Werner Herzog

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Werner Herzog Werner Herzog (born 1942) 1968: Lebenszeichen (Signs of Life) 1970: Auch Zwerge haben klein angefangen (Even Dwarfs Started Small) 1970: Fata Morgana 1972: Aguirre, der Zorn Gottes (Aguirre, Wrath of God) 1974: Jeder für sich und Gott gegen alle (Enigma of Kaspar Hauser) 1976: Stroszek 1976: Herz aus Glas (Heart of Glass) 1979: Nosferatu – Phantom der Nacht Feature Films 1979: Woyzeck Feature Films 1982: Fitzcarraldo 1984: Wo die grünen Ameisen träumen (Where the Green Ants Dream) 1987: Cobra Verde 1991: Cerro Torre: Schrei aus Stein (Scream of Stone) 1992: Lektionen in Finsternis (Lessions in Darkness) 1997: Little Dieter Needs to Fly 1999: Mein liebster Feind (My Best Fiend) 2001: Invincible (Unbesiegbar) 2003: Rad der Zeit (Wheel of Time) 2004: The White Diamond 2005: Grizzly Man 2005: The Wild Blue Yonder 2006: Rescue Dawn 1 1962/1965: Herakles 1964: Spiel im Sand 1967: Die beispiellose Verteidigung der Festung Deutschkreutz 1968: Letzte Worte (Last Words) 1969: Die fliegenden Ärzte von Ostafrika 1969: Maßnahmen gegen Fanatiker 1971: Behinderte Zukunft 1971: Land des Schweigens und der Dunkelheit 1974: Die große Ekstase des Bildschnitzers Steiner 1976: How much wood would a woodchuck chuck 1976: Mit mir will keiner spielen 1977: La Soufrière 1980: God´s angry man Shorts and Documentaries 1980: Huie´s Predigt 1984: Ballade vom kleinen Soldaten 1984: Gasherbrum - Der leuchtende Berg 1990: Echos aus einem düsteren Reich 1990: Wodaabe - Hirten der Sonne 1991: Das exzentrische Privattheater des Maharadjah von Udaipur 1993: Glocken aus der Tiefe 1995: Tod für fünf Stimmen 1999: Julianes Sturz in den Dschungel 2001: Pilgrimage Signs of Life Even Dwarfs Started Small 2 Aguirre Enigma of Kaspar Hauser Stroszek 3 Heart of Glass Nosferatu Woyzeck Starrin g 4 Fitzcarraldo Cobra Verde Little Dieter Needs to Fly 5 Invincible Wheel of Time Starrin g The White Diamond 6 Grizzly Man Rescue Dawn 7.

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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.
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O Romance O Vice-Rei De Uidá, De Bruce Chatwin, E O Filmecobra Verde, De Werner Herzog: Um Estudo Da Transposição Midiática
O romance O vice-rei de Uidá, de Bruce Chatwin, e o filmeCobra verde, de Werner Herzog: um estudo da transposição midiática Maria Cristina Cardoso Ribas Mariana Castro de Alencar (...) uma nuvem sem contornos passa acima dele mudando constantemente de forma. Ora, o que se pode conhecer de uma nuvem, senão adivinhando-a sem nunca apreendê-la inteiramente? Georges Didi-Huberman Introdução – Falando de obras pouco difundidas quase desconhecido romance O Vice-Rei de Uidá (1980), do inglês Bruce Chatwin, inspirado na vida do traficante de escravos Francisco Félix de O Souza,1 recebeu, através do cineasta alemão Werner Herzog, uma releitura fílmica igualmente pouco conhecida, com o belo título Cobra Verde (1987). Ambos, escritor britânico e cineasta alemão, parceiros e amigos em franca desarmonia, en- toaram um fabuloso desconcerto a quatro mãos. Entre o documentário e a ficção, entre a grafia e a vida, entre a literatura e o cinema, neste saudável contágio, falaremos sobre o processo de transposição midi- ática, trazendo breve incursão teórica e a prática desenvolvida por estas polêmicas figuras. Para estudar a migração do texto literário para o fílmico, temos o aporte teórico das Intermidialidades (Clüver, 2006). A pesquisa sobre a Intermidialidade tem um inventário crítico fixo na comunidade de pesquisa de falantes de alemão, e amplo desenvolvimento em vários países da Europa e Estados Unidos; na Uni- versidade de Montreal, Canadá, foi criado, no ano de 1997, o Centre de Recherche sur l’Intermedialité (C.R.I.).2 36 ALCEU - v.18 - n.36 -
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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.
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The American Nightmare, Or the Revelation of the Uncanny in Three
The American Nightmare, or the Revelation of the Uncanny in three documentary films by Werner Herzog La pesadilla americana, o la revelación de lo extraño en tres documentales de DIEGO ZAVALA SCHERER1 Werner Herzog http://orcid.org/0000-0002-7362-4709 This paper analyzes three Werner Herzog’s films: How Much Wood Would a Woodchuck Chuck (1976), Huie’s Sermon (1981) and God´s Angry Man (1981) through his use of the sequence shot as a documentary device. Despite the strong relation of this way of shooting with direct cinema, Herzog deconstructs its use to generate moments of filmic revelation, away from a mere recording of events. KEYWORDS:Documentary device, sequence shot, Werner Herzog, direct cinema, ecstasy. El presente artículo analiza tres obras de la filmografía de Werner Herzog: How Much Wood Would a Woodchuck Chuck (1976), Huie´s Sermon (1981) y God´s Angry Man (1981), a partir del uso del plano secuencia como dispositivo documental. A pesar del vínculo de esta forma de puesta en cámara con el cine directo, Herzog deconstruye su uso para la generación de momentos de revelación fílmica, lejos del simple registro. PALABRAS CLAVE: Dispositivo documental, plano secuencia, Werner Herzog, cine directo, éxtasis. 1 Tecnológico de Monterrey, México. E-mail: [email protected] Submitted: 01/09/17. Accepted: 14/11/17. Published: 12/11/18. Comunicación y Sociedad, 32, may-august, 2018, pp. 63-83. 63 64 Diego Zavala Scherer INTRODUCTION Werner Herzog’s creative universe, which includes films, operas, poetry books, journals; is labyrinthine, self-referential, iterative … it is, we might say– in the words of Deleuze and Guattari (1990) when referring to Kafka’s work – a lair.
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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.
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Franz A. Birgel Muhlenberg College
Werner Herzog's Debt to Georg Buchner Franz A. Birgel Muhlenberg College The filmmaker Wemcr Herzog has been labeled eve1)1hing from a romantic, visionary idealist and seeker of transcendence to a reactionary. regressive fatalist and t)Tannical megalomaniac. Regardless of where viewers may place him within these e:-..1reme positions of the spectrum, they will presumably all admit that Herzog personifies the true auteur, a director whose unmistakable style and wor1dvie\v are recognizable in every one of his films, not to mention his being a filmmaker whose art and projected self-image merge to become one and the same. He has often asserted that film is the art of i1literates and should not be a subject of scholarly analysis: "People should look straight at a film. That's the only \vay to see one. Film is not the art of scholars, but of illiterates. And film culture is not analvsis, it is agitation of the mind. Movies come from the count!)' fair and circus, not from art and academicism" (Greenberg 174). Herzog wants his ideal viewers to be both mesmerized by his visual images and seduced into seeing reality through his eyes. In spite of his reference to fairgrounds as the source of filmmaking and his repeated claims that his ·work has its source in images, it became immediately transparent already after the release of his first feature film that literature played an important role in the development of his films, a fact which he usually downplays or effaces. Given Herzog's fascination with the extremes and mysteries of the human condition as well as his penchant for depicting outsiders and eccentrics, it comes as no surprise that he found a kindred spirit in Georg Buchner whom he has called "probably the most ingenious writer for the stage that we ever had" (Walsh 11).
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“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).
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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
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Ida Documentary Awards
IDA DOCUMENTARY international documentary AWARDS12 association 28th DEC 7.2012 DEC ANNUAL Guild Directors America of CONGRATULATIONS TO ALL THE NOMINEES OF THE 2012 IDA DOCUMENTARY AWARDS A&E INDIEFILMS IS PROUD TO SUPPORT THE INTERNATIONAL DOCUMENTARY ASSOCIATION. IDA DOCUMENTARY AWARDS12 sponsors LUMINARY SPONSORS GOLD SPONSORS SILVER SPONSORS 3 IDA DOCUMENTARY AWARDS12 28th Annual IDA Documentary Awards December 7, 2012 6:30 PM PRIVATE RECEPTION HONORING ARNOLD SHAPIRO Sponsored by A&E LOCATION: DGA Atrium Awards Ceremony HOST: Penn Jillette 8:00 PM AWARDS CEREMONY • Year In Review LOCATION: DGA Theater 1 • ABCNEWS VideoSource Award 9:30 PM • Best Limited Series Award AFTER PARTY • Pare Lorentz Award Sponsored by Canon LOCATION: DGA Grand Lobby • David L. Wolper Student Documentary Award • Creative Recognition Awards: Best Cinematography Best Editing Best Music Best Writing • Jacqueline Donnet Emerging Documentary Filmmaker Award • Pioneer Award • Best Continuing Series Award • HUMANITAS Documentary Award • Career Achievement Award • Best Short Award • Best Feature Award 5 CONGRATULATIONS! ABCNEWS VIDEOSOURCE FINALISTS AND THE NOMINEES & HONOREES OF THE 28TH ANNUAL IDA DOCUMENTARY AWARDS IN RECOGNITION OF YOUR EXTRAORDINARY WORK www.abcnewssource.com IDA DOCUMENTARY AWARDS12 nominees & honorees ABCNEWS VIDEOSOURCE BEST LIMITED SERIES AWARD NOMINEES AWARD NOMINEES BOOKER’S PLACE: A MISSISSIPPI STORY BOMB PATROL: AFGHANISTAN DIRECTOR: Raymond De Felitta EXECUTIVE PRODUCERS: Dan Cesareo, Doug DePriest, PRODUCER: David Zellerford Vince DiPersio, Laura Civiello, Tim Rummel EXECUTIVE PRODUCERS: Lynn Roer, Steven Beer SERIES PRODUCERS: Kathryn Gilbert, Joe Venafro, Keith Saunders Eyepatch Productions/Ogilvy, PRODUCERS/SHOOTERS: Joe Venafro, Christopher Whiteneck, Hangover Lounge, Tribeca Film David D’Angelo, Scott Stoneback Big Fish Entertainment for NBC/G4 Media, Inc.
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Wetenschappelijke Verhandeling
UNIVERSITEIT GENT FACULTEIT POLITIEKE EN SOCIALE WETENSCHAPPEN WERNER HERZOG EN THE ECSTATIC TRUTH: OP ZOEK NAAR DE GRENS TUSSEN FICTIE EN DOCUMENTAIRE Wetenschappelijke verhandeling aantal woorden: 21405 BART WILLEMS MASTERPROEF COMMUNICATIEWETENSCHAPPEN afstudeerrichting FILM- EN TELEVISIESTUDIES PROMOTOR: PROF. DR. DANIEL BILTEREYST COMMISSARIS: PHILIPPE VAN MEERBEECK COMMISSARIS: GERTJAN WILLEMS ACADEMIEJAAR 2011 - 2012 ABSTRACT Werner Herzog, algemeen beschouwd als deel uitmakend van de Neue Deutsche Film beweging, kende het laatste decennium een revival en een hernieuwde waardering van zijn werk. In deze thesis wordt onderzocht hoe Herzogs concept van 'the ecstatic truth' in vele gevallen in strijd is met de genreregels van de documentaire, en zich tegelijk bevindt op de dunne grens tussen fictie en documentaire. Na een korte uiteenzetting van Herzogs leven en werk ga ik dieper in op zijn basisconcept van 'the ecstatic truth'. Vervolgens is er een bespreking van een tiental van Herzogs vroege documentaires, waarin wordt op zoek gegaan naar 'the ecstatic truth'. Na een schetsing van enkele analysemodellen wordt aangetoond dat dit concept gevormd wordt op alle niveaus van analyse, wat duidt op de elasticiteit ervan. Uiteindelijk wordt een van Herzogs meest recente films, Cave of Forgotten Dreams, geanalyseerd op alle niveaus van de modellen, op zoek naar het concept van 'the ecstatic truth'. Dit concept blijkt nog steeds nadrukkelijk aanwezig te zijn in Herzogs manier van realiteitsvorming, zij het in een iets minder flagrante vorm dan ooit het geval was. Herzogs zoektocht is er een naar een perspectief buiten onze werkelijkheid, die weliswaar na al die jaren nog steeds de grenzen van het genre aftast, maar deze grenzen tegelijk overstijgt.
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L'invention Musicale Face À La Nature Dans Grizzly
L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog Vincent Deville To cite this version: Vincent Deville. L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog. Revue musicale OICRM, Observatoire interdisciplinaire de création et de recherche en musique, 2018, 5 (n°1), s.p. hal-02133197v1 HAL Id: hal-02133197 https://hal.archives-ouvertes.fr/hal-02133197v1 Submitted on 17 May 2019 (v1), last revised 15 Jul 2019 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog Vincent Deville Résumé Quand le cinéaste allemand Werner Herzog réalise ou produit trois documentaires sur la création et l’enregistrement de la musique de trois de ses films entre 2005 et 2011, il effectue un double geste de révélation et d’incarnation : les notes nous deviennent visibles à travers le corps des musiciens.
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Rescue Dawn La Cavale Secours À L’Aube — États-Unis 2007, 126 Minutes Charles-Stéphane Roy
Document généré le 28 sept. 2021 03:04 Séquences La revue de cinéma Rescue Dawn La cavale Secours à l’aube — États-Unis 2007, 126 minutes Charles-Stéphane Roy Léo Bonneville 1919-2007 Numéro 250, septembre–octobre 2007 URI : https://id.erudit.org/iderudit/58972ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Roy, C.-S. (2007). Compte rendu de [Rescue Dawn : la cavale / Secours à l’aube — États-Unis 2007, 126 minutes]. Séquences, (250), 43–43. Tous droits réservés © La revue Séquences Inc., 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CRITIQUES I LES FILMS RESCUE DAWN I La cavale // fut un temps où les bravades de Werner Herzog dans des contrées impossibles attiraient les badauds par milliers dans les salles. Après avoir été jusqu'au bout de l'enfer et en être revenu d'innombrables fois, l'Allemand a délaissé la fiction le temps de plusieurs documentaires réussis, plus inspiré par les vrais fous que par ses créations.
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