By Brad Prager
A better half to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 a long time of filmmaking via probably the most acclaimed and leading edge figures in international cinema.
- First assortment in two decades devoted to reading Herzog’s expansive career
- Features essays through foreign students and Herzog experts
- Addresses a wide spectrum of the director’s motion pictures, from his earliest works akin to Signs of Life and Fata Morgana to such fresh motion pictures as The undesirable Lieutenant and Encounters on the finish of the World
- Offers artistic, leading edge ways guided by means of movie heritage, paintings historical past, and philosophy
- Includes a complete filmography that still encompasses 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 a world 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 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 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 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
As such, they can be read as fantasmatically protecting the real, temporal self within the imaginary, atemporal world of art. The melding of the real with representation effected by these practices may be their goal because this confusion effectively blurs the boundary between life and death.
As Kaf ka writes, “truth is indivisible, hence it cannot recognize itself; anyone who wants to recognize it has to be a lie” (1991: 35). 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.
The overlap with M may be accidental, yet in another sequence Brad holds up a pillow (with which he may be intending to smother his mother), which has a large “M” on it. ” If the citation is deliberate, then it is more than merely playful; although it can be understood as a refusal to take the conventions of the genre to heart, it can also be seen as part of a lifelong project of simultaneously incorporating and rejecting formal demands. The acknowledgment and rejection of those expectations began with The Great Ecstasy of Woodcarver Steiner, which both was and was not a sports documentary, and continues through to My Son, My Son, which both is and refuses to be a thriller.