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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. -
Inicio Dissertacao
UNIVERSIDADE ESTADUAL DE CAMPINAS Gabriel Kitofi Tonelo WERNER HERZOG, DOCUMENTARISTA: FIGURAS DA VOZ E DO CORPO CAMPINAS 2012 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Gabriel Kitofi Tonelo WERNER HERZOG, DOCUMENTARISTA: FIGURAS DA VOZ E DO CORPO Dissertação de Mestrado apresentada ao Instituto de Artes da Universidade Estadual de Campinas para obtenção do Título de Mestre em Multimeios. Orientador: Prof. Dr. Fernão Vitor Pessoa de Almeida Ramos CAMPINAS, 2012 iii iv v vi Resumo Este trabalho pretende analisar a obra de documentários do cineasta alemão Werner Herzog sob a ótica da autorreflexão do diretor, através de sua voz e de seu corpo, em seus documentários e da relação estabelecida entre Herzog e a narrativa em cada filme. Procura- se estabelecer como a característica nasceu em sua filmografia e como evoluiu ao longo das cinco décadas de sua atividade como cineasta. Relacionam-se os processos da inserção de Werner Herzog em seus filmes com a teoria, própria do campo do Cinema Documentário, referente à inserção do sujeito-da-câmera na narrativa fílmica. Tomando como ponto de partida as reflexões surgidas no final da década de 1950 acerca da participação do cineasta na narrativa (Cinema Vérité) até as teorias de uma narrativa documentária profundamente voltada para o universo do próprio cineasta, popularizadas nos anos 1980, pode-se dizer que a autorreflexão do cineasta na narrativa é uma questão viva no campo teórico do Cinema Documentário e que é constantemente problematizada e renovada na produção documentária contemporânea. Palavras-Chave: Werner Herzog, Cinema Documentário, Subjetividade, Autoria. vii viii Abstract This work intends to analyse german filmmaker's Werner Herzog documentary ouevre, under the optics of the director's voice and body self-reflexion in his documentaries and the relationship between Herzog and his narratives in each work. -
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. -
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. -
Werner Herzog, Le Geste En Suspens
Werner Herzog, le geste en suspens Barbara RYCKEWAERT Werner Herzog, le geste en suspens ECOLE NATIONALE SUPÉRIEURE DES ARTS DÉCORATIFS 2009 remerciements à Clarisse Hahn SOMMAIRE Avant-Propos ............................................................ 11 Introduction ............................................................ 13 Définitions ................................................................ 21 La représentation du suspens .................................... 23 I. LES HÉROS HERZOGIENS 1. Altitude et conquête de l’inutile ............................ 35 Le «Grand» et le «Petit» (Deleuze) ........................... 47 2. Visions, rêves et états seconds ................................ 55 Perception .................................................................. 66 L’Énigme de Kaspar Hauser ......................................... 70 3. Un certain rapport au chamanisme Le mythe du vol ......................................................... 81 Chamanes, forgerons et alchimistes ........................... 83 Rituels, musique et danse............................................ 87 Bestiaire ..................................................................... 100 4. Paysages ................................................................... 112 II. INDIVIDU, LANGAGE, DISPARITION 1. Individu et société Le guide et l’exclu ........................................................ 123 Démarche et place du réalisateur, Expérience .............. 125 2. Werner Herzog et le langage Utilisation de la voix off / texte ................................... -
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. -
Complete Works Films
Complete works Films 2020 Fireball: Visitors from Darker Worlds 2019 Family Romance, LLC 2019 NOMAD – In the footsteps of Bruce Chatwin 2018 Meeting Gorbachev (co-director André Singer) 2017 Into the Inferno 2016 Salt and Fire 2016 Lo and Behold 2014 Queen of the Desert 2013 From One Second to the Next 2012/13 On Death Row I + II WERNER HERZOG FILM GMBH Spiegelgasse 9 1010 Vienna / Austria www.wernerherzog.com 2011 Into the Abyss - A Tale of Death, a Tale of Life 2010 Ode auf den Morgen der Menschheit (Ode to the Dawn of Man) 2010 Die Höhle der vergessenen Träume (Cave of Forgotten Dreams) 2009 La Bohéme 2009 My Son My Son What Have Ye Done 2008 Bad Lieutenant: Port Of Call New Orleans 2007 Encounters at the End of The World 2006 Rescue Dawn 2005 The Wild Blue Yonder 2005 Grizzly Man 2004 The White Diamond 2003 Rad der Zeit (Wheel of Time) WERNER HERZOG FILM GMBH Spiegelgasse 9 1010 Vienna / Austria www.wernerherzog.com 2002 Christ and Demons in New Spain 2001 Ten Thousand Years Older 2001 Pilgrimage 2000 Invincible 1999 Gott und die Beladenen (The Lord and the Laden) 1999 Mein liebster Feind (My Best Fiend) 1999 Schwingen der Hoffnung aka Julianes Sturz in den Dschungel (Wings of Hope) 1997 Little Dieter Needs to Fly 1995 Tod für fünf Stimmen (Death for Five Voices) 1994 Die Verwandlung der Welt in Musik (The Transformation of the World into Music) 1993 Glocken aus der Tiefe (Bells from the Deep) 1992 Lektionen in Finsternis (Lessons of Darkness) 1991 Film Lektionen (Film Lesson) WERNER HERZOG FILM GMBH Spiegelgasse 9 1010 Vienna / Austria -
(Self-)Reflexivity and Repetition in Documentary
Kent Academic Repository Full text document (pdf) Citation for published version UNSPECIFIED UNSPECIFIED Doctor of Philosophy (PhD) thesis, UNSPECIFIED. DOI Link to record in KAR https://kar.kent.ac.uk/87147/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Subjectivity, (Self-)reflexivity and Repetition in Documentary Silke Panse PhD-Thesis 2007 Film Studies School of Drama, Film and the Visual Arts University of Kent Canterbury Abstract This thesis advances a deterritorialised reading of documentary on several levels: firstly, with respect to the difference between non-fiction and fiction, allowing for a fluctuation between both. As this thesis examines the movements of subjective documentary between self-reflexivity and reflexivity, it argues against an understanding of reflexivity as something that is emotionally distanced from its object and thus relies on a strict separation from both the subject and what it documents, such as for instance the stable irony in many found footage or mock-documentaries. -
Encounters at the End of the World
TREASURES FROM THE YALE FILM ARCHIVE WEDNESDAY AN ONGOING SERIES OF CLASSIC AND CONTEMPORARY FILMS PRESENTED IN 35MM BY THE YALE FILM STUDY CENTER JULY 18, 2018 7:00PM • WHITNEY HUMANITIES CENTER PRESENTED WITH SUPPORT FROM ENCOUNTERSENCOUNTERS AT THE END OFAT THE WORLDTHEPAUL L. JOSKOW ’70END M.PHIL., ’72 PH.D. “There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.” o. —Werner Herzog, “The Minnesota Declaration” N S 18 4 E A S O N Leave it to Werner Herzog to create a National Science Foundation-backed documentary about Antarctica that highlights the continent’s “professional dreamers,” a “disoriented or deranged” penguin, and the eternal question of why chimpanzees don’t ride goats. The film earned Herzog his first (and to date only) Academy Award nomination, and it inspired Roger Ebert—to whom the film is dedicated—to describe it as “a poem of oddness and beauty. Herzog is like no other filmmaker, and to return to him is to be welcomed into a world vastly larger and more peculiar than the one around us.” Herzog became interested in the project after watching underwater videography by Henry Kaiser, who went on to become the film’s producer. Kaiser’s material is seen throughout ENCOUNTERS, but Herzog first made use DIRECTED BY WERNER HERZOG of it in his 2005 sci-fi film THE WILD BLUE YONDER. With no opportunity for advance scouting, Herzog and SCREENPLAY BY WERNER HERZOG his frequent cinematographer Peter Zeitlinger shot ENCOUNTERS in seven weeks in late 2006 as part of the NSF’s Antarctic Artists and Writers Program, which was established “to enable serious writing and the arts that NARRATION BY WERNER HERZOG increase understanding of the Antarctic and help document America’s Antarctic heritage.” Herzog’s reputation (2008) 99 MINS. -
Pontifícia Universidade Católica De São Paulo Puc/Sp
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC/SP Rita de Cássia da Silva Leão Werner Herzog em busca da compreensão humana DOUTORADO EM CIÊNCIAS SOCIAIS Tese apresentada à banca examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para a obtenção do título de Doutora em Ciências Sociais (Antropologia), sob a orientação da Prof.ª Dr.ª Lucia Helena Vitalli Rangel. São Paulo 2015 BANCA EXAMINADORA ________________________________________ ________________________________________ ________________________________________ ________________________________________ ________________________________________ Agradecimentos À CAPES e ao CNPq, pela concessão da bolsa de Doutorado. À Prof.ª Dr.a Lucia Helena Vitalli Rangel Ao Prof. Dr. Edgard de Assis Carvalho Ao Prof. Dr. Edmilson Felipe À Prof.ª Dr.a Cynthia Marcucci Ao Prof. Dr. Flávio Sousa Brito Dedico aos queridos Iara e Guilherme. RESUMO Todo cinema contém um caráter antropológico, por ser aberto como a própria humanidade. A obra de Werner Herzog é contigua à antropologia fundamental, que busca compreender o processo de penetração do homem no mundo e o processo inseparável de penetração do mundo no homem. O primeiro filme analisado, Wodaabe: Os pastores do sol, trata do amor à beleza entre seres que se sentem desprezados pelos povos vizinhos. O segundo, O homem urso, de um humano que queria ser urso e não suportava o mundo dos humanos. O terceiro, A caverna dos sonhos esquecidos, conta como sonhava a humanidade há 32 mil anos, como projetava seu duplo nas paredes das cavernas e nas pequenas estátuas. Nas pinturas e estátuas estão presentes, ao mesmo tempo, uma tendência para o fantástico e para a realidade das formas. -
Herzog (II).Pdf
Prestakuntzaz autodidakta, 20 urterekin bere produkzio-etxea sortu zuen. Hurrengo urtean, bere lehenengo film laburra (Herakles) egiten hasi zen. Ondoren, bere lehen 12 03 2010 18.00 h 13 03 2010 20.00 h 09 04 2010 20.00 h 10 04 2010 18.00 h film luzea zuzendu zuen: Lebenszeichen (Bizi-seinaleak). Hortik aurrera, Herzogen Ballade vom kleinen Soldaten (La balada del pequeño soldado), Glocken aus der Tiefe (Bells from the Deep), Alemania, EE.UU., 1993 lana berezia da zinez; film luzeak eta dokumentalak, opera zuzendaritza, antzezpena Rep. Federal de Alemania, 1984 eta gidoilari lanak uztartu zituen. D, G: Werner Herzog; Pr: Lucki Stipetic, Momentous Events, WH Bere filmografian, Werner Herzogek ez ditu bereizten fikziozko filmak genero D, G: Denis Reichle, Werner Herzog; Pr: Manfred Nägele, SDR, WH Filmproduktion; Filmproduktion; F: Jörg Schmidt-Reitwein; Mn: Rainer Standke; C, 60 min, dokumentaletik; izan ere, biak ala biak uztartu izan ditu errealitate bakarra sortuz. F: Michael Edols, Jorge Vignati; Mn: Maximiliane Mainka; A: Indios Miskito de DVD, VOSE Azken horren froga da berak adierazi zuela Fitzcarraldo dela bere dokumentalik onena. Nicaragua, Denis Reichle, Werner Herzog; C, 46 min, DVD, VOSE Gesualdo – Tod für fünf Stimmen (Death for Five Voices), Alemania, 1995 Fassbinder, Schlöndorff, eta Wendersekin batera «Zinema alemaniar berria» izeneko Gasherbrum – Der leuchtende Berg (The Dark Glow of the Mountains), D, G: Werner Herzog; Pr: Lucki Stipetic, ZDF, WH Filmproduktion; F: Peter mugimenduaren sortzailea izaki, Werner Herzogek -
Rivista Digitale Di Cultura Cinematografica RC Numero25
numero25. maggio 2010 Rapporto ConFidenziale rivista digitale di cultura cinematografica RC numero25. maggio 2010 IN QUESTO NUMERO: Benoît Delépine e Gustave Kervern, Jesus Franco, Giampiero Piazza, Eleonora Campanella e Serena Gramizzi, Orson Welles, James Whale, Petter Næss, Wes Anderson e Spike Jonze, Roman Polanski, Johnnie To, Michael Cuesta, Werner Herzog. Rapporto Confidenziale. rivista digitale di cultura cinematografica. www.rapportoconfidenziale.org 1 numero25. maggio 2010 numero25. maggio 2010 Rapporto Confidenziale Rapporto Confidenzialerivista digitale di cultura cinematografica Rapporto Confidenzialerivista digitale di cultura cinematografica rivista digitale di cultura cinematografica nasce nel novembre 2007 da un’esigenza di Alessio Galbiati e Roberto non è un prodotto editoriale ai sensi della legge n. 62 del 7 marzo 2001 Rippa. e non persegue alcuna finalità di lucro. La rivista vuole essere una numero25 - maggio 2010 voce libera ed indipendente di critica cinematografica: libera da ogni L’esigenza di cui si parla era ed è quella di trattare il cinema ed i condizionamento ed indipendente nell’espressione del proprio senso www.rapportoconfidenziale.org film con assoluta libertà, svincolati dai diktat del mercato, in primis critico. Le immagini utilizzate provengono dalla rete e sono pertanto [email protected] editoriale, dalla schiavitù delle uscite settimanali, dalla noia delle sale da considerarsi di dominio pubblico. Per ogni possibile controversia e dall’incubo delle multisale; in una parola: emancipazione,