By Brad Prager
A spouse to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 a long time of filmmaking by way of essentially the most acclaimed and cutting edge figures in international cinema.
- First assortment in 20 years devoted to analyzing Herzog’s expansive career
- Features essays via foreign students and Herzog experts
- Addresses a large spectrum of the director’s movies, from his earliest works similar to Signs of Life and Fata Morgana to such fresh movies as The undesirable Lieutenant and Encounters on the finish of the World
- Offers artistic, leading edge ways guided via movie historical past, artwork historical past, and philosophy
- Includes a finished filmography that still includes a record of the director’s performing appearances and opera productions
- Explores the director’s engagement with track 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 don't love the Germans” (pages 233–255): Chris Wahl
Chapter eleven Herzog's center 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 foundation 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 area (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
If the shadows become the man, the man might become the shadow. For Herzog, suspending the relation to truth, or the rendering it impossible to answer the question as to which is the true image, is key. He champions our inability to dissect the sources of light beyond the caves we inhabit. Astaire, as Lucky Garnett, likewise seems to enjoy being the truth and the lie, the light and the shadow, the puppet and the figures on the wall. In other words, he is acting as though he enjoys being cinema itself.
In 1973 he invited spectators to come to his studio at a given time, entered the space naked, had his assistants lift one end of a six-foot sheet of plate glass onto each of his shoulders such that they resembled wings, and had gasoline poured down the sheets of glass before setting them on fire. The glass went shattering to the ground. If one places Breugel and Burden’s concepts next to one another, or permits them to disclose truths about one another’s work, two sides of Herzog’s filmmaking come into view.
Apart from some transcribed letters and signs that are part of the diegesis, the film is virtually without text. It is a love story that, like West of Zanzibar, trades on ethnographic fascinations. Bordering on documentary in its use of island extras, Murnau’s filmmaking was attended by a rhetoric of authenticity that Herzog would later adopt. And, akin to Herzog’s The Wild Blue Yonder, the film features beautiful undersea footage. In his fascination with prewar cinema—his praise for Lotte Eisner, for Murnau, and for Browning’s Freaks—Herzog seeks to reclaim cinematic pleasure from its formulaic fate.