A spouse to Werner Herzog showcases over dozen unique scholarly essays interpreting approximately 5 a long time of filmmaking by means of probably the most acclaimed and cutting edge figures in global cinema.
• First assortment in 20 years devoted to interpreting Herzog's expansive occupation gains essays by means of overseas students and Herzog experts
• Addresses a vast spectrum of the director's movies, from his earliest works equivalent to Signs of Life and Fata Morgana to such fresh movies as The undesirable Lieutenant and Encounters on the finish of the World
• bargains artistic, cutting edge techniques guided via movie historical past, artwork background, and philosophy
• features a finished filmography that still incorporates a record of the director's performing 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 dating with the actor Klaus Kinski
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Extra resources for A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)
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).
Not only is Rescue Dawn (2006) a feature film remake of his own documentary Little Dieter in the form of the American Prisoner of War (POW) film (and it would be difficult to argue that the film deviates thoroughly from the genre), but one is tempted to see the dwarf in the POW prison in Rescue Dawn as an echo of the many other dwarfs in his films, that is, as a moment of self-citation. Still more evident are the jellyfish in Herzog’s Bad Lieutenant, a mise-en-scène that recalls both Dieter Dengler’s inner world as well as that of the false prophet and hypnotist Hanussen in Invincible.
When, for example, Adorno accuses “the authentic ones” (1973: 27)—naturally Heidegger is pre-eminent among them—of “existential adventurism” (1973: 32), this is a term easily applied to Herzog.