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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. -
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. -
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. -
'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. -
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. -
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). -
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. -
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 -
'Hoods: Place Branding and the Reconstruction of Identity in Rick Sebak's Pittsburgh Documentaries
HOUSES, HOT DOGS, AND 'HOODS: PLACE BRANDING AND THE RECONSTRUCTION OF IDENTITY IN RICK SEBAK'S PITTSBURGH DOCUMENTARIES Bryan James McGeary A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2012 Committee: Ellen Berry, Advisor Ellen W. Gorsevski Graduate Faculty Representative Cynthia Baron Scott Magelssen © 2012 Bryan James McGeary All Rights Reserved iii ABSTRACT Ellen Berry, Advisor This project investigates the implementation of place branding theory via documentary filmmaking focused closely on the local characteristics of a place/region. Employing a close reading of WQED filmmaker Rick Sebak’s Pittsburgh History Series focused upon recurrent themes about aspects of Pittsburgh’s unique identity framed in relation to rhetorical approach and documentary techniques, while also noting aspects left out of Sebak’s films, this dissertation demonstrates the progressive potential of publicly funded documentary filmmaking to enable the residents of a given place to rebrand their identity and foster revitalization, independent of the expectations of city planners or corporate sponsors, and without sacrificing the diversity of experiences that give that place its unique character. As a whole, Sebak’s body of work constructs a particular narrative of Western Pennsylvania’s identity that revamps some of the preexisting notions about that identity. As a project of self-definition and self-understanding, the Pittsburgh History Series provides the local populace with some agency in recreating its image, rather than being branded from the outside. The success of this place branding approach to documentary filmmaking for Sebak and Western Pennsylvania suggests that other cities and regions could use it as a model to take greater control of their identities and cultivate renewal. -
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 -
Herzogvol2-Dpweb.Pdf
Werner Herzog naît à Munich le 5 septembre Potemkine et agnès b. se sont associés en 2008 pour créer la collection 1942. Il grandit dans un village de montagne « Potemkine /agnès b. DVD » avec le désir commun de faire exister des en Bavière et étudie l’histoire et la littérature films forts, originaux, rares et de tous horizons. allemande à Munich et Pittsburgh. Dans cet esprit, ils publient aujourd’hui le coffret Werner Herzog, volume Il réalise son premier film en 1961 à l’âge de 19 2. Il réunit les films du cinéaste réalisés entre 1976 et 1982. Le volume 1 Une collection documentaire réunit des films issus de toutes les époques du ans. Depuis, il a produit, écrit et réalisé plus de est paru en décembre 2014 et deux autres volumes paraîtront en 2015 60 films (fictions et documentaires). Werner pour rendre compte, chronologiquement et quasiment intégralement, cinéma et accueille des démarches documentaires extrêmement variées, Herzog a publié plus d’une douzaine de livres de l’œuvre du réalisateur. Des éditions collector de deux films phares de notamment du point de vue plastique et narratif. Cinéma direct, essais, journaux et mis en scène plusieurs opéras. Werner Herzog (Aguirre, la colère de Dieu et Fitzcarraldo) complètent la sortie de ces coffrets, ainsi qu’une édition Potemkine / Une collection intimes, œuvres hybrides ou expérimentales : cette collection est à l’écoute du documentaire intitulée Les Ascensions de Werner Herzog. bruissement des relations entre le monde et le cinéma. CETTE ÉDITION RÉUNIT LES 3 FILMS DITS « DE MONTAGNE » DU CINÉASTE LA GRANDE EXTASE DU SCULPTEUR SUR BOIS STEINER Le Suisse Walter Steiner, sculpteur sur bois, est recordman du monde de saut à skis. -
Copyrighted Material
1 Herzog and Auteurism Performing Authenticity Brigitte Peucker Michel Ichat ’ s Victoire sur l ’ Annapurna (1953) is incomplete, André Bazin tells the reader of “Cinema and Exploration,” because an avalanche “snatched the camera out of the hands of [Maurice] Herzog” (1967: 162). Bazin ’ s description conjures up a film camera immersed in snow, its lens obscured. No act of photographic registration can take place here: there is no distance between the hapless camera and its object. Struggling to delineate cinematic realism, Bazin evokes a limit case in bringing the real into the film frame, one in which the camera seized by an avalanche figures the collapse of world with filmic apparatus. Its existential weight intensified by its unrepresentability, Maurice Herzog ’ s peak experience is sublime. It ’ s the explorer ’ s brush with death that evokes Bazin ’ s central metaphor for the indexical image: the Veil of Veronica “pressed to the face of human suffering” (1967: 163). I have long suspected that Bazin ’ s account is what inspired Werner Stipetić to change his name to Werner Herzog, perhaps also to assume his particular aesthetic stance, since Bazin ’ s story contains all the lineaments of the portrait Herzog draws of himself as auteur. It ’ s the portrait of someone for whom the conquering of a mountain is co-extensive with filming it, for whom filmmaking demands a physical investment, and landscapes produce essential images because death lurks in the natural world. Most centrally, it ’ s the portrait of a filmmaker for whom authenticity is at stake. But what is the nature of this “authenticity”? It doesn ’ t reside in Bazinian realism in a strict sense, although it ’ s connected to its more metaphorical, expanded expression.