A Companion to Werner Herzog showcases over two dozen
original scholarly essays examining nearly five decades of
filmmaking by one of the most acclaimed and innovative figures in
world cinema.
* First collection in twenty years dedicated to examining
Herzog’s expansive career
* Features essays by international scholars and Herzog
specialists
* Addresses a broad spectrum of the director’s films, from
his earliest works such as Signs of Life and Fata
Morgana to such recent films as The Bad Lieutenant and
Encounters at the End of the World
* Offers creative, innovative approaches guided by film history,
art history, and philosophy
* Includes a comprehensive filmography that also features a list
of the director’s acting appearances and opera
productions
* Explores the director’s engagement with music and the
arts, his self-stylization as a global filmmaker, his Bavarian
origins, and even his love-hate relationship with the actor Klaus
Kinski
İçerik tablosu
Notes on Contributors viii
Acknowledgments xiv
Werner Herzog’s Companions: The Consolation of Images
1
Brad Prager
Part I Critical Approaches and Contexts 33
1 Herzog and Auteurism: Performing Authenticity 35
Brigitte Peucker
2 Physicality, Difference, and the Challenge of Representation:
Werner Herzog in the Light of the New Waves 58
Lúcia Nagib
3 The Pedestrian Ecstasies of Werner Herzog: On Experience,
Intelligence, and the Essayistic 80
Timothy Corrigan
Part II Herzog and the Inter-arts 99
4 Werner Herzog’s View of Delft: Or, Nosferatu and
the Still Life 101
Kenneth S. Calhoon
5 Moving Stills: Herzog and Photography 127
Stefanie Harris
6 Archetypes of Emotion: Werner Herzog and Opera 149
Lutz Koepnick
7 Coming to Our Senses: The Viewer and Herzog’s Sonic
Worlds 168
Roger Hillman
8 Death for Five Voices : Gesualdo’s ‘Poetic
Truth’ 187
Holly Rogers
9 Demythologization and Convergence: Herzog’s Late Genre
Pictures and the Rogue Cop Film in Bad Lieutenant: Port of
Call–New Orleans 208
Jaimey Fisher
Part III Herzog’s German Encounters 231
10 ‘I don’t like the Germans’: Even Herzog
Started in Bavaria 233
Chris Wahl
11 Herzog’s Heart of Glass and the Sublime of Raw
Materials 256
Noah Heringman
12 The Ironic Ecstasy of Werner Herzog: Embodied Vision in
The Great Ecstasy of Woodcarver Steiner 281
Roger F. Cook
13 Tantrum Love: The Fiendship of Klaus Kinski and Werner Herzog
301
Lance Duerfahrd
Part IV Herzog’s Far-Flung Cinema Africa, Australia,
the Americas, and Beyond 327
14 Werner Herzog’s African Sublime 329
Erica Carter
15 Didgeridoo, or the Search for the Origin of the Self: Werner
Herzog’s Where the Green Ants Dream and Bruce
Chatwin’s The Songlines 356
Manuel Köppen
16 A March into Nothingness: The Changing Course of
Herzog’s Indian Images 371
Will Lehman
17 The Case of Herzog: Re-Opened 393
Eric Ames
18 The Veil Between: Werner Herzog’s American TV
Documentaries 416
John E. Davidson
19 Herzog’s Chickenshit 445
Rembert Hüser
20 Encountering Werner Herzog at the End of the World 466
Reinhild Steingröver
Part V Toward the Limits of Experience Philosophical
Approaches 485
21 Perceiving the Other in the Land of Silence and
Darkness 487
Randall Halle
22 Werner Herzog’s Romantic Spaces 510
Laurie Johnson
23 The Melancholy Observer: Landscape, Neo-Romanticism, and the
Politics of Documentary Filmmaking 528
Matthew Gandy
24 Portrait of the Chimpanzee as a Metaphysician: Parody and
Dehumanization in Echoes from a Somber Empire 547
Guido Vitiello
25 Herzog and Human Destiny: The Philosophical Purposiveness of
the Filmmaker 566
Alan Singer
Filmography 587
Compiled by Chris Wahl
Index 611
Yazar hakkında
Brad Prager is Associate Professor of German and an active member of the Program in Film Studies at the University of Missouri. He has authored two monographs: Aesthetic Vision and German Romanticism: Writing Images (2007) and The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth (2007). His articles have appeared in New German Critique, Studies in Documentary Film, Art History, and in the Modern Language Review. Most recently he has co-edited the collections The Collapse of the Conventional: German Film and its Politics at the Turn of the Twenty-First Century (2010) and Visualizing the Holocaust: Documents, Aesthetics, Memory (2008).
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