By Brad Prager
A spouse to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 many years of filmmaking by means of essentially the most acclaimed and leading edge figures in global cinema.
- First assortment in 20 years devoted to analyzing Herzog’s expansive career
- Features essays via foreign students and Herzog experts
- Addresses a large spectrum of the director’s motion pictures, from his earliest works similar 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 ways guided via movie historical past, paintings heritage, and philosophy
- Includes a complete filmography that still encompasses a record of the director’s appearing 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 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 demise 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 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 chic (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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Extra resources for A Companion to Werner Herzog
2 The German reads: “Wie ein Blitz durchfährt es da einen und erhellt auf immer die ganze Existenz, und manchmal hat man, über Jahrhunderte hinweg, einen gefunden, der einem wie ein Bruder zuwächst. Man weiß in einem plötzlichen Aufleuchten, daß man nicht mehr alleine ist. […] Es war mir, als hätte mir über die Tiefe der Zeit hinweg ein unbekannter den Arm ausgestreckt und die Hand auf die Schulter gelegt, damit ich nicht mehr allein sei” (1983: 101). My translation. Herzog later described the experience to Cronin in similar terms (2002: 136-137).
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. There is also an oblique homage to Stroszek in The Rings of Saturn (1999: 36) in the form of a bird who marches continually in circles about his cage. On Fitzcarraldo’s acknowledgment from the stage, see Lutz Koepnick’s chapter in this volume. For extensive reflections on Herzog’s self-representation as Bavarian see Wahl’s contribution to this volume.
Herzog’s work, starting with that first period of his filmmaking—from Signs of Life to Fitzcarraldo—began a continuing dialogue between words on the page and their realization on screen. Cinematic Companions Herzog has frequently stated that he remade F. W. Murnau’s Nosferatu (1922) in order to close the gap in German film history between the great filmmakers of the Weimar Republic and those of the postwar generation. The period from 1919 to 1933, especially owing to its historical association with German Expressionist film, was unquestionably a heyday within German cinema’s history, and it makes sense for a child of the war who became a filmmaker to want to return to that point of origin and ask what the industry would have been like, had Germany not gone through its most historically significant sliding door.
A Companion to Werner Herzog by Brad Prager