By Brad Prager
A better half to Werner Herzog showcases over dozen unique scholarly essays reading approximately 5 many years of filmmaking via some of the most acclaimed and leading edge figures in international cinema.
- First assortment in two decades devoted to interpreting Herzog’s expansive career
- Features essays through foreign students and Herzog experts
- Addresses a vast spectrum of the director’s motion pictures, from his earliest works akin to Signs of Life and Fata Morgana to such contemporary motion pictures as The undesirable Lieutenant and Encounters on the finish of the World
- Offers inventive, cutting edge techniques guided by way of movie background, artwork heritage, and philosophy
- Includes a complete filmography that still contains a checklist of the director’s appearing appearances and opera productions
- Explores the director’s engagement with tune and the humanities, his self-stylization as an international filmmaker, his Bavarian origins, or even his love-hate courting with the actor Klaus Kinski
Chapter 1 Herzog and Auteurism (pages 35–57): Brigitte Peucker
Chapter 2 Physicality, distinction, and the problem of illustration (pages 58–79): Lucia Nagib
Chapter three The Pedestrian Ecstasies of Werner Herzog (pages 80–98): Timothy Corrigan
Chapter four Werner Herzog's View of Delft (pages 101–126): Kenneth S. Calhoon
Chapter five relocating Stills (pages 127–148): Stefanie Harris
Chapter 6 Archetypes of Emotion (pages 149–167): Lutz Koepnick
Chapter 7 Coming to Our Senses (pages 168–186): Roger Hillman
Chapter eight demise for 5 Voices (pages 187–207): Holly Rogers
Chapter nine Demythologization and Convergence (pages 208–229): Jaimey Fisher
Chapter 10 “I don't love the Germans” (pages 233–255): Chris Wahl
Chapter eleven Herzog's center of Glass and the elegant of uncooked fabrics (pages 256–280): Noah Heringman
Chapter 12 The Ironic Ecstasy of Werner Herzog (pages 281–300): Roger F. Cook
Chapter thirteen Tantrum Love (pages 301–326): Lance Duerfahrd
Chapter 14 Werner Herzog's African chic (pages 329–355): Erica Carter
Chapter 15 Didgeridoo, or the hunt for the beginning of the Self (pages 356–370): Manuel Koppen
Chapter sixteen A March into Nothingness (pages 371–392): Will Lehman
Chapter 17 The Case of Herzog (pages 393–415): Eric Ames
Chapter 18 The Veil among (pages 416–444): John E. Davidson
Chapter 19 Herzog's Chickenshit (pages 445–465): Rembert Huser
Chapter 20 Encountering Werner Herzog on the finish of the realm (pages 466–484): Reinhild Steingrover
Chapter 21 Perceiving the opposite within the Land of Silence and Darkness (pages 487–509): Randall Halle
Chapter 22 Werner Herzog’s Romantic areas (pages 510–527): Laurie Johnson
Chapter 23 The depression Observer (pages 528–546): Matthew Gandy
Chapter 24 Portrait of the Chimpanzee as a Metaphysician (pages 547–565): Guido Vitiello
Chapter 25 Herzog and Human future (pages 566–586): Alan Singer
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Extra resources for A Companion to Werner Herzog
Hardcore porn was on the screen. Its images suddenly conveyed “something real,” a “real naked truth” (2002: 239). Herzog’s investment in the “real naked truth” lies in its zero degree realism, grounded in the assumption that the sex act simply is what it is, the real. ” The most notorious instance of this belief involves the full-size ship in Fitzcarraldo that—at Herzog’s insistence—was hauled over a mountain with pulleys and ropes: it is the extraordinary human effort required to perform this act, when registered by the camera, that renders the image authentic.
Kaspar is a character who—like “the authentic ones”—is identical with himself, at one with the world until the fall into language introduces the difference that culminates in his death. In one episode after another, Herzog’s film emphasizes Kaspar’s uniqueness, illustrating this quality by way of visions of landscapes. The aura of the genuine—enhanced by music—carries over into other images of the film, many of them set pieces from Romantic lyric. As for the relation of authenticity to the physical engagement of the auteur, it’s telling that Herzog claims to have planted the beans and flowers in Daumer’s garden himself (Cronin 2002: 103).
But what can be said to characterize such a cinema? 23 Indeed Even Dwarfs Started Small (1970), whether consciously or unconsciously, whether implicitly or explicitly, can be seen as an earlier attempt to build a bridge to the most apparently eccentric spectacles of that earlier era. Herzog’s 1970 film is so akin to Freaks it looks like he might already have meant to reclaim the aesthetics of prewar cinema eight years prior to embarking on his Nosferatu project. Along with films such as The Mask of Fu Manchu (1932), Freaks was produced at a specific point in MGM Studios’ history when it was concerned with marketing astonishing spectacles, owing in part to the soon to be applied restrictions of the Hayes Code.
A Companion to Werner Herzog by Brad Prager