A spouse to Werner Herzog showcases over dozen unique scholarly essays studying approximately 5 many years of filmmaking by way of the most acclaimed and leading edge figures in international cinema.
• First assortment in 20 years devoted to analyzing Herzog's expansive profession beneficial properties essays by means of overseas students and Herzog experts
• Addresses a extensive spectrum of the director's motion pictures, from his earliest works reminiscent of Signs of Life and Fata Morgana to such fresh motion pictures as The undesirable Lieutenant and Encounters on the finish of the World
• bargains inventive, cutting edge methods guided by means of movie heritage, paintings historical past, and philosophy
• encompasses a finished filmography that still incorporates 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 an international filmmaker, his Bavarian origins, or even his love-hate dating with the actor Klaus Kinski
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Additional info for A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)
The overlap with M may be accidental, yet in another sequence Brad holds up a pillow (with which he may be intending to smother his mother), which has a large “M” on it. ” If the citation is deliberate, then it is more than merely playful; although it can be understood as a refusal to take the conventions of the genre to heart, it can also be seen as part of a lifelong project of simultaneously incorporating and rejecting formal demands. The acknowledgment and rejection of those expectations began with The Great Ecstasy of Woodcarver Steiner, which both was and was not a sports documentary, and continues through to My Son, My Son, which both is and refuses to be a thriller.
Out of respect for Eisner Herzog undertook his journey on foot in winter from Munich to Paris in 1974. She was ill, and he claims he believed that his pilgrimage would somehow contribute to saving her life. But what does it mean to try and close this gap? Expressionist films are conventionally identified as the last great German films before the Nazi seizure of power in 1933, but why, specifically, should the films from this era be particularly important to Herzog, who would otherwise pay little mind to traditional film historical accounts.
Borski, Arnim: “Exzentriker—das sind die anderen,” Der Abend, July 6, 1973: 6. Byron, Lord: Childe Harold (Cheshire: Cool Publications, 2004 [original 1818]). Canby, Vincent: “Dwarfs Started Small,” New York Times, September 17, 1970: 58. Conrad, Joseph: Heart of Darkness (London: Penguin Books, 2007 [original 1902]). Corrigan, Timothy: “Producing Herzog: From a Body of Images,” The Films of Werner Herzog: Between Mirage and History, ed. Timothy Corrigan (New York: Methuen, 1986), pp. 3–22. : Herzog on Herzog (London: Faber & Faber, 2002).
A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)