By Brad Prager
A significant other to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 a long time of filmmaking by way of some of the most acclaimed and cutting edge figures in global cinema.
- First assortment in 20 years devoted to studying Herzog’s expansive career
- Features essays via overseas students and Herzog experts
- Addresses a vast spectrum of the director’s motion pictures, from his earliest works equivalent 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, cutting edge techniques guided via movie heritage, artwork heritage, and philosophy
- Includes a entire filmography that still incorporates a checklist of the director’s appearing appearances and opera productions
- Explores the director’s engagement with track 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 loss of life 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 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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Additional resources for A Companion to Werner Herzog
There is also an oblique homage to Stroszek in The Rings of Saturn (1999: 36) in the form of a bird who marches continually in circles about his cage. On Fitzcarraldo’s acknowledgment from the stage, see Lutz Koepnick’s chapter in this volume. For extensive reflections on Herzog’s self-representation as Bavarian see Wahl’s contribution to this volume. ” (1974: 148). Erica Carter examines Herzog’s interest in Africa in the present volume. For a study of key contexts from which Fata Morgana emerged, particularly the correlation to the African films of Bernhard Grzimek, see Kaes (2010).
In The Jargon of Authenticity, Adorno reads the rhetoric of uniqueness as a feature of the marketplace; while such rhetoric may appear to attack modernity, in actuality, Adorno asserts, it is modernity’s waste product (1973: 45). Herzog and Auteurism 39 The discourse of authenticity surrounding Herzog’s films was read as a marketing strategy by Jan-Christopher Horak as early as the mid-1980s. Premised on the notion that Herzog creates a public persona that resonates with that of the visionary characters in his films, Horak’s indictment of Herzog is in many ways convincing.
Herzog praises Freaks in Cronin (2002: 60). 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.