Christian Quendler – författare

This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?

This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?

This book is dedicated to the particular challenges and opportunities mountains raise for histories and theories of cinema. In German-speaking countries, the relationship between mountains and cinema has been largely reduced to a small canon of Alpine filmmakers whose work has been categorized as the Classical Bergfilm. However, from a transnational and transgeneric perspective, the field of mountain cinema is not only much richer and more diverse, but also addresses questions that are vital to film and media studies and inform postcolonial and environmental discourses in the Anthropocene. In this vein, our volume goes beyond national contexts to provide a timely and much-needed investigation into the generic innovations and intersectional negotiations of national, ethnic, and gender norms that take place in mountain cinema and its related media forms.

This book is dedicated to the particular challenges and opportunities mountains raise for histories and theories of cinema. In German-speaking countries, the relationship between mountains and cinema has been largely reduced to a small canon of Alpine filmmakers whose work has been categorized as the Classical Bergfilm. However, from a transnational and transgeneric perspective, the field of mountain cinema is not only much richer and more diverse, but also addresses questions that are vital to film and media studies and inform postcolonial and environmental discourses in the Anthropocene. In this vein, our volume goes beyond national contexts to provide a timely and much-needed investigation into the generic innovations and intersectional negotiations of national, ethnic, and gender norms that take place in mountain cinema and its related media forms.