DOCSLIB.ORG

Conquest of the Useless: Reflections from the Making of Fitzcarraldo Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Conquest of the Useless: Reflections from the Making of Fitzcarraldo Free FREE CONQUEST OF THE USELESS: REFLECTIONS FROM THE MAKING OF FITZCARRALDO PDF Werner Herzog | 320 pages | 01 Jul 2010 | HarperCollins Publishers Inc | 9780061575549 | English | New York, United States Conquest of the Useless: Reflections from the Making of Fitzcarraldo by Werner Herzog It reveals him to be witty, compassionate, microscopically observant and -- your call -- either maniacally determined or admirably persevering. Around this vision Herzog fashioned a script about an aspiring rubber baron who yearns to bring opera to the Amazon, a dream requiring him to haul a steamship over a mountain from one river to another to gain access to the rubber. They form black lines on the cornices of buildings. The entire square is filled with their excited fluttering and twittering. Arriving from all different directions, the swarms of birds meet in the air above the Conquest of the Useless: Reflections from the Making of Fitzcarraldo, circling like tornados in dizzying spirals. Then, as if a whirlwind were sweeping through, they suddenly descend onto the square, darkening the sky. The young ladies put up umbrellas to shield themselves from droppings. It lies there all spongy, belly-up, and is so disgusting that none of us has had the nerve to get rid of it. The effect is spellbinding. Mauch said he could not take any more, he was going to faint, and I told him to go ahead. Herzog replaced Robards with Kinski, his lead from three previous films, who presented a new set of problems. Laurent bush outfit. He comes across as impatient and wants to do everything himself, right now. As the months in the jungle pass, delirium sets in. The engineer hired to help guide the ship over the ridge quits. In the midst of hundreds of Indian extras, dozens of woodsmen, boatmen, Conquest of the Useless: Reflections from the Making of Fitzcarraldo personnel, the technical team, and the actors, solitude flailed at me like a huge enraged animal. For decades Herzog has declared his resistance to introspection; he claims not to know the color of his eyes, since he detests looking into mirrors, and is outspoken about his contempt for psychoanalysis. So his vulnerability here is noteworthy. Even the motors of our boats have something tormented about them. Get Carolina A. Miranda's weekly newsletter for what's happening, plus openings, critics' picks and more. You may occasionally receive promotional content from the Los Angeles Times. Company Town. Who is Kristen Welker? Meet the NBC News correspondent who will moderate the final presidential debate. Remember all that choking California wildfire smoke? She turned it into art. Kim Abeles has been making her Smog Collectors art for more than 30 years. Her latest series uses air pollution from the Bobcat wildfire as her material. Hot Property. About Us. Brand Publishing. Times Events. Times News Platforms. Conquest of the Useless: Reflections from the Making of Fitzcarraldo Store. Facebook Twitter Show more sharing options Share Close extra sharing options. Enter Email Address. More From the Los Angeles Times. Company Town Who is Kristen Welker? NPR Choice page It is ever tempting to try to fathom his restless spirit and his determination to challenge fate. Werner Herzog Grizzly Man is one of the most revered and enigmatic filmmakers of our time, and Fitzcarraldo is one of his most honored and admired films. Conquest of the Useless is pure prose poetry and probably the best book about the jungle I've ever Conquest of the Useless: Reflections from the Making of Fitzcarraldo. Before reading it I was already familiar with the film and the documentary Burden of Dreams The acclaimed director's diary of his time making Fitzcarraldo From the beginning, the film faced more challenges and uncertainties than most of Herzog's other movies, and he composed a lengthy Werner Herzog grew up in a remote mountain village in Bavaria. He never saw any films, television, or telephones as a child. During high school he worked the nightshift as a welder in a steel factory to produce his first film, inat the age of nineteen. He lives in Los Angeles, California. Conquest of the Useless : Reflections from the Making of Fitzcarraldo. Werner Herzog. Conquest of the Useless: Reflections from the Making of Fitzcarraldo. 'Conquest of the Useless' by Werner Herzog - Los Angeles Times But in the film the geography has to be visible: two rivers that almost touch, Conquest of the Useless: Reflections from the Making of Fitzcarraldo only a mountain ridge between them, over which the ship has to be hauled. Without that understanding the point of the story is lost says Herzog. In the face of the obscene, explicit malice of the jungle, Conquest of the Useless: Reflections from the Making of Fitzcarraldo lacks only dinosaurs as punctuation, I feel like a half-finished, poorly expressed sentence in a cheap novel. Once more, despite all my attempts at fending it off, a shuddering sense creeps into me of being trapped in the stanza of a strange poem, and it shakes me so violently that I glance around superstitiously to see whether anyone is watching me. Does the monkey dream my dreams in the branches above me? I ordered a beer, and my voice sounded altered, like the voice of a parrot imitating operatic arias. The sun sank in an angry blaze. For a moment, and for the only time I think I can remember, the earth struck me as motherly, covered with a decaying forest that seemed positively humble. A large brown moth was boring into the smooth concrete floor as if it wanted to go down into the earth, and beating its wings so violently that the wooden sound it created blended with the electrical hissing and crackling of a dying fluorescent bulb overhead like a symphony from the depths of a ghastly universe, a universe readying itself for the final harvest. The jungle, existing exclusively in the present, is certainly subject to time, but remains forever ageless. Any concept of justice would be antithetical to all this. But is there justice in the desert, either? Or in the oceans? And in the depths? Life in the sea must be pure hell, an infinite hell of constant and ever-present danger, so unbearable that in the course of evolution some species—including Homo sapiens—crawled, fled, onto some clods of firm land, the future continents. I looked around, and there was the jungle, manifesting the same seething hatred, wrathful and steaming, while the river flowed by in majestic indifference and scornful condescension, ignoring everything: the plight of man, the burden of dreams, and the torments of time. Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Conquest of the Useless by Werner Herzog. Krishna Winston Translator. Werner Herzog Grizzly Man is one of the most revered and enigmatic filmmakers of our time, and Fitzcarraldo is one of his most honored and admired films. Get A Copy. Hardcoverpages. Published June 30th by Ecco first published More Details Conquest of the Useless: Reflections from the Making of Fitzcarraldo Title. Werner HerzogKlaus Kinski. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Conquest of the Uselessplease sign up. Be the first to ask a question about Conquest of the Useless. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Jun 29, Lee Klein rated it really liked it Shelves: favorites. At one point, a diary entry begins with a hilarious understatement, something like "Profoundly unreconciled to nature. Like all Herzog documentaries, you also have to sort of treat it like fiction. Mick Jagger, who was in the film early on, is portrayed as pleasantly impish. The reviewer wanted characters who appeared once to be introduced and appear again, as in a novel or non-fiction, not a journal -- he wanted a non-Herzogian non-fiction, essentially. Also, it's real funny. Dozens of LOLs, often at audacious, over-the-top descriptions, or sudden crazy jumps from sentence to sentence. We do not Conquest of the Useless: Reflections from the Making of Fitzcarraldo virtuosos of syntax. This book is almost more about language than any particular film - Herzog's sentences seem to me sharper and funnier and more peculiarly individuated than those of most contemporary prose writers. Plus, this book seems to prove that what's inside the artist comes outside the artist. Hope he has a journal like this for Stroszek, too - Conquest of the Useless: Reflections from the Making of Fitzcarraldo highly recommended movie if you're a Joy Division fan you probably know this as the movie Ian Curtis watched before he hanged himself. View all 7 comments. Sep 15, Jeff Jackson rated it it was amazing Recommended to Jeff by: Blake Butler; the perfidious obscenity of the jungle. Shelves: celluloid-dreams. His documentaries are still strong, but Herzog the person has started to lapse into self-parody thanks to Youtube readings of "Green Eggs and Ham," etc. It's easy to imagine his journal chronicling the torturous making of "Fitzcarraldo" would be chock full of madly hilarious Germanic ravings and pronouncements on the maniacal cruelty of nature and hairbrained insanity of the universe - but in fact this is a nuanced, affecting, microscopically observant, and sometimes visionary account of the inn Conquest of the Useless: Reflections from the Making of Fitzcarraldo documentaries are still strong, but Herzog the person has started to lapse into self-parody thanks to Youtube readings of "Green Eggs and Ham," Conquest of the Useless: Reflections from the Making of Fitzcarraldo.
Load more

Recommended publications
  • “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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 'Antiphusis: Werner Herzog's Grizzly Man'
    Film-Philosophy, 11.3 November 2007 Antiphusis: Werner Herzog’s Grizzly Man Benjamin Noys University of Chichester The moon is dull. Mother Nature doesn’t call, doesn’t speak to you, although a glacier eventually farts. And don’t you listen to the Song of Life. Werner Herzog1 At the heart of the cinema of Werner Herzog lies the vision of discordant and chaotic nature – the vision of anti-nature. Throughout his work we can trace a constant fascination with the violence of nature and its indifference, or even hostility, to human desires and ambitions. For example, in his early film Even Dwarfs Started Small (1970) we have the recurrent image of a crippled chicken continually pecked by its companions.2 Here the violence of nature provides a sly prelude to the anarchic carnival violence of the dwarfs’ revolt against their oppressive institution. This fascination is particularly evident in his documentary filmmaking, although Herzog himself deconstructs this generic category. In the ‘Minnesota Declaration’ (1999)3 on ‘truth and fact in documentary cinema’ he radically distinguishes between ‘fact’, linked to norms and the limits of Cinéma Vérité, and ‘truth’ as ecstatic illumination, which ‘can be reached only through fabrication and imagination and stylization’ (in Cronin (ed.) 2002, 301). In particular he identifies nature as the site of this ecstatic illumination – in which we find ‘Lessons of Darkness’ – but only through the lack of any ‘voice’ of nature. While Herzog constantly films nature he films it as hell or as utterly alien. This is not a nature simply corrupted by humanity but a nature inherently ‘corrupt’ in 1 In Cronin (ed.) 2002, 301.
    [Show full text]
  • A Collection of Essays on Werner Herzog
    Encounters at the End of the World: A Collection of Essays on Werner Herzog Author: Michael Mulhall Persistent link: http://hdl.handle.net/2345/542 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2008 Copyright is held by the author, with all rights reserved, unless otherwise noted. Encounters at the End of the World: A Collection of Essays on Werner Herzog “I am my films” Michael Mulhall May 1, 2008 TABLE OF CONTENTS 1. Introduction 5. Chapter 1: Herzog’s Cultural Framework: Real and Perceived 21. Chapter 2: Herzog the Auteur 35. Chapter 3: Herzog/Kinski 48. Chapter 4: Blurring the Line 59. Works Cited Werner Herzog is one of the most well-known European art-house directors alive today (Cronin viii). Born in 1944 in war-torn Munich, Herzog has been an outsider from the start. He shot his first film, an experimental short, with a stolen camera. He has infuriated and confounded countless actors, producers, crew-members and studios in his lengthy career with his insistence on doing things his own way. Due to this maverick persona and the specific “adventurous madman” mystique he has cultivated over the past forty years, Herzog has attracted a large following worldwide. Herzog is perhaps best known for the lush but unforgiving jungles of Aguirre: Der Zorn Gottes (1972) and Fitzcarraldo (1982) and his contemplative musings on the structures of society in The Enigma of Kaspar Hauser (1974) and Stroszek (1977). Though he has never been a huge commercial success in terms of theater receipts, he has had a relatively impressive recent run at the box office, including the much-heralded Grizzly Man (2005) and his long awaited return to feature filmmaking, Rescue Dawn (2006).
    [Show full text]
  • Filmmaking Program Northwest College Filmmaking Aric Nitzberg
    Filmmaking Program Northwest College Filmmaking Aric Nitzberg, Chair FLMC 1391 – Special Topics: Documentary CRN 17884 – Spring 2017 Alief Campus Rm B300 Wednesdays 6:00 – 10:00 pm 3 units / 48 hours per semester / 16 weeks Lecture/Lab Instructor: Jenny Waldo Contact Information: [email protected] cell: 310-709-6937 Office location and hours: C322 (other side of atrium) Tuesdays 10:00 am – 12:30 pm Wednesdays 10:00 am – 12:30 pm Or by appointment Please feel free to contact me concerning any problems that you are experiencing in this course. You do not need to wait until you have received a poor grade before asking for my assistance. Your performance in my class is very important to me. I am available to hear your concerns and just to discuss course topics. Course Description Documentaries are narrative films. They tell a non-scripted story based on footage that is edited together. Paid work can often be found for documentary films because those projects are often funded by grants and supported by non-profit fiscal sponsorship. During this course, students will gain skills with which they can find employment in documentaries while also producing a short documentary project of their own. These skills also transfer easily to working in the corporate/commercial/industrial video industries and even the fictional filmmaking world. Prerequisites: None FLMC 1391 – page 2 Course Goal Have filmmaking majors creatively and critically think about story-telling through the documentary genre while experiencing hands-on the production process. Student Learning Outcomes The student will be able to: 1.
    [Show full text]
  • Cinema of WERNER HERZOG
    the cinema of WERNER HERZOG DIRECTORS’ CUTS 2 Other titles in the Directors’ Cuts series: the cinema of EMIR KUSTURICA: notes from the underground GORAN GOCIC the cinema of KEN LOACH: art in the service of the people JACOB LEIGH the cinema of WIM WENDERS: the celluloid highway ALEXANDER GRAF the cinema of KATHRYN BIGELOW: hollywood transgressor edited by DEBORAH JERMYN & SEAN REDMOND the cinema of ROBERT LEPAGE: the poetics of memory ALEKSANDAR DUNDJEROVIC the cinema of GEORGE A. ROMERO: knight of the living dead TONY WILLIAMS the cinema of TERRENCE MALICK: poetic visions of america edited by HANNAH PATTERSON the cinema of ANDRZEJ WAJDA: the art of irony and defiance edited by JOHN ORR & ELZBIETA OSTROWSKA the cinema of KRZYSZTOF KIESLOWSKI: variations on destiny and chance 3 MAREK HALTOF the cinema of DAVID LYNCH: american dreams, nightmare visions edited by ERICA SHEEN & ANNETTE DAVISON the cinema of NANNI MORETTI: dreams and diaries edited by EWA MAZIERSKA & LAURA RASCAROLI the cinema of MIKE LEIGH: a sense of the real GARRY WATSON the cinema of JOHN CARPENTER: the technique of terror edited by IAN CONRICH AND DAVID WOODS the cinema of ROMAN POLANSKI: dark spaces of the world edited by JOHN ORR & ELZBIETA OSTROWSKA the cinema of TODD HAYNES: all that heaven allows edited by JAMES MORRISON the cinema of STEVEN SPIELBERG: empire of light NIGEL MORRIS the cinema of ANG LEE: the other side of the screen WHITNEY CROTHERS DILLEY the cinema of LARS VON TRIER: authenticity and artifice CAROLINE BAINBRIDGE the cinema of NEIL JORDAN: dark carnival CAROLE ZUCKER 4 the cinema of WERNER HERZOG aesthetic ecstasy and truth brad prager WALLFLOWER PRESS LONDON & NEW YORK 5 A Wallflower Press Book Published by Columbia University Press Publishers Since 1893 New York cup.columbia.edu Reprinted 2011 Copyright © Brad Prager 2007 All rights reserved.
    [Show full text]
  • The Werner Herzog Collection 18 Films on Blu-Ray and DVD
    The Werner Herzog Collection 18 films on Blu-ray and DVD Presented in two formats – an 8-disc Blu-ray box set and a 10-disc DVD box set – The Werner Herzog Collection is released by the BFI on 28 July 2014. Containing 18 films by the visionary German filmmaking legend, the collection includes such classics of world cinema as Nosferatu the Vampyre, Aguirre, Wrath of God and Fitzcarraldo, as well as a number of Herzog's acclaimed, but rarely seen short films. Extensive extras include Jack Bond's long-unseen South Bank Show portrait of Herzog (1982), Les Blank's classics Werner Herzog Eats His Shoe (1980) and Burden of Dreams (1982), feature-length director commentaries, original trailers, stills galleries and an extensive contextualising booklet. The films The Unprecedented Defence of the Fortress Deutschkreuz (1967) | Last Words (1968) | Precautions Against Fanatics (1969) | Handicapped Future (1970) | Fata Morgana (1971) | Land of Silence and Darkness (1971) | Aguirre, Wrath of God (1972) | The Enigma of Kaspar Hauser (1974) | The Great Ecstasy of Woodcarver Steiner (1975) | Heart of Glass (1976) | How Much Wood Would a Woodchuck Chuck (1976) | Stroszek (1977) | Nosferatu, the Vampyre (1979) | Woyzeck (1979) | Huie's Sermon (1980) | God's Angry Man (1980) | Fitzcarraldo (1982) | Cobre Verde (1987) Special features All films presented in High Definition Alternative German and English versions of Nosteratu, the Vampyre Full-length audio commentaries with Werner Herzog on selected titles Alternative German and English language audio
    [Show full text]
  • The Shadows of Dreams Cinema’S Layers of Medialization
    The Shadows of Dreams Cinema’s Layers of Medialization by Jan-Helge Weidemann A thesis submied in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Literature Approved Dissertation Commiee Prof. Dr. em. K. Ludwig Pfeier, chair Jacobs University Bremen Prof. Dr. Immacolata Amodeo Jacobs University Bremen Prof. Dr. Leonardo Boccia Universidade Federal da Bahia, Brazil Date of Defense: June 7, 2012 School of Humanities & Social Sciences Statutory Declaration Family Name, Given/First Name: Weidemann, Jan-Helge Matriculation Number: 842485 Kind of Thesis Submitted: PhD Thesis English: Declaration of Authorship I hereby declare that the thesis submitted was created and written solely by myself without any external support. Any sources, direct or indirect, are marked as such. I am aware of the fact that the contents of the thesis in digital form may be revised with regard to usage of unauthorized aid as well as whether the whole or parts of it may be identied as plagiarism. I do agree my work to be entered into a database for it to be compared with existing sources, where it will remain in order to enable further comparisons with future theses. This does not grant any rights of reproduction and usage, however. The Thesis has been written independently and has not been submitted at any other university for the conferral of a PhD degree; neither has the thesis been previously published in full. German: Erklärung der Autorenschaft (Urheberschaft) Ich erkläre hiermit, dass die vorliegende Arbeit ohne fremde Hilfe ausschließlich von mir erstellt und geschrieben worden ist. Jedwede verwendeten Quellen, direkter oder indirekter Art, sind als solche kenntlich gemacht worden.
    [Show full text]
  • Complete Works Books
    Complete works Books 2004 EROBERUNG DES NUTZLOSEN, München, Hanser. Conquest of the Useless: Reflections from the Making of Fitzcarraldo, by Werner Herzog, hardcover, 306 pages, Ecco Books/Harper Collins Press. 1987 COBRA VERDE, Filmerzählung, München, Hanser. Also translated into Croatian, French, and Italian. 1984 WO DIE GRÜNEN AMEISEN TRÄUMEN: Filmerzählung, München, Hanser. Also translated into French and Italian. 1982 NOSFERATU, IL PRINCIPE DELLA NOTTE, Due racconti cinematografici, Milano, Ulbulibri. 1982 FITZCARRALDO, NOSFERATU, STROSZEK, Paris, Mazarine. 1982 FITZCARRALDO FILMBUCH, München, Schirmer/Mosel. Also translated into Italian, Polish, and Dutch. WERNER HERZOG FILM GMBH Spiegelgasse 9 1010 Vienna / Austria www.wernerherzog.com 1982 FITZCARRALDO: ERZÄHLUNG, München, Hanser. Also translated into Dutch, English, Italian, Russian. 1980 SCREENPLAYS: AGUIRRE, THE WRATH OF GOD, EVERY MAN FOR HIMSELF AND GOD AGAINST ALL AND LAND OF SILENCE AND DARKNESS, trans. by Alan Greenberg and Martje Herzog, New York, Tanam. 1979 DREHBÜCHER III: STROSZEK, NOSFERATU: Zwei Filmerzählungen, München, Hanser. Also translated into Italian. 1978 10 POEMS, Zehn Gedichte, Akzente Nr. 3, Munich 1978 1978 OF WALKING IN ICE, Vom Gehen im Eis, C. Hanser Verlag Munich 1978, Rauriser Prize of Literature 1979 1977 DREHBÜCHER II: AGUIRRE, DER ZORN GOTTES: JEDER FÜR SICH UND GOTT GEGEN ALLE; LAND DES SCHWEIGENS UND DER DUNKELHEIT, München, Skellig. Also translated into English. 1977 DREHBÜCHER I: LEBENSZEICHEN, AUCH ZWERGE HABEN KLEIN ANGEFANGEN: FATA MORGANA, München, Skellig. 1976 L'ÉNIGME DE KASPAR HAUSER (JEDER FÜR SICH UND GOTT GEGEN ALLE), in AVANT-SCÈNE CINÉMA, 176 (November). Also translated into Italian. WERNER HERZOG FILM GMBH Spiegelgasse 9 1010 Vienna / Austria www.wernerherzog.com 1976 HEART OF GLASS, by Alan Greenberg, with text by Werner Herzog and Herbert Achternbusch, Munich, Skellig.
    [Show full text]
  • Filmmaking and Film Studies
    Libraries FILMMAKING AND FILM STUDIES 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. 025 Sunset Red DVD-9505 African Violet #1 VHS-3655 1000 Eyes of Dr. Mabuse DVD-0048 After Gorbachev's USSR DVD-2615 11 x 14/One Way Boogie Woogie/27 Years Later DVD-9953 Agit-Film VHS-2622 13 Most Beautiful: Songs for Andy Warhol's Screen Tests DVD-2978 Ah, Liberty! VHS-5952 14 Video Paintings DVD-8355 Airport/Airport 1975 DVD-3307 2001: A Space Odyssey DVD-1239 Akira DVD-0315 DVD-0260 DVD-1214 25th Hour DVD-2291 Akran DVD-6838 39 Steps DVD-0337 Alaya VHS-1199 4 Films by Virgil Wildrich DVD-8361 Alexander Nevsky DVD-8367 400 Blows DVD-8362 DVD-4983 56 Up DVD-8322 Alexander Nevsky (Criterion) c.2 DVD-4983 c.2 8 1/2 c.2 DVD-3832 c.2 Alexeieff at the Pinboard VHS-3822 A to Z VHS-4494 Alfred Hitchcock: The Masterpiece Collection Bonus DVD-0958 Disc Abbas Kiarostami (Discs 1-4) DVD-6979 Discs 1 Ali: Fear Eats the Soul DVD-4725 Abbas Kiarostami (Discs 5-8) DVD-6979 Discs 5 Alice DVD-4863 Abbas Kiarostami (Discs 9-10) DVD-6979 Discs 9 Alice c,2 DVD-4863 c.2 Aberration of Light DVD-7584 All My Life VHS-2415 Abstronic VHS-1350 All Quiet on the Western Front DVD-1284 Ace of Light VHS-1123 All that Heaven Allows DVD-0329 Across the Rappahannock VHS-5541 All That Heaven Allows c.2 DVD-0329 c.2 Act of Killing DVD-4434 Alleessi: An African Actress DVD-3247 Adaptation DVD-4192 Alphaville
    [Show full text]
  • The Chronicle 78Th Year, No
    White House hopeful seeks support By Foon Rhee Askew, Sen. Alan Cranston (D.- requirement. The first financial I feel I can win the presidential elected office is an unsuccessful Hidden among the Cranstons CaU Sen. Gary Hart (D.-Colo. I, disclosure reports are due at the election if people are interested attempt for the' Democratic and Glenns of the aspiring Sen. John Glenn (D.-Ohio) and end of this month, she said. in change and solving nomination in the 9th presidential candidate set, former vice-president Walter In a telephone interview problems." Congressional District of Harold Huff of Knoxville, Tenn. Mondale. Wednesday from his campaign Huff expects strong support Virginia.- believes his disenchantment But also among that list are headquarters, Huff, 48, said he in the 24-state coal region but This is not, Huff said, a spur with professional politicians Wayne Lela, an independent is serious about running for also hopes to get his message of the moment decision to will strike a receptive chord from Downers'Grove, 111.; Tom president. Though he said he out to the general population. pursue the highest public office within the American electorate Cardenas, a Democrat from would prefer to run as a "I'm not entirely dependent on in the land. "I've been thinking and possibly land him in the Corcoran, Calif.; and Meryl Democrat, he did not rule out the coal region," he said. "I'm about this for several years," he White House in 1984. Fiola, an independent from the possibility of remaining in hoping to get the interest and said, adding that he finally Huff is only one of many Burnville, Minn.
    [Show full text]