Abstract

Abstract:

In this article, I rethink the approach to nature taken by two exemplars of the Bergfilm genre popular in interwar Germany. I discuss the Bergfilm as emblematic of the spatiotemporal logic of modernity, part of a broader shift in the conceptualization of nature in Euro-American thought. Rather than isolated and timeless, remote environments become yet another connected field on which the dialectical temporality of modernity unfolds. Using historical contextualization and close formal analysis, I draw on archival sources and theoretical discourse to make the case that what we see in the Bergfilm is environment in modern time.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 1-22
Launched on MUSE
2019-10-31
Open Access
No
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