BAM Presents Werner Herzog in Conversation with Paul Holdengräber
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Doc Nyc Announces Final Titles Including
DOC NYC ANNOUNCES FINAL TITLES INCLUDING WORLD PREMIERE OF BRUCE SPRINGSTREEN & THE E STREET BAND’S “DARKNESS ON THE EDGE OF TOWN” CONCERT FILM AT ZIEGFELD THEATER ON NOVEMBER 4TH AND “MOMENTS OF TRUTH” FEATURING ALEC BALDWIN AND OTHER FAMOUS FIGURES DISCUSSING THEIR FAVORITE DOC MOMENTS New York, NY, October 19th 2010 - DOC NYC, New York’s Documentary Festival, announced its final slate of titles including the world premiere of “Darkness on the Edge of Town,” a new concert film with Bruce Springsteen & the E Street Band performing their classic album. The film will screen at the Ziegfeld Theatre on November 4. Directed by the Grammy and Emmy award winner Thom Zimny, the film was shot last year at the Paramount Theatre in Asbury Park, NJ in an unconventional manner without any audience in attendance. Springsteen’s manager Jon Landau has said this presentation “best captures the starkness of the original album.” The film will be released on DVD as part of the box set “The Promise: The Darkness on the Edge of Town Story” later in November. “We wanted to give fans a one night only opportunity to see this spectacular performance on the Ziegfeld’s big screen,” said DOC NYC Artistic Director Thom Powers. A portion of the proceeds from this screening will be donated to the Danny Fund/Melanoma Research Alliance – a non-profit foundation devoted to advancing melanoma research and awareness set up after the 2008 passing of Danny Federici, longtime Springsteen friend and E-Street Band member. DOC NYC will help launch a new promo campaign of shorts called “Moments of Truth,” in which noteworthy figures (actors, politicians, musicians, etc) describe particular documentary moments that moved them. -
Blues in the 21St Century
Blues in the 21 st Century Myth, Self-Expression and Trans-Culturalism Edited by Douglas Mark Ponton University of Catania, Italy and Uwe Zagratzki University of Szczecin, Poland Series in Music Copyright © 2020 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019951782 ISBN: 978-1-62273-634-8 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image by Jean-Charles Khalifa. Cover font (main title): Free font by Tup Wanders. Table of contents List of Figures vii List of Tables ix Preface xi Acknowledgements xix Part One: Blues impressions: responding to the music 1 1. -
Werner Herzog Retrospective
Home Category / Arts and Culture / Werner Herzog Retrospective Werner Herzog Retrospective Slave trade abolition in Cobra Verde Share it! 28 SHARES Published May 15, 2017, 12:05 AM By Rica Arevalo Film director Werner Herzog is a leading gure of the New German Cinema. Born on Sept. 5, 1942, his lms are unconventional and important with the art house audience. The Goethe-Institut Philippinen in partnership with the Film Development Council of the Philippines is showing Herzog’s acclaimed lms until June 4. On May 20, 6 p.m., Cobra Verde (1987) starring Klaus Kinski based on the novel, The Viceroy of Ouidah by Bruce Chatwin, is going to be screened at the FDCP Cinematheque Manila. Kinski plays Francisco Manoel da Silva, nicknamed Cobra Verde, a bandit who walks barefoot and does not own a horse for travelling. People are afraid and run away from him. He tells a bar owner that he never had a friend in all his life. At that time, slave trade was ourishing in Brazil. Black men were sold in exchange for ammunition, liquor, and silk. Cobra Verde meets Don Octavio, a sugar plantation owner who asks him to manage his elds. He accepted the job oer but impregnated Don Octavio’s daughters. To banish him, he was sent to Africa to buy slaves knowing that he will not survive. Cobra Verde took hold of a garrison, Fort Elmina, improved the place and lived there managing the slaves with Taparica (King Ampaw). The slave trade across the Atlantic and Brazil was their route. Werner Herzog and Klaus Kinski But “btlack people believe the devil is white” so the King’s men captured the two. -
An Anguished Self-Subjection: Man and Animal in Werner Herzog's Grizzly
An Anguished Self-Subjection: Man and Animal in Werner Herzog’s Grizzly Man Stefan Mattessich Santa Monica College Do we not see around and among us men and peoples who no longer have any essence or identity—who are delivered over, so to speak, to their inessentiality and their inactivity—and who grope everywhere, and at the cost of gross falsifications, for an inheritance and a task, an inheritance as task? Giorgio Agamben The Open erner herzog’s interest in animals goes hand in hand with his Winterest in a Western civilizational project that entails crossing and dis- placing borders on every level, from the most geographic to the most corporeal and psychological. Some animals are merely present in a scene; early in Fitzcarraldo, for instance, its eponymous hero—a European in early-twentieth-century Peru—plays on a gramophone a recording of his beloved Enrico Caruso for an audience that includes a pig. Others insist in his films as metaphors: the monkeys on the raft as the frenetic materializa- tion of the conquistador Aguirre’s final insanity. Still others merge with characters: subtly in the German immigrant Stroszek, who kills himself on a Wisconsin ski lift because he cannot bear to be treated like an animal anymore or, literally in the case of the vampire Nosferatu, a kindred spirit ESC 39.1 (March 2013): 51–70 to bats and wolves. But, in every film, Herzog is centrally concerned with what Agamben calls the “anthropological machine” running at the heart of that civilizational project, which functions to decide on the difference between man and animal. -
Les Blank Und Das Cinéma Vitalité. Mit Filmographie Und Bibliographie 2017
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Les Blank und das cinéma vitalité. Mit Filmographie und Bibliographie 2017 https://doi.org/10.25969/mediarep/12808 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Les Blank und das cinéma vitalité. Mit Filmographie und Bibliographie. Westerkappeln: DerWulff.de 2017 (Medienwissenschaft: Berichte und Papiere 173). DOI: https://doi.org/10.25969/mediarep/12808. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0173_17.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 173, 2017: Les Blank. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff, Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0173_17.pdf. Letzte Änderung: 10.05.2017. Inhalt: Hans J. Wulff: Les Blank und das cinéma vitalité [1] Hans J. Wulff u. Ludger Kaczmarek: Les Blank: Filmografie [4]. Über (und mit) Les Blank [31]. Literatur [32] Les Blank und das cinéma vitalité Les Blank (* 27.11.1935 in Tampa, Florida; † 7.4.2013 in Berkeley, Kalifornien) studierte an der Tulane University in New Orleans Englische Sprache. Unter dem Eindruck des Ingmar-Bergman-Films Det sjunde inseglet (Das siebente Siegel, 1957) begann er eine Ausbildung zum Schauspieler und Dreh- buchautor, bevor er die Filmschule an der University of Southern California besuchte. -
“Of the Creatures Who Are Doomed to Perish, to Fall”: Mythology and Time
“Of the Creatures who are doomed to perish, to fall”: Mythology and Time in Herzog’s Apocalyptic, Science Fiction Films Tyson Namow This essay analyses German filmmaker Werner Herzog’s (b. 1942- ) films Fata Morgana (1970), Lessons of Darkness (Lektionen in Finsternis ) (1992) and The Wild Blue Yonder (2005). Each of these films shares formal char- acteristics, such as being divided by chapter inter-titles and using voice over narration. However, they also have different iconographic features. Fata Morgana is set in the natural, desert landscapes of Africa. It shows quiet, other-worldly beauty among the ruins of civilisation. The landscapes in this film contain disintegrating relics of human culture, such as wrecked automobiles, aeroplanes and other machine parts. It is not until the twenty- minute mark of the film that the first human figure is seen. They are sub- limely dwarfed on the horizon line of an immense desert terrain. Lessons of Darkness is set in Kuwait at the end of the first Gulf War during the period when the last of the burning oil wells were being extinguished. The film presents Kuwait as an unnamed planet that exists somewhere in our solar system. On the one hand, the audience knows that this planet is Earth and that it has been devastated by human action. On the other hand, the film also presents it as a mutilated planet on fire that reflects Herzog’s private, apocalyptic imagination. The Wild Blue Yonder is largely comprised of dif- ferent found-footage. This includes images shot under an ice sheet in Ant- arctica by Henry Kaiser and images shot in 1991 by astronauts from inside COLLOQUY text theory critique 21 (2011). -
PETER ZEITLINGER Director of Photography
PETER ZEITLINGER Director of Photography Narrative Features: SALT AND FIRE - Benaroya Pictures - Werner Herzog, director QUEEN OF THE DESERT - IFC Films/Benaroya - Werner Herzog, director ANGELIQUE - EuropaCorp - Ariel Zeitoun, director HATED - Independent - Lee Madsen, director MY SON, MY SON WHAT HAVE YE DONE - First Look Pictures - Werner Herzog, director Starring Willem Dafoe and Michael Shannon THE BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS - Millennium Films - Werner Herzog, director Nomination, Best Cinematography, Independent Spirit Awards Starring Nicolas Cage and Eva Mendes HOUSE OF CARDS - The Independents - Silvia Zeitlinger, director RESCUE DAWN - MGM - Werner Herzog, director Starring Christian Bale and Steve Zahn INVINCIBLE - Werner Herzog Filmproduktion - Werner Herzog, director Documentary Features: LO & BEHOLD, REVERIES OF THE CONNECTED WORLD - Magnolia Pictures - Werner Herzog, director INTO THE INFERNO - Netflix - Werner Herzog, director FROM ONE SECOND TO THE NEXT - AT&T - Werner Herzog, director CAVES OF FORGOTTEN DREAMS - Werner Herzog Filmproduktion - Werner Herzog, director TONTINE MASSACRE - Scrimshaw Productions - Ezna Sands, director ENCOUNTERS AT THE END OF THE WORLD - Discovery Films - Werner Herzog, director Nomination, Academy Award, Best Documentary GRIZZLY MAN - Lionsgate - Werner Herzog, director Winner, Alfred P. Sloan Prize, Sundance Film Festival Nine Best Documentary Awards WHEEL OF TIME - Werner Herzog Filmproduktion - Werner Herzog, director LITTLE DIETER NEEDS TO FLY - Werner Herzog Filmproduktion -
Herbert Alan Golder
CURRICULUM VITAE Herbert Alan Golder CURRENT POSITION: Professor of Classical Studies, Boston University. Editor in Chief and Director, Arion, A Journal of Humanities and the Classics. EDUCATION: Boston University, B.A., summa cum laude (1975). Yale University, M.A. (1977). Yale University, M. Phil. (1979). Oxford University, Postgraduate (1982). Yale University, Ph.D. (1984). DISSERTATION: Euripides’ Andromache: A Study in Theatrical Idea and Visual Meaning (C. John Herington, Director). ACADEMIC POSITIONS: Professor of Classical Studies, Boston University (2004– ). Adjunct Professor of Film Studies, College of Communication, Boston University (2008). Associate Professor of Classical Studies, Boston University (1993–2004). Assistant Professor of Classical Studies, Boston University (1988–93). Assistant Professor of Classics, Emory University (1985–87). Director of Undergraduate Studies for Classics and Classical Studies (1985–87); Adjunct Professor of Comparative Literature (1985–87). Visiting Assistant Professor of Classics, Emory University (1984–85). Assistant Professor of Classics, Syracuse University (1982–85). Teaching Fellow/Instructor in Classics, Yale University (1977–80). CURRENT PROJECTS AND ACTIVITIES: Ballad of a Righteous Merchant, Notes on Herzog Directing My Son, My Son, What Have Ye Done, A Film by Herbert Golder (Director/Writer/Producer, documentary film, in post-production). Arion, A Journal of Humanities and the Classics, Editor in Chief and Director; triannual publication, Third Series (Winter 1990– ), volume XXI.1 published Summer 2013, volume XXI. 2 forthcoming, Fall 2013. “Further Unmodern Observations,” (series of essays, forthcoming 2014). The Lotus that Went to the Sea (Producer, documentary film, to premiere 2014). Shooting on the Lam, Ten Films with Werner Herzog (critical study and memoir, in progress) The Red Report (Writer/Producer, feature film, in development). -
Mediated Meetings in Grizzly Man
An Argument across Time and Space: Mediated Meetings in Grizzly Man TRENT GRIFFITHS, Deakin University, Melbourne ABSTRACT In Werner Herzog’s 2005 documentary Grizzly Man, charting the life and tragic death of grizzly bear protectionist Timothy Treadwell, the medium of documentary film becomes a place for the metaphysical meeting of two filmmakers otherwise separated by time and space. The film is structured as a kind of ‘argument’ between Herzog and Treadwell, reimagining the temporal divide of past and present through the technologies of documentary filmmaking. Herzog’s use of Treadwell’s archive of video footage highlights the complex status of the filmic trace in documentary film, and the possibilities of documentary traces to create distinct affective experiences of time. This paper focuses on how Treadwell is simultaneously present and absent in Grizzly Man, and how Herzog’s decision to structure the film as a ‘virtual argument’ with Treadwell also turns the film into a self-reflexive project in which Herzog reconsiders and re-presents his own image as a filmmaker. With reference to Herzog’s notion of the ‘ecstatic truth’ lying beneath the surface of what the documentary camera records, this article also considers the ethical implications of Herzog’s use of Treadwell’s archive material to both tell Treadwell’s story and work through his own authorial identity. KEYWORDS Documentary time, self-representation, digital film, trace, authorship, Werner Herzog. Introduction The opening scene of Grizzly Man (2005), Werner Herzog’s documentary about the life and tragic death of grizzly bear protectionist and amateur filmmaker Timothy Treadwell, shows Treadwell filming himself in front of bears grazing in a pasture, addressing the camera as though a wildlife documentary presenter. -
2Nd International Folk Music Film Festival Catalogue 2012
Dedications The 3 days of International Folk Music Film Festival –Nepal 2012 will each be dedicated to different people who have devoted a considerable portion of their life’s work to the promotion, documentation and preservation of traditional musicians and associated artists, their music and music culture. They are John Baily and Veronica Doubleday, UK, Les Blank, USA and Ramsaran Darnal (1937–2011) from Nepal. John Baily & Veronica Doubleday, Ethnomusicologists, Musicians and Writers, husband and wife John and Veronica frequently perform together in concert and often with noted Afghan musicians. They have dedicated their life’s work to the people and music of Afghanistan and have supported Afghan musicians and their families throughout the prolonged conflicts. John Baily, Emeritus Professor, Goldsmiths, London University, began his ethnomusicological work in Afghanistan in 1973 also becoming a skilled musician particularly on the Afghan rubab and dutar. Prior to this he had learnt tabla with Krishna Govinda on an extended visit to Kathmandu in 1971. From 1984-5 John trained in anthropological filmmaking and directed the award-winning film Amir: An Afghan Refugee Musician’s life in Peshawar, Pakistan. He is the author of many articles and book chapters and has recently published Songs from Kabul: The Spiritual Music of Ustad Amir Mohammed. John is presently helping to develop The Afghanistan National Institute of Music. Veronica Doubleday, visiting lecturer, the University of alone from Folk Alliance International and from the International Brighton. Veronica’s ethnomusicological work focuses on Afghan Documentary Association. music, women’s music and gender issues and she has published Native filmmaker, Samrat Kharel, has written, “Les Blank’s films many articles on these subjects. -
Documentary Movies
Libraries DOCUMENTARY MOVIES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days that Unexpectedly Changed America DVD-2043 56 Up DVD-8322 180 DVD-3999 60's DVD-0410 1-800-India: Importing a White-Collar Economy DVD-3263 7 Up/7 Plus Seven DVD-1056 1930s (Discs 1-3) DVD-5348 Discs 1 70 Acres in Chicago: Cabrini Green DVD-8778 1930s (Discs 4-5) DVD-5348 Discs 4 70 Acres in Chicago: Cabrini Green c.2 DVD-8778 c.2 1964 DVD-7724 9/11 c.2 DVD-0056 c.2 1968 with Tom Brokaw DVD-5235 9500 Liberty DVD-8572 1983 Riegelman's Closing/2008 Update DVD-7715 Abandoned: The Betrayal of America's Immigrants DVD-5835 20 Years Old in the Middle East DVD-6111 Abolitionists DVD-7362 DVD-4941 Aboriginal Architecture: Living Architecture DVD-3261 21 Up DVD-1061 Abraham and Mary Lincoln: A House Divided DVD-0001 21 Up South Africa DVD-3691 Absent from the Academy DVD-8351 24 City DVD-9072 Absolutely Positive DVD-8796 24 Hours 24 Million Meals: Feeding New York DVD-8157 Absolutely Positive c.2 DVD-8796 c.2 28 Up DVD-1066 Accidental Hero: Room 408 DVD-5980 3 Times Divorced DVD-5100 Act of Killing DVD-4434 30 Days Season 3 DVD-3708 Addicted to Plastic DVD-8168 35 Up DVD-1072 Addiction DVD-2884 4 Little Girls DVD-0051 Address DVD-8002 42 Up DVD-1079 Adonis Factor DVD-2607 49 Up DVD-1913 Adventure of English DVD-5957 500 Nations DVD-0778 Advertising and the End of the World DVD-1460 -
On Werner Herzog's Documentary Grizzly
Fast Capitalism ISSN 1930-014X Volume 4 • Issue 1 • 2008 doi:10.32855/fcapital.200801.014 On Werner Herzog’s Documentary Grizzly Man: Psychoanalysis, Nature, and Meaning John W. White Introduction Few documentaries in recent years have received as much acclaim as Werner Herzog’s film Grizzly Man (2005), a narrative exploration of the life and death of amateur grizzly bear expert and wildlife preservationist Timothy Treadwell, who supposedly lived unarmed among grizzlies for 13 summers before being eaten alive by one. It won the Alfred P. Sloan award at the 2005 Sundance Film Festival and was awarded Best Feature Documentary at the Mountain Film in Telluride Festival. Ebert and Roper have given it “two thumbs way up” and J. Hoberman of The New York Times has called it “one of the most remarkable documentaries produced by any filmmaker in recent years.” However, like many of Herzog’s previous films, it has also generated a certain uneasiness and even minor controversy, as reflected in several online reviews. One critic, commenting on the “myth of objectivity” which surrounds the genre of documentary, prefaced his review by noting that it was personal movie making rather than “the typical PBS/Discovery Channel sort of informational objectivity.”[2] Another commented that he had mixed feelings and was left with the impression of opportunism rather than inspiration on Herzog’s part and felt “somewhat manipulated.”[3] Herzog’s filmmaking has always been controversial (Bachman 1977; Gitlin 1983; Cronin 2002; Prager 2007), but the subject matter of this particular feature may well stir more interest among members of the American public than his past films.