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Werner Herzog

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Prestakuntzaz autodidakta, 20 urterekin bere produkzio-etxea sortu zuen. Hurrengo urtean, bere lehenengo film laburra (Herakles) egiten hasi zen. Ondoren, bere lehen 15 01 2010 18.00 h 16 01 2010 20.15 h 29 01 2010 20.00 h 30 01 2010 18.00 h film luzea zuzendu zuen: Lebenszeichen (Bizi-seinaleak). Hortik aurrera, Herzogen Herakles, Rep. Federal de Alemania, 1962 Herz aus Glas (Corazón de cristal), Rep. Federal de Alemania, 1976 lana berezia da zinez; film luzeak eta dokumentalak, opera zuzendaritza, antzezpena eta gidoilari lanak uztartu zituen. D, G, Pr y Mn: Werner Herzog; F: Jaime Pacheco; M: Uwe Brandner; B/N, D: Werner Herzog; Pr: WH Filmproduktion; G: Werner Herzog, Herbert Bere filmografian, Werner Herzogek ez ditu bereizten fikziozko filmak genero 12 min, DVD, VOSE. Achternbusch; F: Jörg Schmidt-Reitwein; M: Popol Vuh, Studio der Freühen dokumentaletik; izan ere, biak ala biak uztartu izan ditu errealitate bakarra sortuz. Lebenszeichen (Signos de vida), Rep. Federal de Alemania, 1968 Musik; Mn: Beate Mainka-Jellinghaus; A: Josef Bierbichler, Stefan Güttler, Clemens Scheitz, Sonja Skiba; C, 97 min, 16 mm, VOSE. Azken horren froga da berak adierazi zuela Fitzcarraldo dela bere dokumentalik onena. D: Werner Herzog; Pr: Werner Herzog (WH) Filmproduktion; G: Werner Herzog, Fassbinder, Schlöndorff, eta Wendersekin batera «Zinema alemaniar berria» izeneko Achim von Arnim; F: Thomas Mauch; M: Stavros Xarhakos; Mn: Beate 05 02 2010 18.00 h 06 02 2010 20.00 h mugimenduaren sortzailea izaki, Werner Herzogek antiheroien aldeko joera argia Mainka-Jellinghaus; A: Peter Brogle, Wolfgang Reichmann, Athina erakutsi izan du: izaera bereziko pertsonaiak etsaitasunez betetako munduaren Zacharopoulou, Wolfgang von Ungern-Sternberg; B/N, 83 min, 16 mm, VOSE. Kaspar Hauser – Jeder für sich und Gott gegen alle (El enigma de Kaspar aurka agertzen dira, eta bizirautearen alde edo euren ideiak defendatzeko asmoz Hauser), Rep. Federal de Alemania, 1974 borrokatzen dira, beti porrot egingo badute ere. 15 01 2010 20.00 h 16 01 2010 18.00 h D: Werner Herzog; Pr: Walter Saxer, ZDF, Filmverlag der Autoren, WH Bere pertsonaiak matxinatu egiten dira euren bizitza absurduaren aurrean, baina, egoera horren aurkako borrokaren ondorioz, zoratu, erabat baliogabetu edo hil Die beispiellose Verteidigung der Festung Deutschkreuz (The Filmproduktion; G: Werner Herzog, a partir de la novela de Jakob egiten dira. Alde batetik, pertsonaia bereziak erretratatzen ditu (nanoak, soldaduak, Unprecedented Defence of the Fortress Deutschkreuz), Rep. Federal de Wassermann; F: Jörg Schmidt-Reitwein; M: Popol Vuh y otros; Mn: Beate presoak...), eta, bestetik, megalomanoei, asaldatzaileei eta duten originaltasuna Alemania, 1967 Mainka-Jellinghaus; A: Bruno S., Walter Ladengast, Brigitte Mira, barkatzen ez dien mundu baten aurrez aurre jarritakoei buruz hitz egiten du (Aguirre, D, G y Mn: Werner Herzog; Pr: WH Filmproduktion; F: Jaime Pacheco; Willy Semmelrogge, Michael Kroecher; C, 109 min, 35 mm, VOSE. Fitzcarraldo...). Bere dokumentaletan, ezaugarri hori ere funtsezkoa da; izan ere, A: Peter Brumm, Georg Eska, Karl-Heinz Steffel, Wolfgang von Ungern- 05 02 2010 20.15 h 06 02 2010 18.00 h egoera zailak bizitako pertsonak, jende-multzoak edo etniak aurkeztu nahi izaten Sternberg; B/N, 15 min, DVD, VOSE. ditu. Gainera, jende horrek mota guztietako oztopoak gainditu behar izaten ditu, Auch Zwerge haben klein angefangen (También los enanos empezaron La Soufrière – Warten auf eine unausweichliche Katastrophe, bizirauteko eta proposatutako helburuak lortzeko. Paisaiak oinarrizkoak dira Rep. Federal de Alemania, 1977 Herzogen lanean. Esan daiteke paisaia pertsonaia bat gehiago dela bere istorioetan, pequeños), Rep. Federal de Alemania, 1970 eta oinarrizko zeregina dauka bilbearen garapenean. D y G: Werner Herzog; Pr: WH Filmproduktion; F: Thomas Mauch; M: Florian D y G: Werner Herzog; Pr: Walter Saxer, WH Filmproduktion; F: Jörg «Cinéma verité» delakotik ihes egiten duen arren, Herzogek beti baztertu izan ditu Fricke; Mn: Beate Mainka-Jellinghaus; A: Helmut Döring, Paul Glauer, Gisela Schmidt-Reitwein; Mn: Beate Mainka-Jellinghaus; A: Werner Herzog, efektu bereziak bere lanetan. Errealismoaren bilaketa horretan, egilearen eta Hertwig, Hertel Minkner, Gertrud Piccini, Marianne Saar, Brigitte Saar, Gerd habitantes de la isla de Guadalupe; C, 31 min, DVD, VOSE. lanaren arteko fusioa erabatekoa da. Zeregin ia ezinezkoetan hainbat ezustekoren Gickel; B/N, 96 min, 16 mm, VOSE. How much Wood would a Woodchuck chuck... – Beobachtungen zu aurka borroka egin behar duten bere pertsonaiek bezala, zuzendariak berak egoera einer neuen Sprache (Cuánta madera roería una marmota...), Rep. Federal horiek bizi ditu bere filmatze-saioetan, bereziki zailak izaten baitira. 22 01 2010 18.00 h 23 01 2010 20.00 h de Alemania, 1976 Azken finean, bere filmografiaren ezaugarriak honakoak dira: antzerkiaren eragina, D y G: Werner Herzog; Pr: Walter Saxer, SDR, WH Filmproduktion; formagatiko kezka, egilearen zigilu pertsonala eta giza gatazketan zentratutako Letzte Worte (Last words), Rep. Federal de Alemania, 1968 ikuspegia. D y G: Werner Herzog; Pr: WH Filmproduktion; F: Thomas Mauch; Mn: Beate F: Thomas Mauch; Mn: Beate Mainka-Jellinghaus; A: Werner Herzog, Steve Liptay, Scott McKain, Ralph Wade; C, 45 min, DVD, VOSE. De formación autodidacta, con 20 años fundó su propia productora. Al año siguiente Mainka-Jellinghaus; B/N, 13 min, DVD, VOSE. inició el rodaje de su primer cortometraje Herakles. Posteriormente, dirige su primer Maßnahmen gegen Fanatiker (Precautions Against Fanatics), Rep. Federal 12 02 2010 18.00 h 13 02 2010 20.15 h «largo» Lebenszeichen (Señales de vida). A partir de aquí, la obra de Herzog es de Alemania, 1969 ciertamente singular, combina la realización de largometrajes y documentales, la Behinderte Zukunft? (Futuro limitado), Rep. Federal de Alemania, 1971 D y G: Werner Herzog; Pr: WH Filmproduktion; F: Dietrich Lohmann, Jörg dirección de ópera, la actuación y el trabajo de guionista. Schmidt-Reitwein; Mn: Beate Mainka-Jellinghaus; A: Petar Radenkovic, D: Werner Herzog; Pr: WH Filmproduktion; G: Werner Herzog, a partir de la En su filmografía, Werner Herzog no distingue las películas de ficción del género Mario Adorf, Hans Tiedemann, Herbert Hisel; C, 12 min, DVD, VOSE. idea de Hans-Peter Meier; F: Jörg Schmidt-Reitwein; Mn: Beate documental, ambas vertientes se funden formando una sola realidad. Prueba de esto Mainka-Jellinghaus; A: Rolf Illig, Werner Herzog; C, 43 min, 16 mm, VOSE. último es el hecho de que él mismo afirma que Fitzcarraldo es su mejor documental. Fata Morgana, Rep. Federal de Alemania, 1971 Die große Ekstase des Bildschnitzers Steiner (El gran éxtasis del Fundador del denominado «Nuevo cine alemán» junto a directores como Fassbinder, D, G: Werner Herzog; Pr: WH Filmproduktion; F: Jörg Schmidt-Reitwein; escultor de madera Steiner), Rep. Federal de Alemania, 1974 Schlöndorff y Wenders, Werner Herzog dejó clara su preferencia por los antihéroes: M: Blind Faith, The tirad Ear Band; Mn: Beate Mainka-Jellinghaus; A: Lotte personajes de singular personalidad enfrentados a un mundo hostil, para los que la Eisner, Eugen Des Montagnes, James William Gledhill, Wolfgang von D y G: Werner Herzog; Pr: Walter Saxer, SDR, WH Filmproduktion; F: Jörg lucha por su supervivencia o por defender sus ideas está siempre abocada al Ungern-Sternberg; C, 79 min, 16 mm, VOSE. Schmidt-Reitwein; M: Florian Fricke; Mn: Beate Mainka-Jellinghaus; fracaso. A: Walter Steiner, Werner Herzog; B/N + C, 47 min, DVD, VOSE. Sus personajes se rebelan ante lo absurdo de sus vidas, pero su lucha contra esta 22 01 2010 20.15 h 23 01 2010 18.00 h situación les lleva a la locura, la anulación total o la muerte. Por un lado retrata a 12 02 2010 20.00 h 13 02 2010 18.00 h Land des Schweigens und der Dunkelheit (El país del silencio y de la personajes peculiares (enanos, soldados, presididarios...) y por otro habla de Cerro Torre: Schrei aus Stein (Grito de piedra), Alemania, Francia, Canadá, oscuridad), Rep. Federal de Alemania, 1971 megalómanos y rebeldes enfrentados a un mundo que no les perdona su originalidad 1991 (Aguirre, Fitzcarraldo...). En sus documentales, esta premisa también es básica pues D y G: Werner Herzog; Pr: Referat für Filmgeschichte, WH Filmproduktion; D: Werner Herzog; Pr: Henry Lange, Richard Sadler, Walter Saxer, Canal+, tiene especial interés en presentar personas, grupos de gente o etnias que viven o F: Jörg Schmidt-Reitwein; Mn: Beate Mainka-Jellinghaus; A: Fini Straubinger, han vivido situaciones difíciles y que han luchado contra todo tipo de obstáculos para ZDF, SERA Filmproduktion y otros; G: Hans-Ulrich Klenner, Walter Saxer, M. Baaske, Elsa Fehrer, Heinrich Fleischmann, Rolf Illig, Vladimir Kokol, Resi sobrevivir o por alcanzar los objetivos que se habían propuesto. Los paisajes son Robert Geoffrion, Reinhold Messner; F: Rainer Klausmann; M: Sarah Hopkins, Mittermeier; C, 85 min, 16 mm, VOSE. básicos en la obra de Herzog. Puede decirse que el paisaje es un personaje más de A. Lamb, I.Marshall, Atahualpa Yupanqui; Mn: Suzanne Baron; A: Vittorio sus historias y tiene un papel fundamental en el desarrollo de la trama. 29 01 2010 18.00 h 30 01 2010 20.00 h Mezzogiorno, Mathilda May, Stefan Glowacz; C, 105 min, 35 mm, VOSE. Aunque huye del «cinéma verité», Herzog siempre ha rechazado los efectos especiales en su trabajo. En esta búsqueda de realismo, la fusión autor-obra es total. Aguirre, der Zorn Gottes (Aguirre, la cólera de Dios), Rep. Federal de 19 02 2010 18.00 h 20 02 2010
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    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.
  • Bruce Chatwin E Werner Herzog, Livro E Filme: Vidas Entrelaçadas1

    Bruce Chatwin E Werner Herzog, Livro E Filme: Vidas Entrelaçadas1

    Dossiê – N. 32 – 2016.2 – Mariana Castro de Alencar Maria Cristina Cardoso Ribas Bruce Chatwin e Werner Herzog, livro e filme: vidas entrelaçadas1 Mariana Castro de Alencar2 Maria Cristina Cardoso Ribas3 Universidade do Estado do Rio de Janeiro Resumo: Este artigo apresenta o encontro entre o cineasta alemão Werner Herzog e o autor inglês Bruce Chatwin, suas afinidades na trajetória de vida, pensamento e obra, analisando suas vivências entrelaçadas e guiadas sempre pelo amor à arte, às viagens e às experiências intensas de vida em relação aos seus modi operandi. Nessa mistura, surgiu, em parceria, não somente um produto singular - o filme Cobra Verde -, mas também um encontro de vida, arte, e incansável busca pelo autoconhecimento que valoriza os limites humanos. Herzog encontrou em Chatwin a personificação da intensidade sinestésica no simples desejo de contar histórias, potência estética das obras de ambos, tecidas por elementos inusitados que vão de paisagens impossíveis a elencos ímpares que atuam e interferem nas sequências. Bruce Chatwin ofereceu ao cineasta um exemplo de aproveitamento da vida de forma descomedida, que dialoga bem com a práxis cinematográfica do colega cineasta. Do valioso encontro de seus projetos artísticos, destacam-se o aspecto sacramental da marcha (Chatwin) e a definição impossível dos limites da visão (Herzog), cujo impacto é partilhado especialmente na adaptação fílmica - Cobra Verde - de o romance O Vice-Rei de Uidá. Palavras-chave: Werner Herzog. Bruce Chatwin. Cobra Verde. O Vice-Rei de Uidá. Literatura e cinema. O encontro de duas personalidades assemelha-se ao contato de duas substâncias químicas: se alguma reação ocorre, ambos sofrem uma transformação.
  • German Films Quarterly 2 · 2004

    German Films Quarterly 2 · 2004

    German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS.
  • L'invention Musicale Face À La Nature Dans Grizzly Man, the Wild

    L'invention Musicale Face À La Nature Dans Grizzly Man, the Wild

    Document generated on 09/28/2021 12:13 a.m. Revue musicale OICRM 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 Ce que le cinéma nous apprend de la musique Article abstract Volume 5, Number 1, 2018 When German filmmaker Werner Herzog directs or produces three documentaries on the creation and recording of the music of three of his films URI: https://id.erudit.org/iderudit/1044446ar between 2005 and 2011, he performs a double gesture of revelation and DOI: https://doi.org/10.7202/1044446ar incarnation: the notes become visible through the body of the musicians. In doing so, Herzog reveals his poetic art: musical forms respond to nature, so See table of contents present in his films; nature is seen as an instrument of harmony while music becomes a power of estrangement, getting our perceptions out of tune; and by giving us access to both the infigurable – the moral being – and the material body made of flesh and bone, the music opens a path to the heart of the world. Publisher(s) Observatoire interdisciplinaire de création et recherche en musique (OICRM) ISSN 2368-7061 (digital) Explore this journal Cite this article Deville, V. (2018). 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, 5(1), 103–120. https://doi.org/10.7202/1044446ar Tous droits réservés © Revue musicale OICRM, 2018 This document is protected by copyright law.