Cover

pdf iconDownload PDF

pp. 1-1

Title Page, Other Works in the Series, Copyright

pdf iconDownload PDF

pp. 2-5

Contents

pdf iconDownload PDF

pp. v-vi

read more

Acknowledgments

pdf iconDownload PDF

pp. vii-viii

I have a number of people to thank for the help they gave me in writing this book. Several people read portions of the manuscript, and it benefited enormously as a result. They include Maya Barzilai, Jane Brown, Dan Gilfillan, Deniz Göktürk, Marianne Hirsch, Anton Kaes, Monika Kaup, Sudhir Mahadevan ...

The Minnesota Declaration

pdf iconDownload PDF

pp. ix-x

read more

Introduction: Werner Herzog, Documentary Outsider

pdf iconDownload PDF

pp. 1-16

On April 30, 1999, Werner Herzog visited the Walker Art Center in Minneapolis, Minnesota, for a public dialogue with film critic Roger Ebert. After they had both been introduced, Herzog walked alone to center stage of the museum’s theater and addressed the audience of more than three hundred people. ...

read more

1. Sensational Bodies

pdf iconDownload PDF

pp. 17-48

Picture the scenario that precipitated the Minnesota Declaration: a restless night of watching bad television in a foreign hotel room. Surfing the available channels, as Herzog recalls in interviews, he came across “a very stupid, uninspiring documentary, something excruciatingly boring about animals somewhere out there in the Serengeti.” ...

read more

2. Moving Landscapes

pdf iconDownload PDF

pp. 49-80

For a traveling filmmaker who has worked on every continent, Herzog approaches the physical environment with striking uniformity of vision. Combining a passion for landscape views with an insistently inward movement, his ephemeral vistas open up a space of imagined interiority that is also a representation of the physical world we inhabit. ...

read more

3. Ecstatic Journeys

pdf iconDownload PDF

pp. 81-104

The dramatic use of landscape, the unlikely figures that traverse it, the peculiar ways in which they travel—these are among the most alluring, distinctive, and memorable features of Herzog’s films. The previous chapters endeavored to flesh out the central role of the human body and its environment. ...

read more

4. Baroque Visions

pdf iconDownload PDF

pp. 105-146

The scholarship on Herzog passionately suffers from what is, of course, a more widespread problem of methodology. Again and again, that is, we almost habitually frame the material in terms of certain paradigms as opposed to others and thus see only particular aspects of the films, which consequently become all that there is to see in them. ...

read more

5. Cultural Politics

pdf iconDownload PDF

pp. 147-180

In recent years, Herzog has frequently revisited certain political concerns of his earlier work, including the charges of environmental and human rights abuse that were leveled against him throughout the 1970s and 1980s, the most famous incident being Herzog’s altercations with indigenous Peruvians during preproduction of Fitzcarraldo, ...

read more

6. Reenactments

pdf iconDownload PDF

pp. 181-214

Lately, the practice of reenactment has made a certain comeback in documentary filmmaking. By reenactment, I mean the staged reconstruction of a past event, which creates a new and necessarily different event in the present. Claude Lanzmann’s Shoah (1984) and Errol Morris’s The Thin Blue Line (1987) offer only the most well-known examples. ...

read more

7. Autobiographical Acts

pdf iconDownload PDF

pp. 215-258

For decades, Werner Herzog has projected a public image of himself as a director frankly opposed to acts of self-exploration, whether imaginative or therapeutic.1 The image serves in part to deflect the once frequently leveled charges of narcissistic self-absorption or “ego mania.” Indeed, Herzog even claims to avoid his own gaze in the mirror. ...

read more

Conclusion: Herzog’s Verité

pdf iconDownload PDF

pp. 259-268

A few years ago, Herzog received an artist’s grant from the National Science Foundation to make a film at McMurdo Station on Ross Island, the American base in Antarctica. The result is Encounters at the End of the World, a loose series of personal portraits and moving landscapes integrated into a larger narrative of the filmmaker’s journey to the South Pole. ...

Notes

pdf iconDownload PDF

pp. 269-320

Index

pdf iconDownload PDF

pp. 321-335

Other Works in the Series, About the Author

pdf iconDownload PDF

pp. 347-349