The Resource A Companion to Werner Herzog
A Companion to Werner Herzog
Resource Information
The item A Companion to Werner Herzog represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Missouri University of Science & Technology Library.This item is available to borrow from 1 library branch.
Resource Information
The item A Companion to Werner Herzog represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Missouri University of Science & Technology Library.
This item is available to borrow from 1 library branch.
- Summary
- A Companion to Werner Herzog showcases over two dozen original scholarly essays examining nearly five decades of filmmaking by one of the most acclaimed and innovative figures in world cinema. First collection in twenty years dedicated to examining Herzog's expansive career. Features essays by international scholars and Herzog specialists Addresses a broad spectrum of the director's films, from his earliest works such as Signs of Life and Fata Morgana to such recent films as The Bad Lieutenant and Encounters at the End of the World. Offers creative, innovative approaches guided by film
- Language
- eng
- Extent
- 1 online resource (943 pages)
- Note
- 15: Didgeridoo, or the Search for the Origin of the Self: Werner Herzog's Where the Green Ants Dream and Bruce Chatwin's The Songlines
- Contents
-
- Cover; Series page; Title page; Copyright page; Notes on Contributors; Acknowledgments; Werner Herzog's Companions: The Consolation of Images; New Images; Herzog's Writing; Cinematic Companions; American Independence; Part I: Critical Approaches and Contexts; 1: Herzog and Auteurism: Performing Authenticity; Authenticity: Ecstatic Truth and Physical Investment; Theatricality and Identity; Self-parody; 2: Physicality, Difference, and the Challenge of Representation: Werner Herzog in the Light of the New Waves; Physical Difference; Trance; Presentational and Representational Real
- 3: The Pedestrian Ecstasies of Werner Herzog: On Experience, Intelligence, and the Essayistic; The Essay Film; Herzog's Essays; Part II: Herzog and the Inter-arts; 4: Werner Herzog's View of Delft: Or, Nosferatu and the Still Life; 5: Moving Stills: Herzog and Photography; Photography and Stasis; Photography and Trauma; Photography and Imagination; 6: Archetypes of Emotion: Werner Herzog and Opera; Art and Truth; Opera and the Ethics of Acknowledgment; Catastrophe and Beauty; Opera Time; 7: Coming to Our Senses: The Viewer and Herzog's Sonic Worlds; Soundings; On Wings of Song; Visionary Sound
- Hearing When the Eyes Play Tricks; Speaking in Tongues; Conclusion; 8: Death for Five Voices: Gesualdo's "Poetic Truth"; The Poetic Truth; Musical Performance; "Broken pieces"?; 9: Demythologization and Convergence: Herzog's Late Genre Pictures and the Rogue Cop Film in Bad Lieutenant: Port of Call--New Orleans; Herzog and Genre: Generic Demythologization vs. Points of Convergence; The Rogue Cop and the Corrupt City; Bad Cops: Seething Bodies and Misplaced Investitures; Legal-Narrative Iterability and the Degenerating Cop; Herzog's Generic Retreat?; Part III: Herzog's German Encounters
- 10: "I don't like the Germans": Even Herzog Started in Bavaria11: Herzog's Heart of Glass and the Sublime of Raw Materials; Visual Legacies of Nature and Technology; Hearts of Glass; Raw Materials: Between Industry and Alchemy; The Art of Glassmaking; Blood and Soil: History and Apocalypse; Acknowledgments; 12: The Ironic Ecstasy of Werner Herzog: Embodied Vision in The Great Ecstasy of Woodcarver Steiner; "The best ski flyer of all time": Hyperbolic Filmmaking and Self-Irony; The Ecstasy of Flight; The Aesthetic Ecstasy of the Filmmaker Herzog; The Special Resonance of Herzog's Ecstasy
- 13: Tantrum Love: The Fiendship of Klaus Kinski and Werner HerzogImitation Crab: Aguirre; Free Range Chicken; Acting as Chiropraxis: Woyzeck; Managing Kinski's Posthumous Scream: My Best Fiend; Acting as Prolepsis: Cobra Verde; Part IV: Herzog's Far-Flung Cinema Africa, Australia, the Americas, and Beyond; 14: Werner Herzog's African Sublime; The African Sublime; An African Sublime?; Sublime Terror and the Figure of the Black; Fata Morgana, Mirage, and Montage; The Sublime Other: the African and Herzog's Documentary Look; Conclusion; Acknowledgments
- Isbn
- 9781444361391
- Label
- A Companion to Werner Herzog
- Title
- A Companion to Werner Herzog
- Language
- eng
- Summary
- A Companion to Werner Herzog showcases over two dozen original scholarly essays examining nearly five decades of filmmaking by one of the most acclaimed and innovative figures in world cinema. First collection in twenty years dedicated to examining Herzog's expansive career. Features essays by international scholars and Herzog specialists Addresses a broad spectrum of the director's films, from his earliest works such as Signs of Life and Fata Morgana to such recent films as The Bad Lieutenant and Encounters at the End of the World. Offers creative, innovative approaches guided by film
- Cataloging source
- EBLCP
- http://library.link/vocab/creatorName
- Prager, Brad
- Dewey number
- 791.430233092
- Index
- no index present
- LC call number
- PN1998.3.H477 .P889 2012
- Literary form
- non fiction
- Nature of contents
- dictionaries
- http://library.link/vocab/subjectName
-
- Herzog, Werner
- Motion picture producers and directors
- Herzog, Werner
- Motion picture producers and directors
- Germany
- Label
- A Companion to Werner Herzog
- Note
- 15: Didgeridoo, or the Search for the Origin of the Self: Werner Herzog's Where the Green Ants Dream and Bruce Chatwin's The Songlines
- Carrier category
- online resource
- Carrier category code
-
- cr
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
-
- Cover; Series page; Title page; Copyright page; Notes on Contributors; Acknowledgments; Werner Herzog's Companions: The Consolation of Images; New Images; Herzog's Writing; Cinematic Companions; American Independence; Part I: Critical Approaches and Contexts; 1: Herzog and Auteurism: Performing Authenticity; Authenticity: Ecstatic Truth and Physical Investment; Theatricality and Identity; Self-parody; 2: Physicality, Difference, and the Challenge of Representation: Werner Herzog in the Light of the New Waves; Physical Difference; Trance; Presentational and Representational Real
- 3: The Pedestrian Ecstasies of Werner Herzog: On Experience, Intelligence, and the Essayistic; The Essay Film; Herzog's Essays; Part II: Herzog and the Inter-arts; 4: Werner Herzog's View of Delft: Or, Nosferatu and the Still Life; 5: Moving Stills: Herzog and Photography; Photography and Stasis; Photography and Trauma; Photography and Imagination; 6: Archetypes of Emotion: Werner Herzog and Opera; Art and Truth; Opera and the Ethics of Acknowledgment; Catastrophe and Beauty; Opera Time; 7: Coming to Our Senses: The Viewer and Herzog's Sonic Worlds; Soundings; On Wings of Song; Visionary Sound
- Hearing When the Eyes Play Tricks; Speaking in Tongues; Conclusion; 8: Death for Five Voices: Gesualdo's "Poetic Truth"; The Poetic Truth; Musical Performance; "Broken pieces"?; 9: Demythologization and Convergence: Herzog's Late Genre Pictures and the Rogue Cop Film in Bad Lieutenant: Port of Call--New Orleans; Herzog and Genre: Generic Demythologization vs. Points of Convergence; The Rogue Cop and the Corrupt City; Bad Cops: Seething Bodies and Misplaced Investitures; Legal-Narrative Iterability and the Degenerating Cop; Herzog's Generic Retreat?; Part III: Herzog's German Encounters
- 10: "I don't like the Germans": Even Herzog Started in Bavaria11: Herzog's Heart of Glass and the Sublime of Raw Materials; Visual Legacies of Nature and Technology; Hearts of Glass; Raw Materials: Between Industry and Alchemy; The Art of Glassmaking; Blood and Soil: History and Apocalypse; Acknowledgments; 12: The Ironic Ecstasy of Werner Herzog: Embodied Vision in The Great Ecstasy of Woodcarver Steiner; "The best ski flyer of all time": Hyperbolic Filmmaking and Self-Irony; The Ecstasy of Flight; The Aesthetic Ecstasy of the Filmmaker Herzog; The Special Resonance of Herzog's Ecstasy
- 13: Tantrum Love: The Fiendship of Klaus Kinski and Werner HerzogImitation Crab: Aguirre; Free Range Chicken; Acting as Chiropraxis: Woyzeck; Managing Kinski's Posthumous Scream: My Best Fiend; Acting as Prolepsis: Cobra Verde; Part IV: Herzog's Far-Flung Cinema Africa, Australia, the Americas, and Beyond; 14: Werner Herzog's African Sublime; The African Sublime; An African Sublime?; Sublime Terror and the Figure of the Black; Fata Morgana, Mirage, and Montage; The Sublime Other: the African and Herzog's Documentary Look; Conclusion; Acknowledgments
- Control code
- 785811666
- Dimensions
- unknown
- Extent
- 1 online resource (943 pages)
- Form of item
- online
- Isbn
- 9781444361391
- Media category
- computer
- Media MARC source
- rdamedia
- Media type code
-
- c
- Specific material designation
- remote
- System control number
- (OCoLC)785811666
- Label
- A Companion to Werner Herzog
- Note
- 15: Didgeridoo, or the Search for the Origin of the Self: Werner Herzog's Where the Green Ants Dream and Bruce Chatwin's The Songlines
- Carrier category
- online resource
- Carrier category code
-
- cr
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
-
- Cover; Series page; Title page; Copyright page; Notes on Contributors; Acknowledgments; Werner Herzog's Companions: The Consolation of Images; New Images; Herzog's Writing; Cinematic Companions; American Independence; Part I: Critical Approaches and Contexts; 1: Herzog and Auteurism: Performing Authenticity; Authenticity: Ecstatic Truth and Physical Investment; Theatricality and Identity; Self-parody; 2: Physicality, Difference, and the Challenge of Representation: Werner Herzog in the Light of the New Waves; Physical Difference; Trance; Presentational and Representational Real
- 3: The Pedestrian Ecstasies of Werner Herzog: On Experience, Intelligence, and the Essayistic; The Essay Film; Herzog's Essays; Part II: Herzog and the Inter-arts; 4: Werner Herzog's View of Delft: Or, Nosferatu and the Still Life; 5: Moving Stills: Herzog and Photography; Photography and Stasis; Photography and Trauma; Photography and Imagination; 6: Archetypes of Emotion: Werner Herzog and Opera; Art and Truth; Opera and the Ethics of Acknowledgment; Catastrophe and Beauty; Opera Time; 7: Coming to Our Senses: The Viewer and Herzog's Sonic Worlds; Soundings; On Wings of Song; Visionary Sound
- Hearing When the Eyes Play Tricks; Speaking in Tongues; Conclusion; 8: Death for Five Voices: Gesualdo's "Poetic Truth"; The Poetic Truth; Musical Performance; "Broken pieces"?; 9: Demythologization and Convergence: Herzog's Late Genre Pictures and the Rogue Cop Film in Bad Lieutenant: Port of Call--New Orleans; Herzog and Genre: Generic Demythologization vs. Points of Convergence; The Rogue Cop and the Corrupt City; Bad Cops: Seething Bodies and Misplaced Investitures; Legal-Narrative Iterability and the Degenerating Cop; Herzog's Generic Retreat?; Part III: Herzog's German Encounters
- 10: "I don't like the Germans": Even Herzog Started in Bavaria11: Herzog's Heart of Glass and the Sublime of Raw Materials; Visual Legacies of Nature and Technology; Hearts of Glass; Raw Materials: Between Industry and Alchemy; The Art of Glassmaking; Blood and Soil: History and Apocalypse; Acknowledgments; 12: The Ironic Ecstasy of Werner Herzog: Embodied Vision in The Great Ecstasy of Woodcarver Steiner; "The best ski flyer of all time": Hyperbolic Filmmaking and Self-Irony; The Ecstasy of Flight; The Aesthetic Ecstasy of the Filmmaker Herzog; The Special Resonance of Herzog's Ecstasy
- 13: Tantrum Love: The Fiendship of Klaus Kinski and Werner HerzogImitation Crab: Aguirre; Free Range Chicken; Acting as Chiropraxis: Woyzeck; Managing Kinski's Posthumous Scream: My Best Fiend; Acting as Prolepsis: Cobra Verde; Part IV: Herzog's Far-Flung Cinema Africa, Australia, the Americas, and Beyond; 14: Werner Herzog's African Sublime; The African Sublime; An African Sublime?; Sublime Terror and the Figure of the Black; Fata Morgana, Mirage, and Montage; The Sublime Other: the African and Herzog's Documentary Look; Conclusion; Acknowledgments
- Control code
- 785811666
- Dimensions
- unknown
- Extent
- 1 online resource (943 pages)
- Form of item
- online
- Isbn
- 9781444361391
- Media category
- computer
- Media MARC source
- rdamedia
- Media type code
-
- c
- Specific material designation
- remote
- System control number
- (OCoLC)785811666
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.library.mst.edu/portal/A-Companion-to-Werner-Herzog/f1uf6mbcDBA/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.library.mst.edu/portal/A-Companion-to-Werner-Herzog/f1uf6mbcDBA/">A Companion to Werner Herzog</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.library.mst.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="http://link.library.mst.edu/">Missouri University of Science & Technology Library</a></span></span></span></span></div>
