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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. INHOUDSOPGAVE ABSTRACT INHOUDSOPGAVE HOOFDSTUK 1: INLEIDING ......................................................................................................... 1 1.1: INLEIDING ............................................................................................................................. 1 1.2: BRONNENKRITIEK ............................................................................................................... 2 HOOFDSTUK 2: HET LEVEN EN WERK VAN WERNER HERZOG ....................................... 4 2.1: BIOGRAFIE WERNER HERZOG........................................................................................... 4 2.1.1: Vroege Jeugd .................................................................................................................... 4 2.1.2: Travel on foot is virtue ...................................................................................................... 5 2.1.3: Recht op een camera .......................................................................................................... 6 2.1.4: Levenservaring als basis .................................................................................................... 7 2.2: DOCUMENTAIRE VERSUS FICTIE ..................................................................................... 9 2.2.1: Realiteit op vroege leeftijd ................................................................................................. 9 2.2.2: The accountant's truth ...................................................................................................... 10 2.2.3: The ecstatic truth ............................................................................................................. 12 2.2.4: Extase door stilering ........................................................................................................ 15 2.2.5: Documentaire als genre ................................................................................................... 17 HOOFDSTUK 3: OP ZOEK NAAR THE ECSTATIC TRUTH .................................................. 20 3.1: THE ATHLETIC TRUTH ...................................................................................................... 20 3.1.1: Herakles .......................................................................................................................... 20 3.1.2: Die grosse ekstase des bildschnitzers Steiner ................................................................... 20 3.1.3: Gasherbrum - Der leuchtende berg................................................................................... 23 3.2: GELOOF EN RELIGIE.......................................................................................................... 27 3.2.1: Bells from the deep.......................................................................................................... 28 3.2.2: Pilgrimage ....................................................................................................................... 30 3.2.3: Wheel of time .................................................................................................................. 32 3.3: DYSTOPIE IN EEN SCIENCE-FICTION WERELD............................................................. 35 3.3.1: Fata morgana ................................................................................................................... 35 3.3.2: Lektionen in finsternis ..................................................................................................... 38 3.3.3: The wild blue yonder ....................................................................................................... 42 HOOFDSTUK 4: METHODOLOGIE........................................................................................... 43 4.1: EEN MODEL VAN ANALYSE ............................................................................................ 43 4.1.1: De narratieve laag............................................................................................................ 43 4.1.2: De filmische laag ............................................................................................................. 44 4.1.3: De symbolische laag ........................................................................................................ 45 4.1.4: Het geluid........................................................................................................................ 46 4.2: THE ECSTATIC TRUTH BINNEN EEN ANALYSEKADER .............................................. 46 4.2.1: Antefilmische .................................................................................................................. 47 4.2.2: Schriftuur 1 ..................................................................................................................... 47 4.2.3: Schriftuur 2 ..................................................................................................................... 48 4.2.4: De symbolische laag ........................................................................................................ 48 4.2.5: Het geluid........................................................................................................................ 48 HOOFDSTUK 5: CAVE OF FORGOTTEN DREAMS: ANALYSE ........................................... 49 5.1: INLEIDING ........................................................................................................................... 49 5.2: ANALYSE ............................................................................................................................. 50 HOOFDSTUK 6: BESPREKING EN BESLUIT ........................................................................... 62 BIBLIOGRAFIE FILMOGRAFIE BIJLAGE HOOFDSTUK 1. INLEIDING 1.1. INLEIDING Begin jaren 60 ontstond een nieuwe beweging binnen de Duitse kunstwereld, de Neuer Deutsche Film, een periode die een 20-tal jaar zou duren en waar Herzog deel van uitmaakte. De Neue Deutsche Film zag de opkomst van een nieuwe generatie Duitse regisseurs die, beïnvloed door de Franse New Wave beweging, met kleine budgetten aan de slag gingen (Franklin, 1986). Deze regisseurs en hun films kregen veel aandacht binnen het arthouse circuit waardoor enkelen onder hen uiteindelijk de kans kregen om met meer middelen te werken, een eer die ook Werner Herzog de laatste tien jaar te beurt viel. Herzog ziet zichzelf echter niet als deel van deze beweging: "Basically, it was a coincidence that I belonged to the first generation of post- war Germans, many of whom attempted to articulate themselves in new ways cinematically, not difficult when we think of German cinema in the 1950s. Remember, by 1968 I had already produced several films and from the very earliest days spent time outside of Germany, so I could never realistically be seen as a spokesman for New German Cinema" (Cronin, 2002, p. 32) Ondanks dat Herzog zichzelf niet beschouwd als deel van deze Neue Deutsche Cinema, is het toch een feit dat zijn werk gekenmerkt wordt door heel wat nieuwe beelden. Herzog ziet zichzelf als een iemand die dromen naar de realiteit brengt en de verantwoordelijkheid draagt om zijn publiek te laten kennis maken met een nieuw soort van beeldvocabularium (Franklink, 1986). Dit leverde hem een ongelofelijk uitgebreide filmografie op, met meer dan 60 films verspreid over een carrière van 50 jaar. Met Aguirre, Der Zorn Gottes (1972), Fitzcarraldo (1982) en meer recent Grizzly Man (2005) als bekendste films, is de erkenning voor Herzogs werk de laatste tien jaar stevig toegenomen. Met enkele fictiefilms, zoals Rescue Dawn (2006) en The Bad Lieutenant: Port of Call - New Orleans (2009), en vooral prachtige documentaires zoals Grizzly Man, Encounters at the End of the World (2007),
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