Brad Prager is Associate Professor “Brad Prager has collected together a world class and diverse group of scholars to map P E A Companion to d of German and an active member of out with great lucidity the complex interconnectivity of Herzog’s equally diverse oeuvre.” r i a t Werner Herzog the Program in Film Studies at the Paul Cooke, University of Leeds e g d University of Missouri. He has authored e b two monographs: Aesthetic Vision and “Werner Herzog towers as one of world cinema’s most engaging, energetic, y Continually blurring the line between r German Romanticism: Writing Images and enigmatic directors. A Companion to Werner Herzog charts the career of an fiction and reality, Werner Herzog has (2007) and The Cinema of Werner extraordinary artist whose only predictable feature remains his unpredictability.” made a career of crossing boundaries Herzog: Aesthetic Ecstasy and Truth Gerd Gemünden, Dartmouth College and reinventing himself. Since his (2007). His articles have appeared early emergence as a leader in the in New German Critique, Studies in “Contrary to his self-presentation, Werner Herzog is a filmmaker profoundly influenced New German cinema, Herzog is now Documentary Film, Art History, and in by the history of film, art, and literature and an integral part of the spatial imaginaries widely recognized as one of the most the Modern Language Review. Most and aesthetic sensibilities of the postwar period. It is the main achievement of this acclaimed and innovative filmmakers recently he has co-edited the collections anthology, expertly put together by Brad Prager, to highlight these connections with of the modern era—as well as one of W A The Collapse of the Conventional: rich and insightful articles on Herzog and painting, photography, opera, geography, its most controversial and enigmatic German Film and its Politics at the Turn documentary, and the essay film. And at last, we understand the strange power exerted figures. C of the Twenty-First Century (2010) and by the chicken in Stroszek…” e Visualizing the Holocaust: Documents, Sabine Hake, The University of Texas at Austin o A Companion to Werner Herzog Aesthetics, Memory (2008). r m presents more than two dozen original scholarly essays that probe deeply n p into various aspects of Herzog’s career e a and eclectic body of cinematic work. n Contributions from internationally r i recognized film scholars and Herzog o experts offer fresh perspectives on H n such topics as Herzog’s engagement with music and the arts, his self- t e stylization as a global filmmaker, the o director’s Bavarian origins, and even his r Wiley-BlackWell companions to film Directors visionary collaboration—and love–hate z relationship—with the late actor Klaus Kinski. Filled with illuminating insights, o A Companion to A Companion to Werner Herzog offers g a long-overdue exploration of the life Werner Herzog and artistic contributions of one of the true giants of international cinema. Cover Photo: © Peter Foley / epa / Corbis Cover design: Nicki Averill Design and Illustration Edited by Brad Prager jkt_9781405194402.indd 1 17/2/12 14:57:55 A Companion to Werner Herzog Chapter No.: 1 Title Name: <TITLENAME> Comp. by: J. John Alexendar Date: 22 Feb 2012 Time: 12:15:38 PM Stage: Proof Page Number: i Wiley-Blackwell Companions to Film Directors The Wiley-Blackwell Companions to Film Directors survey key directors whose work constitutes what is referred to as the Hollywood and world cinema canons. Whether Haneke or Hitchcock, Bigelow or Bergmann, Capra or the Coen Brothers, each volume, composed of 25 or more newly commissioned essays writ- ten by leading experts, explores a canonical, contemporary and/or controversial auteur in a sophisticated, authoritative, and multi-dimensional capacity. Individual volumes interrogate any number of subjects – the director ’ s oeuvre; dominant themes, well-known, worthy, and under-rated films; stars, collaborators, and key influences; reception, reputation, and above all, the director ’ s intellectual currency in the scholarly world. Published 1. A Companion to Michael Haneke , edited by Roy Grundmann 2. A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague 3. A Companion to Rainer Werner Fassbinder, edited by Brigitte Peucker 4. A Companion to Werner Herzog , edited by Brad Prager Forthcoming 5. A Companion to Pedro Almodovar, edited by Marvin D ’ Lugo and Kathleen Vernon Chapter No.: 1 Title Name: <TITLENAME> Chapte Comp. by: J. John Alexendar Date: 22 Feb 2012 Time: 12:15:38 PM Stage: Proof Page Number: ii Comp. A Companion to Werner Herzog Edited by Brad Prager A John Wiley & Sons, Ltd., Publication Chapter No.: 1 Title Name: <TITLENAME> Comp. by: J. John Alexendar Date: 22 Feb 2012 Time: 12:15:38 PM Stage: Proof Page Number: iii This edition first published 2012 © 2012 Blackwell Publishing Ltd. Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley ’ s global Scientific, Technical, and Medical business to form Wiley-Blackwell. 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John Alexendar Date: 22 Feb 2012 Time: 12:15:38 PM Stage: Proof Page Number: iv Contents Notes on Contributors viii Acknowledgments xiv Werner Herzog ’ s Companions: The Consolation of Images 1 Brad Prager Part I Critical Approaches and Contexts 33 1 Herzog and Auteurism: Performing Authenticity 35 Brigitte Peucker 2 Physicality, Difference, and the Challenge of Representation: Werner Herzog in the Light of the New Waves 58 Lúcia Nagib 3 The Pedestrian Ecstasies of Werner Herzog: On Experience, Intelligence, and the Essayistic 80 Timothy Corrigan Part II Herzog and the Inter-arts 99 4 Werner Herzog ’ s View of Delft: Or, N osferatu and the Still Life 101 Kenneth S. Calhoon 5 Moving Stills: Herzog and Photography 127 Stefanie Harris 6 Archetypes of Emotion: Werner Herzog and Opera 149 Lutz Koepnick 7 Coming to Our Senses: The Viewer and Herzog ’ s Sonic Worlds 168 Roger Hillman Chapter No.: 1 Title Name: Prager Comp. by: PLavanya Date: 22 Feb 2012 Time: 12:16:53 PM Stage: Proof Page Number: v vi Contents 8 Death for Five Voices : Gesualdo ’ s “Poetic Truth” 187 Holly Rogers 9 Demythologization and Convergence: Herzog ’ s Late Genre Pictures and the Rogue Cop Film in B ad Lieutenant: Port of Call—New Orleans 208 Jaimey Fisher Part III Herzog ’ s German Encounters 231 10 “I don ’ t like the Germans”: Even Herzog Started in Bavaria 233 Chris Wahl 11 Herzog ’ s H eart of Glass and the Sublime of Raw Materials 256 Noah Heringman 12 The Ironic Ecstasy of Werner Herzog: Embodied Vision in The Great Ecstasy of Woodcarver Steiner 281 Roger F. Cook 13 Tantrum Love: The Fiendship of Klaus Kinski and Werner Herzog 301 Lance Duerfahrd Part IV H erzog ’ s Far-Flung Cinema Africa, Australia, the Americas, and Beyond 327 14 Werner Herzog ’ s African Sublime 329 Erica Carter 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 356 Manuel Köppen 16 A March into Nothingness: The Changing Course of Herzog ’ s Indian Images 371 Will Lehman 17 The Case of Herzog: Re-Opened 393 Eric Ames 18 The Veil Between: Werner Herzog ’ s American TV Documentaries 416 John E. Davidson 19 Herzog ’ s Chickenshit 445 Rembert Hüser 20 Encountering Werner Herzog at the End of the World 466 Reinhild Steingröver Chapter No.: 1 Title Name: Prager Chapte Comp. by: PLavanya Date: 22 Feb 2012 Time: 12:16:53 PM Stage: Proof Page Number: vi Comp. Contents vii Part V Toward the Limits of Experience Philosophical Approaches 485 21 Perceiving the Other in the L and of Silence and Darkness 487 Randall Halle 22 Werner Herzog ’ s Romantic Spaces 510 Laurie Johnson 23 The Melancholy Observer: Landscape, Neo-Romanticism, and the Politics of Documentary Filmmaking 528 Matthew Gandy 24 Portrait of the Chimpanzee as a Metaphysician: Parody and Dehumanization in E choes from a Somber Empire 547 Guido Vitiello 25 Herzog and Human Destiny: The Philosophical Purposiveness of the Filmmaker 566 Alan Singer Filmography 587 Compiled by Chris Wahl Index 611 Chapter No.: 1 Title Name: Prager Comp. by: PLavanya Date: 22 Feb 2012 Time: 12:16:53 PM Stage: Proof Page Number: vii Notes on Contributors Eric Ames is Associate Professor of German and a member of the Cinema Studies faculty at the University of Washington. He is author of C arl Hagenbeck ’ s Empire of Entertainments (2008) and of F erocious Reality: Documentary According to Werner Herzog (2012). Kenneth S. Calhoon is Professor of German and Comparative Literature at the University of Oregon. He is author of Fatherland: Novalis, Freud, and the Discipline of Romance (1992) and the editor of Peripheral Visions: The Hidden Stages of Weimar Cinema (2001). He has recently completed a book-length project entitled A ffecting Grace: Theater and Subject from Shakespeare to Kleist . Erica Carter is Professor and Head of German at King ’ s College London. Her recent research focuses on the early film theory of Béla Balázs, and on the experi- ence of Empire among German-speaking exile film audiences in mid-twentieth- century Britain. Her publications on cinema and popular culture include D ietrich ’ s Ghosts. The Sublime and the Beautiful in Third Reich Film (2004), the co-edited German Cinema Book (2004), and B éla Balázs: Early Film Theory (2010). Roger F. Cook is Professor of German Studies and Director of the Film Studies Program at the University of Missouri. He co-edited T he Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition (1996) and has written extensively on New German Cinema and contemporary German film. He has also written on eighteenth- and nineteenth-century German literature, with a particular emphasis on Heinrich Heine. He is the author of B y the Rivers of Babylon: Heinrich Heine ’ s Late Songs and Reflections (1998) and the editor of A Companion to the Works of Heinrich Heine (2003). Timothy Corrigan is a Professor of Cinema Studies, English, and History of Art at the University of Pennsylvania. His books include New German Film: The Displaced Image (1994), A Cinema without Walls: Movies and Culture after Vietnam (1991), Chapter No.: 1 Title Name: <TITLENAME> Chapte Comp. by: <USER> Date: 22 Feb 2012 Time: 12:16:14 PM Stage: <STAGE> Page Number: viii Comp.