By Brad Prager
A significant other to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 many years of filmmaking via the most acclaimed and cutting edge figures in international cinema.
- First assortment in 20 years devoted to analyzing Herzog’s expansive career
- Features essays by way of overseas students and Herzog experts
- Addresses a extensive 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 inventive, leading edge techniques guided via movie historical past, artwork background, and philosophy
- Includes a complete filmography that still contains 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 demise 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 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 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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Additional resources for A Companion to Werner Herzog
Handke, Peter: Short Letter, Long Farewell, trans. Ralph Manheim (New York: New York Review of Books, 2009 [original German, 1972]). Handke, Peter: The Innerworld of the Outerworld of the Innerworld, trans. Michael Roloff (New York: Continuum, 1974). Herzog, Werner: “Rebellen in Amerika. Zu Filmen des New American Cinema,” Filmstudio 43 (1964): 55–60. Herzog, Werner: “Mit den Wölfen heulen,” Filmkritik 7 ( July 1968): 460–461. Werner Herzog’s Companions 29 Herzog, Werner: Stroszek—Nosferatu. Zwei Filmerzählungen (Munich: Hanser, 1979).
26 After Brad leaves the basketball behind, he walks away, and the world around them—the busy park—slows to a crawl. The abandoned ball evokes two central indications of murder in M, and once again, we have the closing of a gap. M’s opening scenes involve a child’s balloon caught on power lines, which are here recalled in the branches of the tree. Subsequently, a child’s ball rolls into the frame, the indication that the ball and its owner have been separated. After this scene, at the very end of My Son, My Son, a child—dressed to evoke the protagonist—picks up the ball that had been left behind, providing what could be read either as a counterintuitive note of optimism, or as the foreboding indication that other murders in the same spirit will follow.
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. Authenticity: Ecstatic Truth and Physical Investment What is meant by authenticity, then? Can it be conferred? How is it expressed? It is certainly not the “accountant’s truth,” a conventional realism that Herzog disparages in his Minnesota Declaration of 1999.