A mountain film is a film genre that focuses on mountaineering and especially the battle of human against nature. In addition to mere adventure, the protagonists who return from the mountain come back changed, usually gaining wisdom and enlightenment. Bergfilme Although the first mountain film, depicting the ascent of the Mont Blanc by the American climber Frank Ormiston-Smith, was released in 1903, the mountain film genre is most associated with the German Bergfilme (singular: Bergfilm) released in the 1920s. Some critics describe the German mountain film as an indigenous national / cultural genre, comparable to the American western. The most important director of mountain films was Dr. Arnold Fanck. According to an essay by Doug Cummings in the DVD release of the landmark The Holy Mountain (1926), Fanck shot his first motion picture in 1913, and after serving in World War I, purchased a rare Ernemann slow-motion camera, taught himself to shoot on location during an expedition to climb the Jungfrau, taught himself to edit on his mother's kitchen table, and distributed the finished product himself. The film was eventually called (The Wonders of Skiing, 1920) and was an instant success. The young interpretative dancer Leni Riefenstahl was mesmerized by Fanck's fifth feature, Mountain of Destiny (1924), and successfully pursued Fanck and his star Luis Trenker, convincing them to make her the star of The Holy Mountain. It took three days to write and over a year to film on location in the Alps. This started Riefenstahl's own career as a filmmaker. Fanck went on to produce the ski-chase The White Ecstasy (1931) with Riefenstahl and legendary Austrian skier Hannes Schneider, then in turn served as Riefenstahl's editor on her 1932 film The Blue Light, which brought her to the attention of Adolf Hitler. The popularity of the German mountain films waned, then disappeared, in the run-up to World War II. Modern mountain films Mountain films pose unusual difficulties for the filmmaking process; although parts can and have been shot in studios, filming on location presents practical challenges such as low temperatures, variable weather, and the objective dangers of the mountain environment. Directors may "cheat" by filming the actors in a less dangerous area, such as on the slopes of a ski resort, and intersperse with shots of the real location taken with a telephoto lens. Although experienced climbers are often used, in roles ranging from consulting to standing in