A significant other to Werner Herzog showcases over dozen unique scholarly essays analyzing approximately 5 many years of filmmaking through some of the most acclaimed and cutting edge figures in international cinema.

• First assortment in 20 years devoted to interpreting Herzog's expansive profession good points essays through overseas students and Herzog experts
• Addresses a extensive spectrum of the director's movies, from his earliest works equivalent to Signs of Life and Fata Morgana to such contemporary motion pictures as The undesirable Lieutenant and Encounters on the finish of the World
• bargains inventive, cutting edge methods guided via movie historical past, paintings heritage, and philosophy
• incorporates a complete filmography that still incorporates a checklist of the director's performing 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 courting with the actor Klaus Kinski

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Extra info for A Companion to Werner Herzog (Wiley-Blackwell Companions to Film Directors)

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On this see the interview with Kent (1977). On the connection to Kaf ka’s story, see Vitiello’s chapter in this volume. See also Prager (2011). Herzog says, “I would like to refer back to Fitzcarraldo, where I pulled a real steam ship over a mountain. It was not a digital effect. I wanted to get across that it’s important for the audience to trust their eyes, where they can recognize a real human being and an actor, where they are not deceived by digital effects all the time” (Osegueda 2009). This is not to say that Gunning’s (1986) concept of cinema of attractions, which is meant to apply to very early cinema, can be directly mapped onto Herzog’s films.

Herzog writes: “all of a sudden, music sets in. An aria from a very old recording, full of dignity, beautiful and solemn. The voice carries peacefully and without strain. The doctors work efficiently, diabolically” (1980b: 180). Herzog is not at this point describing images he has filmed, although the language sounds like prose inspired by his filmmaking. This is prose written for a film that may come to be, and these words are evocative regardless of their fate, that is, whether or not they were adapted for the screen.

Apart from some transcribed letters and signs that are part of the diegesis, the film is virtually without text. It is a love story that, like West of Zanzibar, trades on ethnographic fascinations. Bordering on documentary in its use of island extras, Murnau’s filmmaking was attended by a rhetoric of authenticity that Herzog would later adopt. And, akin to Herzog’s The Wild Blue Yonder, the film features beautiful undersea footage. In his fascination with prewar cinema—his praise for Lotte Eisner, for Murnau, and for Browning’s Freaks—Herzog seeks to reclaim cinematic pleasure from its formulaic fate.

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