Publish yr note: First released in 1986
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Given Herzog s personal pronouncement that movie isn't the artwork of students, yet of illiterates, it isn't impressive that his paintings has aroused ambivalent and contradictory responses. Visually and philosophically formidable and while provocatively eccentric, Herzog s movies were greeted both by means of severe adulation and severe condemnation.
Even as Herzog s rebellious photographs have received him a name as a grasp of the German New Wave, he has been attacked for indulging in a romantic naivete and wilful self-absorption. To his toughest critics, Herzog s movies seem as little greater than Hollywood fantasies disguised as excessive seriousness. This publication is an try and light up those contradictions. It gathers essays that spotlight from numerous angles on Herzog and his paintings. The individuals movement past the myths of Herzog to enquire the advantages of his paintings and its position in movie heritage. A difficult variety of movies is roofed, from "Fata Morgana" and "Aguirre, the Wrath of God" to more moderen good points resembling "Nosferatu" and "Where the fairway Ants Dream," providing the reader methods of knowing why, regardless of the controversies surrounding Herzog and his motion pictures, he continues to be a massive and well known overseas filmmaker. Orignally released in 1986.
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Extra info for Films of Werner Herzog: Between Mirage and History (Routledge Library Editions: Cinema)
Example text
3 In this sense,one might point to a variety of cinematic children: Gates of Heaven, Perfumed Nightmare, Burden of Dreams, and even perhapsApocalypse Now. Works cited Foucault, Michel (1977) Language, Counter-Memory, Practice: Selected Essays and Interviews, Ithaca NY, Cornell University Press. Greenberg, Alan, Herbert Achternbusch and Werner Herzog (1976) Heart of Glass, Munich, Skellig. Rentschler, Eric (1984) West German Film in the Course of Time, Bedford Hills NY, Redgrave. This page intentionally left blank: II PROMOTION AS SELF-PORTRAIT 2 Remnants of a bowdlerized auteur theory (Herzog and Fitzcarraldo) 2 w.
O'Toole, 1979, 41) According to anotherinterview, Herzog in fact met God at the age of 3; it was Christmas and God wore a brown suit and worked for the Electric Company. Herzog not only has an acute, God-given gift of prophecy, according to his own statements;as a filmmaker he can communicatewith others, blessingthem with his wisdom: "I know that I have the ability to articulateimagesthat sit deeply inside us, that I can make them visible" (Hoberman, 1985, 61). " Yet, as Herzog tells us elsewhere,he never dreams.
A second documentaryon and starring Herzog, Burden of Dreams, has also allowed the director plenty of room to re-createhis own image. In this respecthe resemblesonly his late colleague,Rainer Werner Fassbinder,and to a lesserextent, Herbert Achternbusch,Werner Schroeterand Vlado Krist!. In contrast, such filmmakers as Wim Wenders, Alexander Kluge or Edgar Reitz are known to us almost exclusively through their films and theoretical texts, through the process of aesthetic reception. Indeed, to Herzog's advantage,critical reception of New German Cinema has tended to favor those directors who have brought their auteurial and biographicalpersonasinto close proximity, remnantsof a bowdlerizedauteurtheory.