Mankind and nature, the relationship between the human figure and the landscape has accompanied the visual arts since the first cave paintings, all the way through the Dutch landscapes painters, the Romantic age with its theorizations of the sublime, of the individual being overwhelmed but at the same time embraced by the absoluteness of nature.
This tradition has been carried on by cinema, that through framing, cinematography and the eternal juxtaposition of the human figure and the landscapes has infused the representation of nature in films with deeply political, psychological, spiritual and allegorical connotations.
To film a landscape is not just showing the actual physical qualities of that particular spectacle, but it is an evocation of states of mind and metaphorical subtexts that are deeply rooted in our artistic tradition.
