Download PDF by : A Companion to Werner Herzog (Wiley-Blackwell Companions to

ISBN-10: 1444361392

ISBN-13: 9781444361391

A better half to Werner Herzog showcases over dozen unique scholarly essays interpreting approximately 5 many years of filmmaking by way of probably the most acclaimed and cutting edge figures in international cinema.

• First assortment in two decades devoted to interpreting Herzog's expansive occupation beneficial properties essays by way of foreign students and Herzog experts
• Addresses a vast spectrum of the director's movies, from his earliest works reminiscent of Signs of Life and Fata Morgana to such contemporary movies as The undesirable Lieutenant and Encounters on the finish of the World
• deals inventive, cutting edge techniques guided through movie background, artwork historical past, and philosophy
• encompasses a complete filmography that still encompasses a record of the director's appearing appearances and opera productions
• Explores the director's engagement with song and the humanities, his self-stylization as a world filmmaker, his Bavarian origins, or even his love-hate courting with the actor Klaus Kinski

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Chico Marx, costumed as Rufus T. Firefly, the part played by Groucho, asks Firefly’s wealthy and suddenly confused paramour Ms. ” In adapting this provocation as a doctrine Herzog crosses paths with the Marx Brothers, and it is clear that the gap to which he refers extends beyond the bounds of only German cinema. He praises Murnau’s work, but also that of D. W. 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).

Werner Herzog’s Companions 25 and involves a couple staring directly into the camera while we hear the declaration of love between Mimi and Rodolfo from the first act of Puccini’s opera. Self-citations are a means for Herzog to extend his authorial signature into his more recent productions; the song is the same, the words have changed. Anyone who has watched Herzog’s films will recognize that the scenes set in Peru are meant to call Aguirre to mind. Even the flamingoes return for a central role here, having appeared in Precautions Against Fanatics (1969), Fata Morgana, and elsewhere.

Most centrally, it’s the portrait of a filmmaker for whom authenticity is at stake. But what is the nature of this “authenticity”? It doesn’t reside in Bazinian realism in a strict sense, although it’s connected to its more metaphorical, expanded expression. Herzog’s relation to reality is evident in his images: more than one of Herzog’s films document the water droplets that splash up onto the camera lens as it almost merges with the watery scene it seeks to capture. 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).

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A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)


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