By Brad Prager
A significant other to Werner Herzog showcases over dozen unique scholarly essays interpreting approximately 5 many years of filmmaking via essentially the most acclaimed and leading edge figures in global cinema.
- First assortment in 20 years devoted to studying Herzog’s expansive career
- Features essays via foreign students and Herzog experts
- Addresses a vast spectrum of the director’s motion pictures, 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 techniques guided via movie historical past, artwork historical past, and philosophy
- Includes a finished filmography that still encompasses 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 an international 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 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 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
22 In Herzog’s discussions of films from this era, he frequently reminisces about a Fu Manchu film that he saw when he was young. He relates that the film was part of his first encounter with cinema as synthetic, which is to say: his primal scene of coming to terms with film consists of realizing that the same shot could be edited into the film more than once (Cronin 2002: 9). It is odd that even as a young man he would have instinctively held a Fu Manchu film to the standards of a documentary, yet this original conflation between documentaries and features ultimately attended and defined much of his subsequent filmmaking decisions.
Jaimey Fisher discusses the film in detail in this volume, but of interest where Herzog’s self-stylization is concerned is his disputation with Ferrara, which involved invectives such as Ferrara saying that Herzog can “die in hell” (Anon. 2008). The conflict mirrored the public disputations in which Herzog engaged with Kinski, and from which both of their careers benefited. Herzog claimed to have no idea who Ferrara was, and was heard saying, “I don’t feel like doing an homage to Abel Ferrara because I don’t know what he did—I’ve never seen a film by him.
Such moments span the trajectory of Herzog’s filmmaking: we find them in films that stretch from Aguirre, the Wrath of God (1972) to Fitzcarraldo (1982), to his joint effort with Zak Penn, Incident at Loch Ness (2004), even to Rescue Dawn (2006). More is involved than A Companion to Werner Herzog, First Edition. Edited by Brad Prager. © 2012 Blackwell Publishing Ltd. Published 2012 by Blackwell Publishing Ltd. 36 Brigitte Peucker simply the indexical relation that all film images bear to reality: moments such as these trump indexicality by figuratively eliminating the gap between sign and referent.
A Companion to Werner Herzog by Brad Prager