Brad Prager - The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth

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the cinema of WERNER HERZOG

DIRECTORS CUTS

Other titles in the Directors Cuts series:

the cinema of EMIR KUSTURICA: notes from the underground

GORAN GOCIC

the cinema of KEN LOACH: art in the service of the people

JACOB LEIGH

the cinema of WIM WENDERS: the celluloid highway

ALEXANDER GRAF

the cinema of KATHRYN BIGELOW: hollywood transgressor

edited by DEBORAH JERMYN & SEAN REDMOND

the cinema of ROBERT LEPAGE: the poetics of memory

ALEKSANDAR DUNDJEROVIC

the cinema of GEORGE A. ROMERO: knight of the living dead

TONY WILLIAMS

the cinema of TERRENCE MALICK: poetic visions of america

edited by HANNAH PATTERSON

the cinema of ANDRZEJ WAJDA: the art of irony and defiance

edited by JOHN ORR & ELZBIETA OSTROWSKA

the cinema of KRZYSZTOF KIESLOWSKI: variations on destiny and chance

MAREK HALTOF

the cinema of DAVID LYNCH: american dreams, nightmare visions

edited by ERICA SHEEN & ANNETTE DAVISON

the cinema of NANNI MORETTI: dreams and diaries

edited by EWA MAZIERSKA & LAURA RASCAROLI

the cinema of MIKE LEIGH: a sense of the real

GARRY WATSON

the cinema of JOHN CARPENTER: the technique of terror

edited by IAN CONRICH AND DAVID WOODS

the cinema of ROMAN POLANSKI: dark spaces of the world

edited by JOHN ORR & ELZBIETA OSTROWSKA

the cinema of TODD HAYNES: all that heaven allows

edited by JAMES MORRISON

the cinema of STEVEN SPIELBERG: empire of light

NIGEL MORRIS

the cinema of ANG LEE: the other side of the screen

WHITNEY CROTHERS DILLEY

the cinema of LARS VON TRIER: authenticity and artifice

CAROLINE BAINBRIDGE

the cinema of NEIL JORDAN: dark carnival

CAROLE ZUCKER

the cinema of

WERNER HERZOG

aesthetic ecstasy and truth

brad prager

WALLFLOWER PRESS LONDON & NEW YORK

A Wallflower Press Book

Published by Columbia University Press

Publishers Since 1893

New York

cup.columbia.edu

Reprinted 2011

Copyright Brad Prager 2007

All rights reserved.

E-ISBN 978-0-231-50213-9

Wallflower Press is a registered trademark of Columbia University Press.

A complete CIP record is available from the Library of Congress

ISBN 978-1-905674-18-3 (cloth)

ISBN 978-1-905674-17-6 (cloth)

ISBN 978-0-231-50213-9 (e-book)

A Columbia University Press E-book.

CUP would be pleased to hear about your reading experience with this e-book at .

CONTENTS

This book has been a pleasure to write, not only because it has afforded me the opportunity to reflect on Werner Herzogs work, but also because so many people have been motivated to share their thoughts about his films with me. I am glad for the opportunity to acknowledge their contributions.

I had the good fortune to have been contacted by Silke Panse as she was organising the conference Werner Herzogs Cinema: Between the Visionary and the Documentary at the Goethe Institut in London in 2005. I am grateful to have participated and for the opportunity to discuss the varied conference presentations, in particular those of Timothy Corrigan, Alan Singer, Erica Carter, Paul N. Reinsch and Helen Hughes. Guido Vitiello generously shared resources and materials with me, and Roger Hillman continued to discuss Herzogs musical choices with me long after the conference was over. I am especially grateful to Graham Dorrington, who was candid in sharing his experiences, and to Silke Panse who provided many thoughtful comments on this book when it was in manuscript form.

Some of the ideas in these pages originated during the time I spent at Cornell University. I am still grateful to Peter Uwe Hohendahl, David Bathrick, Geoffrey Waite and Peter Gilgen, among other faculty in the Department of German Studies. Additionally, Jaimey Fisher and Barbara Mennel have remained generous colleagues since that time and have continued to provide me with feedback and new source material, especially about German cinema.

My colleagues at the University of Missouri have been supportive of my film research. Roger F. Cook and Carsten Strathausen have been key participants in the Program in Film Studies and have provided me with ample opportunity to pursue this project. Other colleagues, including Valerie Kaussen, Stefani Engelstein, Sean Ireton, Kristin Kopp, Monika Fischer and Megan Mckinstry are always willing to share their work, thoughts and opinions, many of which appear in one form or another in these pages. I also benefited from Mark Gallaghers insights as well as those of Sandy Camargo, both of whom are now affiliated with other institutions. In connection with my work at Missouri I am also glad to be in regular contact with members of the German Department at Washington University in St Louis, in particular with Jennifer Kapczynski and Lutz Koepnick.

I consider myself very lucky to have been put in touch with Wallflower Press, who are charting a fine new path in film publishing. This seems in no small measure to be due to the work of their Editorial Director, Yoram Allon. I am especially grateful to him as well as to Jacqueline Downs, Editorial Manager, for their careful approach to their work and for their thoughtful input during the production stage.

Partial sections of some of the following chapters have appeared elsewhere. A portion of appeared in Film Criticism, 28, 3 (2004) 220 (as The Face of the Bandit: Racism and the Slave Trade in Herzogs Cobra Verde). These passages appear here by permission. I am grateful to the editors of those journals for their assistance.

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