human conflict, interest and fascination, acting as stylistic and metaphorical device in filmmaking. The similarities of early mountain films and modern mountain films in their usage of mountains as said stage shall be compared and analysed in three case studies, in order to prove and showcase the historical differences in the utilization of the mountains as said stage. Differences in the usage of the mountains in early and modern mountain films, as well as their ascribed metaphors, shall also be taken into consideration. The technological, anthropological shaping of mountains by humans over time, in early and modern film, is a further criterion. In total, three pairs of films and genres (Documentary, Melodrama and Western) will be compared according to this aspect, dealing respectively with a geopolitical mountain experience 1 (Mountaineering Memories (1919) and Mountain (2017)), human/domestic melodrama amidst the mountains (Blind Husbands (1919) and Force Majeure (2014)) and a political, ethnographic and self-eroticizing excursion into the mountains (Tol’able David (1921) and Das finstere Tal (2014)). The underlying thesis states, that via a comparison of three
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