A significant other to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 a long time of filmmaking via essentially the most acclaimed and cutting edge figures in international cinema.
• First assortment in two decades devoted to reading Herzog's expansive profession positive aspects essays via foreign students and Herzog experts
• Addresses a huge spectrum of the director's motion pictures, from his earliest works corresponding to Signs of Life and Fata Morgana to such fresh movies as The undesirable Lieutenant and Encounters on the finish of the World
• bargains inventive, leading edge ways guided by means of movie background, artwork background, and philosophy
• incorporates a entire filmography that still includes a checklist of the director's appearing 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 courting with the actor Klaus Kinski
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Extra info for A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)
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.
The German remark reads: “wir beherrschen die Kinos mit unseren Filmen, wir sind der deutsche Film. 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).
Its existential weight intensified by its unrepresentability, Maurice Herzog’s peak experience is sublime. It’s the explorer’s brush with death that evokes Bazin’s central metaphor for the indexical image: the Veil of Veronica “pressed to the face of human suffering” (1967: 163). I have long suspected that Bazin’s account is what inspired Werner Stipetić to change his name to Werner Herzog, perhaps also to assume his particular aesthetic stance, since Bazin’s story contains all the lineaments of the portrait Herzog draws of himself as auteur.
A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)