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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. 1974 VOM GEHEN IM EIS, München, Hanser. Also translated into Croatian, Dutch, English, French, Italian, Japanese, Russian, Finnish, Spanish, and Portuguese 1972 Herzog, W. SCÉNARIOS: SIGNES DE VIE-LES NAINS AUSSI ONT COMMENCÉ PETITS, FATA MORGANA-AGUIRRE, LA COLÈRE DE DIEU, Bibliothèque Allemande P.O.L., Hachette. WERNER HERZOG FILM GMBH Spiegelgasse 9 1010 Vienna / Austria www.wernerherzog.com .

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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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“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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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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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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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.
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'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.
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Conceiving Grizzly Man Through the "Powers of the False" Eric Dewberry, Georgia State University, US
Conceiving Grizzly Man through the "Powers of the False" Eric Dewberry, Georgia State University, US Directed by New German Cinema pioneer Werner Herzog, Grizzly Man (2005) traces the tragic adventures of Timothy Treadwell, self-proclaimed ecologist and educator who spent thirteen summers living among wild brown bears in the Katmai National Park, unarmed except for a photographic and video camera. In 2003, Treadwell and his girlfriend, Amy Huguenard, were mauled to death and devoured by a wild brown bear. The event is captured on audiotape, and their remains were found in the area around their tent and inside Bear #141, who was later killed by park officials. Herzog's documentary is assembled through interviews of friends close to Treadwell, various professionals, family, and more than 100 hours of footage that Treadwell himself captured in his last five years in Alaska. Grizzly Man is more than a conventional wildlife documentary, as the title of the film emphasizes the centrality of the main protagonist to the story. Herzog subjectively structures the film to take the viewer on a dialectical quest between his and Treadwell's visions about man versus nature and life versus death. As Thomas Elsaesser recognized early in Herzog's career, the filmmaker is famous for reveling in the lives of eccentric characters, who can be broken down into two different subjects: "overreachers," like the prospecting rubber baron Fitzcarraldo and the maniacal conquistador Aguirre, or "underdogs" like Woyzeck, all of them played by the equally unconventional German actor Klaus Kinski (Elsaesser, 1989). Including Herzog's documentary subjects, they are all outsiders, living on the edge, and in excessive pursuit of their goals in violation of what is considered normal and ordinary in society.
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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.
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Presentación De Powerpoint
2016 BUSINESS AND BIODIVERSITY FORUM SECTION H: TOURISM – DECEMBER 3, 2016 PERU • One of the 17 megadiverse countries in the world (UNESCO 1998). • 84 of 104 life zones according to the Holdridge System. • 55 Centuries of Culture. • Gastronomy as National Identity. BIODIVERSITY NEW ECONOMIC VARIABLE • Natural resources are capital goods. • Value of natural capital is essential to measure sustainability. • Conservation is not an expense, but a long-term investment. • Measuring natural capital is required for management and investment on natural goods. LOSS OF BIODIVERSITY Search of short-term profit leads to loss of biodiversity and local cultures. AMAZON RAINFOREST Forest degradation caused by logging, livestock, illegal mining, etc. Some consequences: • Loss of ecosystems. • Less carbon sequestration. • Loss of medicinal plants. • Migration of native cultures. • Water pollution. 2017 INTERNATIONAL YEAR OF SUSTAINABLE TOURISM FOR DEVELOPMENT DECLARED BY UNITED NATIONS INKATERRA RESERVA AMAZONICA INKATERRA Established in 1975, pioneering ecotourism and sustainable development in Peru. Member of Relais & Châteaux, Virtuoso and National Geographic Unique Lodges of the World. Replicable Ecotourism Model: Scientific Research → Conservation + Education = Sustainable Development INKATERRA MACHU PICCHU PUEBLO HOTEL INKATERRA AREAS OF INFLUENCE • Amazon rainforest of Madre de Dios • Machu Picchu cloud forest • Sacred Valley of the Incas • Cusco City • Cabo Blanco Tropical Ocean, Desert and Dry Forest INKATERRA LA CASONA Aguirre, The Wrath of God
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Bruce Chatwin, a Kindred Spirit Who Dedicated His Life to Illuminating the Mysteries of the World
PRESS NOTES - 2020 - MUSIC BOX FILMS LOGLINE Werner Herzog travels the globe to reveal a deeply personal portrait of his friendship with the late travel writer Bruce Chatwin, a kindred spirit who dedicated his life to illuminating the mysteries of the world. SYNOPSIS Werner Herzog turns the camera on himself and his decades-long friendship with the late travel writer Bruce Chatwin, a kindred spirit whose quest for ecstatic truth carried him to all corners of the globe. Herzog’s deeply personal portrait of Chatwin, illustrated with archival discoveries, film clips, and a mound of “brontosaurus skin,” encompasses their shared interest in aboriginal cultures, ancient rituals, and the mysteries stitching together life on earth. WERNER HERZOG Werner Herzog was born in Munich on September 5, 1942. He grew up in a remote mountain village in Bavaria and studied History and German Literature in Munich and Pittsburgh. He made his first film in 1961 at the age of 19. Since then he has produced, written, and directed more than sixty feature- and documentary films, such as Aguirre der Zorn Gottes (AGUIRRE, THE WRATH OF GOD, 1972), Nosferatu Phantom der Nacht (NOSFERATU, 1978), FITZCARRALDO (1982), Lektionen in Finsternis (LESSONS OF DARKNESS, 1992), LITTLE DIETER NEEDS TO FLY (1997), Mein liebster Feind (MY BEST FIEND, 1999), INVINCIBLE (2000), GRIZZLY MAN (2005), ENCOUNTERS AT THE END OF THE WORLD (2007), Die Höhle der vergessenen Träume (CAVE OF FORGOTTEN DREAMS, 2010). Werner Herzog has published more than a dozen books of prose, and directed as many operas. Werner Herzog lives in Munich and Los Angeles.
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