By Brad Prager
A spouse to Werner Herzog showcases over dozen unique scholarly essays reading approximately 5 many years of filmmaking through probably the most acclaimed and leading edge figures in international cinema.
- First assortment in two decades devoted to analyzing Herzog’s expansive career
- Features essays via foreign students and Herzog experts
- Addresses a extensive spectrum of the director’s movies, from his earliest works reminiscent of Signs of Life and Fata Morgana to such fresh motion pictures as The undesirable Lieutenant and Encounters on the finish of the World
- Offers inventive, cutting edge ways guided through movie historical past, paintings historical past, and philosophy
- Includes a accomplished filmography that still includes a checklist of the director’s appearing appearances and opera productions
- Explores the director’s engagement with song and the humanities, his self-stylization as a world filmmaker, his Bavarian origins, or even his love-hate dating 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 dying for 5 Voices (pages 187–207): Holly Rogers
Chapter nine Demythologization and Convergence (pages 208–229): Jaimey Fisher
Chapter 10 “I do not like the Germans” (pages 233–255): Chris Wahl
Chapter eleven Herzog's middle of Glass and the chic 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 elegant (pages 329–355): Erica Carter
Chapter 15 Didgeridoo, or the quest for the starting place 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 info for A Companion to Werner Herzog
Topografien der Sehnsucht, ed. Claudia Benthien and Manuela Gerlof (Cologne: Böhlau, 2010), pp. 231–248. Kaf ka, Franz: The Blue Octavo Notebooks, ed. Max Brod, trans. Ernst Kaiser and Eithne Wilkins (Cambridge, MA: Exact Change, 1991). Kant, Immanuel: Critique of the Power of Judgment, trans. Paul Guyer (Cambridge: Cambridge University Press, 2003). Kent, Leticia: “Werner Herzog: ‘Film is Not the Art of Scholars, but of Illiterates,’” New York Times, September 11, 1977: Arts 19, 30. Kleist, Heinrich von: “St.
At the film’s end Cleopatra is punished for her bad behavior by being turned into a half-woman, half-chicken, who can only gobble. The punishment is Herzogian. For more on Herzog’s longstanding contempt for chickens, see the chapter by Rembert Hüser in this volume. 28 Brad Prager 25 Herzog recommends viewing Swing Time along with Viva Zapata and The Treasure of the Sierra Madre in “3 DVDs Worth a Close Look” (2010c). 26 This slowness and freezing find a parallel in Tristan Patterson’s Dragonslayer (2011), a documentary about a California skateboarder.
As I’ve claimed, Herzog’s intense concern with the physicality of filmmaking emanates from a belief that the filmic image is somehow imbued with the reality involved in the circumstances of its making—with the effort of the bodies of those who create it. This (mystical) belief extends beyond Bazinian indexicality—it is an intensification of what Philip Rosen has referred to as Bazin’s subjective obsession. For Rosen, Bazin is “a subject obsessively pre-disposed to invest belief ” in an image that contains something of the real (2001: 21) and, to my mind, Herzog shares this predisposition.
A Companion to Werner Herzog by Brad Prager