Mountain film

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The term mountain film was originally the name for a film genre in German film history , but is now also used in a broader sense for documentaries and feature films on the subject of mountains.

Historical mountain film

The mountain film genre emerged in the 1920s and found its main representative in the director Arnold Fanck .

Luis Trenker ( The Prodigal Son , 1934) and Leni Riefenstahl ( The Blue Light , 1932), who began her film career here, were also among the most important directors of mountain films . Harald Reinl also worked in the genre with Bergkristall (1949) and Hans Ertl with Nanga Parbat (1953). The mountain film brought completely new requirements for the cameramen. Outdoor recordings in natural light in all its brightness levels and sometimes difficult terrain and weather conditions required skilled cameramen who also had to bring the mountain landscape into the picture as a natural backdrop. The most important cameramen in the mountain film were Hans Schneeberger , Sepp Allgeier and Richard Angst , all of whom worked for Arnold Fanck on a short or long-term basis.

Here are some important examples of the mountain film genre:

Modern mountain film

Today the term mountain film is often broader and includes not only feature films but also short films and documentaries that deal with nature, sport and culture in the mountains. The classic mountain film is experiencing a renaissance through movies like Into Thin Air about the altitude mountaineering using the disaster on Mount Everest in 1996 , Joseph Vilsmaier Nanga Parbat on the history of the Messner brothers, cliffhanger with motifs of free climbing , north wall of the historic alpine climbing, or the Limit about the most modern types of extreme climbing (Huber brothers). The ski film (see below) is also a variant of the modern mountain film.

Documentary and Heimatfilm

Films that seek to free the classic genre of alpine homeland films from the romanticization and kitsch of the war and post-war years are also narrative ; for example, “New Heimatfilm” has become a term that has become established. In this context, there are literary adaptations, semi-documentary films and television films, such as Theo Maria Werner's Der stolen Himmel (1974), Hans W. Geißendörfer's Sternsteinhof (1975/76), Jo Baier's Rauhnacht 1984, Fredi M. Murer's Höhenfeuer and Xavier Koller's The Black Tanner (both 1985), Joseph Vilsmaiers Herbstmilch and Xaver Schwarzenberger's Krambambuli (1998, based on the story of the same name ), Stefan Ruzowitzky's Die Siebtelbauern (1998), the Geierwally adaptations by Walter Bockmayer (1988) and Peter Sämann (2005) , in a broader sense also Vilsmaier's sleep Bruder (1995) and Bergkristall (2004), or Hans Steinbichler's Hierankl (2003), modernizations of the game shooter genre such as Hans-Günther Bückings Jennerwein (2003) and period films such as Schwarzenberger's Andreas Hofer - The Freedom of the Eagle (2002).

In addition to the fictional films, numerous documentaries about the specific culture of the green spaces have recently appeared. These include, for example, award-winning Swiss productions in the tradition of Murer We Berglers in the Mountains are actually not to blame for our being there (1974), such as Das Erbe der Bergler ( Erich Langjahr , 2006) or Bergauf, Bergab ( Hans Haldimann , 2008) and other works such as Peak - Above all summits ( Hannes Lang , 2011).

Ski film

Ski films are also part of the mountain film genre . Its roots are also in the 1920s. Willy Bogner , Arnold Fanck and Luis Trenker , for example, made important ski films . Sepp Allgeier and Fanck merged mountain films and sports films into one genre; As a director and skiing cameraman for some James Bond films, Bogner found new ways to shoot high-speed car chases on skis. 1986 his film Fire and Ice was released ; this supplemented the genre with the imagery of the video clip .

Mountain film festivals

A number of international festivals have been set up to honor mountain films. Of the festivals united in the International Alliance for Mountain Film , the Banff Mountain Film Festival and the Mountain Film Festival in Trento are among the best known. In Germany, too, there has been an internationally known mountain film festival in Tegernsee since 2003 . Films like Nordwand and Touching The Void have been among the winners of the festival in recent years . In Austria, the Mountain and Adventure Film Festival Graz and the Mountain Film Festival Salzburg “Adventure Mountain - Adventure Film” should be mentioned.


The “Golden Matterhorn” for the best mountain film in 2000 went to the film Happy Icarus . Toni Bender , one of the world's best paraglider pilots, crossed the Alps with a paraglider and filmed it.

See also

Web links

Wiktionary: Bergfilm  - explanations of meanings, word origins, synonyms, translations

Individual evidence

  2. ^ A b c V. Wagner: New home film / mountain film. (No longer available online.) In: Archived from the original on February 24, 2011 ; Retrieved on February 21, 2010 (with link collection Bergfilm-Festival and others).
  3. International Alliance for Mountain Film (accessed January 5, 2009)
  4. Tegernsee International Mountain Film Festival (accessed January 5, 2009)
  5. International Mountain Film Festival Tegernsee - Winner 2008  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (accessed January 5, 2009)@1@ 2Template: Toter Link /  
  6. International Mountain Film Festival Tegernsee - Winner 2004 ( Memento from November 9, 2007 in the Internet Archive ) (accessed on September 8, 2012; PDF; 20 kB)
  7. Specials ( Memento from December 28, 2008 in the Internet Archive ), Salzburger Filmkulturzentrum Das Kino .
  8. The route of this north-south crossing was Brauneck, Achensee, Olperer (3476 m), Gadertal, Marmolada, Pala up to the vicinity of Venice