By Brad Prager
A better half to Werner Herzog showcases over dozen unique scholarly essays analyzing approximately 5 a long time of filmmaking by way of some of the most acclaimed and leading edge figures in international cinema.
- First assortment in two decades devoted to studying Herzog’s expansive career
- Features essays through foreign students and Herzog experts
- Addresses a extensive spectrum of the director’s motion pictures, from his earliest works comparable to Signs of Life and Fata Morgana to such contemporary motion pictures as The undesirable Lieutenant and Encounters on the finish of the World
- Offers artistic, leading edge techniques guided by means of movie background, paintings background, and philosophy
- Includes a complete filmography that still incorporates a checklist of the director’s performing 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 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 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 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 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 resources for A Companion to Werner Herzog
Just as the “authenticity” of the Herzog film is equally predicated on the belief in a relation to the real conferred upon the image by physical investment and by the repeated recourse to artifice, what I am calling the performance of authenticity has two dimensions. As we’ve said, Herzog affirms physical investment for its ability to infuse the image with the real. From another perspective, however, the various forms of projection into the image are procedures that enclose that self within representation.
I am a storyteller,” says Herzog, “and I used the voice-over to place the film—and the audience—in a darkened planet somewhere in our solar system” (Cronin 2002: 249). It’s not the referential dimension of language that’s at stake, but rather its affective, lyrical function. Herzog is present in this text as a voice that haunts it, that produces affect. Herein language and voice are aided by music: as in earlier films such as La Soufrière (1977) and Nosferatu—The Vampyre (1979), Lessons of Darkness draws on musical passages from Wagner operas (specifically Das Rheingold, Parsifal, and Götterdämmerung) to evoke an atmosphere of foreboding and death.
Wir sind nicht der Jung-Film oder so etwas” (1979: 181). On this point see Wahl’s chapter in this volume. ” See Hopf (1975). Peucker, who famously names Herzog as the most authentic heir of the Romantic tradition (1984: 193), has contended that Kleist is really a secret source for Signs of Life (1986: 226). On this topic see the chapter by Will Lehman in this volume. Horak is quoting Rentschler (1984: 86). The Enigma of Kaspar Hauser (1974) is referenced in Sebald’s novel The Emigrants, when the narrator of the first of the book’s four sections vividly describes images that are certainly from Herzog’s film.