Alex Bush | JCMS: Journal of Cinema and Media Studies
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.