Abstract

This essay explores Werner Herzog's approach to landscape as a site for performing his notion of documentary as a repudiated mode of filmmaking. What emerges from this ironic performance is an alternative documentary epistemology, one that refers primarily to the inner world of affect and to forms of embodied knowledge.

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Additional Information

ISSN
1527-2087
Print ISSN
0009-7101
Pages
pp. 49-69
Launched on MUSE
2009-01-15
Open Access
No
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