Encounters at the End of the World Discussion Guide
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PETER ZEITLINGER Director of Photography
PETER ZEITLINGER Director of Photography Narrative Features: SALT AND FIRE - Benaroya Pictures - Werner Herzog, director QUEEN OF THE DESERT - IFC Films/Benaroya - Werner Herzog, director ANGELIQUE - EuropaCorp - Ariel Zeitoun, director HATED - Independent - Lee Madsen, director MY SON, MY SON WHAT HAVE YE DONE - First Look Pictures - Werner Herzog, director Starring Willem Dafoe and Michael Shannon THE BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS - Millennium Films - Werner Herzog, director Nomination, Best Cinematography, Independent Spirit Awards Starring Nicolas Cage and Eva Mendes HOUSE OF CARDS - The Independents - Silvia Zeitlinger, director RESCUE DAWN - MGM - Werner Herzog, director Starring Christian Bale and Steve Zahn INVINCIBLE - Werner Herzog Filmproduktion - Werner Herzog, director Documentary Features: LO & BEHOLD, REVERIES OF THE CONNECTED WORLD - Magnolia Pictures - Werner Herzog, director INTO THE INFERNO - Netflix - Werner Herzog, director FROM ONE SECOND TO THE NEXT - AT&T - Werner Herzog, director CAVES OF FORGOTTEN DREAMS - Werner Herzog Filmproduktion - Werner Herzog, director TONTINE MASSACRE - Scrimshaw Productions - Ezna Sands, director ENCOUNTERS AT THE END OF THE WORLD - Discovery Films - Werner Herzog, director Nomination, Academy Award, Best Documentary GRIZZLY MAN - Lionsgate - Werner Herzog, director Winner, Alfred P. Sloan Prize, Sundance Film Festival Nine Best Documentary Awards WHEEL OF TIME - Werner Herzog Filmproduktion - Werner Herzog, director LITTLE DIETER NEEDS TO FLY - Werner Herzog Filmproduktion -
Herbert Alan Golder
CURRICULUM VITAE Herbert Alan Golder CURRENT POSITION: Professor of Classical Studies, Boston University. Editor in Chief and Director, Arion, A Journal of Humanities and the Classics. EDUCATION: Boston University, B.A., summa cum laude (1975). Yale University, M.A. (1977). Yale University, M. Phil. (1979). Oxford University, Postgraduate (1982). Yale University, Ph.D. (1984). DISSERTATION: Euripides’ Andromache: A Study in Theatrical Idea and Visual Meaning (C. John Herington, Director). ACADEMIC POSITIONS: Professor of Classical Studies, Boston University (2004– ). Adjunct Professor of Film Studies, College of Communication, Boston University (2008). Associate Professor of Classical Studies, Boston University (1993–2004). Assistant Professor of Classical Studies, Boston University (1988–93). Assistant Professor of Classics, Emory University (1985–87). Director of Undergraduate Studies for Classics and Classical Studies (1985–87); Adjunct Professor of Comparative Literature (1985–87). Visiting Assistant Professor of Classics, Emory University (1984–85). Assistant Professor of Classics, Syracuse University (1982–85). Teaching Fellow/Instructor in Classics, Yale University (1977–80). CURRENT PROJECTS AND ACTIVITIES: Ballad of a Righteous Merchant, Notes on Herzog Directing My Son, My Son, What Have Ye Done, A Film by Herbert Golder (Director/Writer/Producer, documentary film, in post-production). Arion, A Journal of Humanities and the Classics, Editor in Chief and Director; triannual publication, Third Series (Winter 1990– ), volume XXI.1 published Summer 2013, volume XXI. 2 forthcoming, Fall 2013. “Further Unmodern Observations,” (series of essays, forthcoming 2014). The Lotus that Went to the Sea (Producer, documentary film, to premiere 2014). Shooting on the Lam, Ten Films with Werner Herzog (critical study and memoir, in progress) The Red Report (Writer/Producer, feature film, in development). -
Titel Kino 1 2000, Endversion
EXPORT-UNION OF GERMAN CINEMA 1/2000 GERMAN MASTERS Schlöndorff, Thome and Wenders in Competition at the Berlin International Film Festival Special Report SELLING GERMAN FILMS Spotlight on GERMAN TV-MARKETS Kino Scene from:“THE MILLION DOLLAR HOTEL” Thanks to our national and international customers subtitling film video dvd 10 years of Film und Video Untertitelung dubbing post-production 10 years of high-quality subtitles editing telecine 10% reduction on our regular prices standard conversion video transfer inspection of material during 10 celebratory months graphic design from 10 July 1999 to 10 May 2000 dvd mastering you will see the difference www.untertitelung.de [email protected] tel.: +49-2205/9211-0 fax: +49-2205/9211-99 www. german- cinema. de/ INFORMATION ON GERMAN FILMS. now with links to international festivals! Export-Union des Deutschen Films GmbH Tuerkenstrasse 93 · D-80799 München · phone +49-89-39 00 95 · fax +49-89-39 52 23 · email: [email protected] KINO 1/2000 6 Selling German Films 25 In Competition at Berlin Special Report 25 The Million Dollar Hotel 10 Opening Reality OPENING FILM Wim Wenders For Illusions 26 Paradiso – Sieben Tage mit Portrait of Director Sherry Hormann sieben Frauen PARADISO 11 ”I Sold My Soul To Rudolf Thome The Cinema“ 27 Die Stille nach dem Schuss Portrait of Director Tom Tykwer RITA’S LEGENDS Volker Schlöndorff 12 Purveyors Of Excellence Cologne Conference 13 German TV Fare Going Like Hot Cakes German Screenings 15 A Winning Combination Hager Moss Film 16 KINO news 28 German -
Nr 6/2020 ISSN 2657-327X
nr 6/2020 ISSN 2657-327X Publikacja wydana ze środków grantu 0059/NPRH4/H2b/83/2016 Publisher: Instytut Kultury Europejskiej Uniwersytetu im. Adama Mickiewicza Instytut Filozofii Uniwersytetu Warszawskiego Editorial Board: Dorota Angutek (Uniwersytet Zielonogórski, Poland) Timothy Edensor (Manchester Metropolitan University, United Kingdom) Arto Hapaala (University of Helsinki, Finland) Marcus Köhler (Technische Universität Dresden, Germany) Iwona Lorenc (Uniwersytet Warszawski, Poland) Urszula Myga-Piątek (Uniwersytet Śląski, Poland) Ewa Rewers (Uniwersytet im. Adama Mickiewicza, Poland) Anna Zeidler-Janiszewska Editorial Team: Beata Frydryczak (Editor-in-Chief) — Adam Mickiewicz University Mateusz Salwa (Deputy Editor-in-Chief) — University of Warsaw Magdalena Gimbut (Thematic Editor) — Polish Language and Culture Centre, ZJUNIT, China Monika Stobiecka (Liaison Associate) — University of Warsaw Editor of the volume Magdalena Gimbut Proof reading: Kamil Lemanek Graphic Design: Ewa Mikuła, Katarzyna Turkowska Typesetting: Monika Rawska / Legut 6/2020 Table of Contents 5 Editorial. Landscape narrated I. Memory 9 Green Wrocław: Urban narratives of three post-war generations of Wrocław’s inhabitants Kamilla Biskupska 27 “It’s scary here.” Haunted landscape as a research tool to look into post- -expulsion landscapes Karolina Ćwiek-Rogalska 49 Urban landscape as biographical experience: Pre-war Lublin in the oral testimonies of its inhabitants Marta Kubiszyn, Stephanie Weismann II. Tourism and museums 69 Experience of the cultural route in -
INTO the ABYSS: a TALE of DEATH, a TALE of LIFE the New Documentary by Werner Herzog on Death Row Inmates
INTO THE ABYSS: A TALE OF DEATH, A TALE OF LIFE The new documentary by Werner Herzog on Death Row inmates • 105 minutes feature documentary • Available autumn 2011 • A co-production between Creative Differences, Skellig Rock (Werner Herzog Film) and Channel4 (Spring Films) With Investigation Discovery, More4, Revolver Entertainment We do not know when and how we will die. Death Row inmates do. Werner Herzog embarks on a dialogue with Death Row inmates, asks questions about life and death and looks deep into these individuals, their stories, their crimes. A gaze into the abyss of the human soul. Michael Perry: executed on July 1, 2010, eight days after the conversation with Werner Herzog. Convicted for triple murder. Jason Burkett: Perry's co-defendant, who married in prison with a young women outside who, although they are only allowed to touch hands under the supervision of a guard, mysteriously managed to become pregnant of him. Synopsis The film 'INTO THE ABYSS, a Tale of Death, a Tale of Life' is a 105 min. documentary about two death row inmates in the USA. Conversations have been filmed at Polunsky Unit in Livingston/Texas and Huntsville/Texas with Michael Perry (who was executed eight days after the conversation), and Jason Burkett. 'A Tale of Death, a Tale of Life' as a second, explanatory title was chosen, because there has been speculation that this film will be on Death Row inmates only. However, the film has two main characters: Michael Perry who was executed a few days after filming with him, and Jason Burkett, his accomplice, who was found guilty of the same three capital murders in a separate trial, but sentenced only to life in prison. -
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 -
Charles University in Prague
CHARLES UNIVERSITY IN PRAGUE FACULTY OF HUMANITIES Marcelo Echevarri The Sublime and the Ecstatic in the Works of Werner Herzog Bachelor’s Thesis Prague, 2020 CHARLES UNIVERSITY IN PRAGUE FACULTY OF HUMANITIES Marcelo Echevarri The Sublime and the Ecstatic in the Works of Werner Herzog Bachelor’s Thesis Supervisor: Mgr. Ondřej Váša, Ph. D. Prague, 2020 Statement: I hereby declare that the following thesis is my independent work and that all sources and literature that I have used have been duly cited. I agree for this thesis to be stored in the electronic database of the Charles University repository, and to be used for study purposes in accordance to copyright. This thesis was not used in order to obtain another or the same degree. In Prague, 6th of August 2020. Marcelo Echevarri Acknowledgments: I would like to thank my supervisor, Mgr. Ondřej Váša, Ph. D., for his guidance and advice. I would also like to thank my family for their support and Anna for her encouragement and advice. Abstract: This bachelor’s thesis revolves around the concept of the sublime —and, for its relation to it, of the ecstatic— in the works of filmmaker Werner Herzog. It examines the historical concept of the sublime and presents an analysis of Immanuel Kant’s sublime, as this is then related and compared to Herzog’s own concept of the sublime. The thesis then investigates Herzog’s methods towards constructing sublime films; relating these to Kant, Longinus, Edmund Burke and Caspar David Friedrich. Finally, it delves into the implications of Herzog’s sublime; namely, ecstatic truth, and its relations and differences with Kant’s consequence of the sublime experience; namely, the superiority of moral ideas. -
Into the Abyss
Mongrel Media Presents INTO THE ABYSS A Werner Herzog Film 106 min. USA, 2011 Languages: English FESTIVALS: 2011 TELLURIDE FILM FESTIVAL 2011 TORONTO INTERNATIONAL FILM FESTIVAL Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS In his fascinating examination of a triple homicide case in Conroe, Texas, Werner Herzog probes the human psyche to explore why people kill—and why a state kills. In intimate conversations with those involved, including 28-year-old death row inmate Michael Perry (who was scheduled to die eight days after his interview with Herzog), the filmmaker achieves what he describes as “a gaze into the abyss of the human soul.” Herzog’s inquiries also extend to the other convicted killer, Jason Burkett; his father, also incarcerated; a woman who lost both her mother and brother in the crime; as well as a chaplain and former executioner who’ve been with death row prisoners as they’ve taken their final breaths. As he’s so often done before, Herzog’s investigation unveils layers of humanity, making an enlightening trip out of ominous territory. DIRECTOR'S STATEMENT I am not an advocate of the death penalty. I do not even have an argument; I only have a story, the history of the barbarism of Nazi Germany. There were thousands and thousands of cases of capital punishment; there was a systematic program of euthanasia, and on top of it the industrialized extermination of six million Jews in a genocide that has no precedence in human history. -
RESCUE DAWN Synopsis
PRODUCTION NOTES RESCUE DAWN Synopsis In the annals of history’s great escapes there is no other story like that of Dieter Dengler, the only American to ever break out of a POW camp in the impenetrable Laotian jungle. After months plotting his getaway and a death-defying journey through some of the world’s fiercest wilderness, Dengler appeared at his first press conference looking like a dashing movie star and showing neither sentimentality nor bitterness – simply an indomitable will to survive that allowed him to triumph against impossible odds. Now, from legendary director Werner Herzog (GRIZZLY MAN, FITZCARROLDO) and starring acclaimed actor Christian Bale (BATMAN BEGINS, THE PRESTIGE) comes the incredible true story of a renegade who, from the depths of total darkness, blazed his own willful path to freedom. A blistering adventure and a stark epic of survival, RESCUE DAWN reveals how Dieter Dengler relied on the most primal qualities of evasion, endurance, tenacity and courage to find his way home. Dieter (BALE) had dreamed of flying since his childhood in wartime Germany. The only place he ever wanted to be was in the sky, but now, on his very first top-secret mission over Laos, the ace aviator’s plane is shot down to earth. Trapped in an impassable jungle far from U.S. control, Dengler is soon captured by notoriously dangerous Pathet Lao soldiers. Though he quickly realizes he is in the most terrifying and vulnerable of circumstances, he never gives an inch. After a shocking initial ordeal, he is taken to a small Laotian prison camp, where he meets two American soldiers already held captive for a stultifying two years – both nearly broken in spirit. -
On the Significance of the Underground and Underwater
ISSN 2657-327X DOI 10.14746/pls.2020.6.8 Beneath the surface: On the significance of the underground and underwater landscapes in selected documentaries by Werner Herzog Magdalena Kempna-Pieniążek (Institute of Cultural Studies and Interdisciplinary Studies, University of Silesia) ORCID 0000-0002-2569-5596 Abstract Werner Herzog’s films grow out of landscapes. The frames opening his works very often pre- sent landscapes whose role goes beyond illustrative or informative functions. Analyzing films such as Encounters at the End of the World, Cave of Forgotten Dreams, and Into the Inferno, the text reconstructs the meanings inscribed in Herzog’s underground and underwater land- scapes. The journey beneath the surface of spaces dominated by nature usually constitutes an equivalent of the journey into culture in the director’s works. In a sense, they are films laced with reflection about experiencing landscapes. What is more, Herzog undertakes his reflections in the realm of documentary cinema, which is firmly entangled with the category of truth. Entering a landscape is therefore a way of reaching truth for the director—however, not objective but “poetic” and “ecstatic” truth, which, according to the creator, has a much more significant quality than mundane facts. Key words: Documentaries, Werner Herzog, film, landscapes Werner Herzog’s films grow out of landscapes. This is evidenced not only by many analyses and interpretations of his works, but also by the words of the author who made his relationship with landscape one of the elements