1962 Herakles 1964 Spiel Im Sand (Game in the Sand) 1966 Die Beispiellose Verteidigung Der Festung Deutschkreutz

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1962 Herakles 1964 Spiel im Sand (Game in the Sand) 1966 Die beispiellose Verteidigung der Festung Deutschkreutz (The Unprecedented Defence of the Fortress Deutschkreutz) 1967 Letzte Worte (Last Words) 1968 Lebenszeichen (Signs of Life) 1969 Maßnahmen gegen Fanatiker (Precautions against Fanatics) 1969 Die fliegenden Ärzte von Ostafrika (The Flying Doctors of East Africa) 1970 Auch Zwerge haben klein angefangen (Even Dwarfs Started Small) 1970 Fata Morgana 1971 Behinderte Zukunft (Handicapped Future) 1971 Land des Schweigens und der Dunkelheit (Land of Silence and Darkness) 1972 Aguirre der Zorn Gottes (Aguirre, the Wrath of God) 1973 Die große Ekstase des Bildschnitzers Steiner (The Great Ecstasy of Woodcarver Steiner) 1974 Jeder für sich und Gott gegen alle (The Enigma of Kaspar Hauser: Every Man for Himself and God against All) 1976 Herz aus Glas (Heart of Glass) 1976 How Much Wood Would a Woodchuck Chuck 1976 Mit mir will keiner spielen (No One Will Play with Me) 1976 Stroszek 1977 La Soufrière 1978 Nosferatu Phantom der Nacht (Nosferatu the Vampyre) 1979 Woyzeck 1980 God’s Angry Man 1980 Huie's Sermon 1982 Fitzcarraldo 1984 Die Ballade vom kleinen Soldaten (Ballad of the Little Soldier) 1984 Gasherbrum - der leuchtende Berg (The Dark Glow of the Mountains) 1984 Wo die grünen Ameisen träumen (Where the Green Ants Dream) 1987 Cobra Verde 1988 Les Gauloises 1989 Wodaabe die Hirten der Sonne (Wodaabe - Herdsmen of the Sun) 1990 Echos aus einem düsteren Reich (Echoes from a Sombre Empire) 1991 Jag Mandir: Das exzentrische Privattheater des Maharadscha von Udaipur (Jag Mandir: The Eccentric Private Theater of the Maharaja of Udaipur) 1991 Schrei aus Stein (Scream of Stone) 1991 Film Lektionen (Film Lesson) 1992 Lektionen in Finsternis (Lessons of Darkness) 1993 Glocken aus der Tiefe (Bells from the Deep) WERNER HERZOG FILM GMBH - Spiegelgasse 9 - 1010 Vienna / Austria - www.wernerherzog.com 1994 Die Verwandlung der Welt in Musik (The Transformation of the World into Music) 1995 Tod für fünf Stimmen (Death for Five Voices) 1997 Little Dieter Needs to Fly 1999 Schwingen der Hoffnung aka Julianes Sturz in den Dschungel (Wings of Hope) 1999 Mein liebster Feind (My Best Fiend) 1999 Gott und die Beladenen (The Lord and the Laden) 2000 Invincible 2001 Pilgrimage 2001 Ten Thousand Years Older 2002 Christ and Demons in New Spain 2003 Rad der Zeit (Wheel of Time) 2004 The White Diamond 2005 Grizzly Man 2005 The Wild Blue Yonder 2006 Rescue Dawn 2007 Encounters at the End of The World 2008 Bad Lieutenant: Port Of Call New Orleans 2009 My Son My Son What Have Ye Done 2009 La Bohéme 2010 Die Höhle der vergessenen Träume (Cave of Forgotten Dreams) 2010 Ode auf den Morgen der Menschheit (Ode to the Dawn of Man) 2011 Into the Abyss - A Tale of Death, a Tale of Life 2012/13 On Death Row I + II 2013 From One Second to the Next 2014 Queen of the Desert WERNER HERZOG FILM GMBH - Spiegelgasse 9 - 1010 Vienna / Austria - www.wernerherzog.com.

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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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“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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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.
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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.
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Documentary Movies
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CINEMA 12 76 the AFRICAN TWIN TOWERS UNVEILING the CREATIVE PROCESS in CHRISTOPH SCHLINGENSIEF's LATE FILM WORK Jeremy Hamers
CINEMA 12 76 THE AFRICAN TWIN TOWERS UNVEILING THE CREATIVE PROCESS IN CHRISTOPH SCHLINGENSIEF’S LATE FILM WORK Jeremy Hamers1 (University of Liège) In 1999, during one of Christoph Schlingensief’s appearances in the German talk show “Grüner Salon” (N-TV), journalist Erich Böhme blamed the director, political performer and dramatic author for having invited Horst Mahler, an (in)famous member of the far right party NPD2, to give a public speech at the Berlin Volksbühne. The interview soon became very tense. But during this short conflictual exchange, Schlingensief made a remarkable statement about broadcasted pictures, the material body and the political. - Böhme: “Don’t you run the risk of promoting the right-wing scene? After all, they could say, ‘Aha! He even includes us in his performance. He gives Mahler, who’s closely linked to the NPD, excellent publicity!” - Schlingensief [interrupting Böhme]: “Mr Böhme, I didn’t want to say this, but when you, in your show… that was interesting… I had Mr Mahler and Mr Oberlercher3 down here at the Volksbühne, on the stage – and one could jump on the stage, and some people actually did. And Oberlercher shouted at some point, ‘Leibstandarte, Leibstandarte!’4 and whatever else. This man is completely nuts. This man is running on empty. Mr Mahler is also running on empty. They are all people who are running on empty. And I’m absolutely not.” - B.: “But why do you put them on the stage?” - S.: “But sitting in your show, Mr Böhme, was Mr Haider.5 And you just played with your glasses while asking in a jokey way, ‘Are you a populist? Are you a neonazi?’ Right? And I was sitting in front of my television screen, I was sitting there – and I wished I could put my hand inside the television! I thought, ‘That just can’t be true.
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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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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.
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Doc Touchstones Syllabus
Documentary Touchstones Instructor: Michael Fox Thursdays, 10am-12noon, Sept. 29-Nov. 3, 2016 [email protected] The pioneering and innovative films that paved the way for the contemporary documentary are well known yet rarely shown. Beginning with Nanook of the North, this screening-and-discussion class surveys several canonical works of lasting power and influence, concluding with a formative work by modern master Werner Herzog. The discussion will encompass such perennial issues as documentary ethics, the line between current events and history, the use of metaphor and poetry, and our evolving relationship to images. Sept. 29 Nanook of the North (Robert Flaherty, 1922) An Inuit hunter and his family struggle to survive in the harsh conditions of Canada’s Hudson Bay region. Enormously popular upon its release, Nanook remains a milestone for its pioneering use of narrative techniques: a defined central character, structured and shaped scenes, and dramatic pacing (alternating action and calm). www.criterion.com/current/posts/42-nanook-of-the-north Robert Flaherty (1884-1951), arguably the first documentary filmmaker, also made Moana (1926), Man of Aran (1934) and Louisiana Story (1948). The son of a mining engineer, Flaherty became a filmmaker in order to document his travels as an explorer and prospector in the Canadian Arctic. He lived and worked with the Inuit, who served as his guides, companions, technical crew, navigators, dog sled driver and collaborators on many expeditions. He made more than 1,500 photographs of the Inuit from 1908-24, which are now housed in the National Photography Collection in the Public Archives of Canada and the Robert and Frances Flaherty Study Center at Claremont College.
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Information & Bibliothek
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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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Werner Herzog, Le Geste En Suspens
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