Publish 12 months note: First released in 1986
Given Herzog s personal pronouncement that movie isn't the paintings of students, yet of illiterates, it isn't wonderful that his paintings has aroused ambivalent and contradictory responses. Visually and philosophically formidable and even as provocatively eccentric, Herzog s motion pictures were greeted both by way of severe adulation and severe condemnation.
Even as Herzog s rebellious photos have won him a name as a grasp of the German New Wave, he has been attacked for indulging in a romantic naivete and wilful self-absorption. To his toughest critics, Herzog s motion pictures seem as little greater than Hollywood fantasies disguised as excessive seriousness. This e-book is an try to light up those contradictions. It gathers essays that spotlight from quite a few angles on Herzog and his paintings. The participants flow past the myths of Herzog to enquire the advantages of his paintings and its position in movie historical past. A demanding diversity of movies is roofed, from "Fata Morgana" and "Aguirre, the Wrath of God" to newer good points comparable to "Nosferatu" and "Where the fairway Ants Dream," providing the reader methods of figuring out why, regardless of the controversies surrounding Herzog and his movies, he is still an immense and renowned overseas filmmaker. Orignally released in 1986.
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Additional resources for Films of Werner Herzog: Between Mirage and History (Routledge Library Editions: Cinema)
What counts is that each sequence is a kind of meditation or filmic song on this fundamental theme as revealed by the mise en scène, whose aim is not to demonstrate but to show or to revel. Moreover, how could anyone resist the moving spiritual presence here of Ingrid Bergman? Beyond this actress, how could the viewer remain insensitive to the intensity of a mise en scène in which the universe seems to be organized along spiritual lines of force, to the point that it sets them off as manifestly as the iron filings in a magnetic field?
Our Ozu, the Ozu we know well, is mostly the latter Ozu, of such films, in addition to Tokyo Story, as An Autumn Afternoon (1962), Floating Weeds (1959), and Late Spring (1949). This is not an unbearable fate. Late Ozu would not exist without the experience that preceded it, it’s true; but what we have is a treasury. That treasury is one of at least two that Japanese cinema has bequeathed to us, the other being from Akira Kurosawa. Even as, in his own nation, Kurosawa is called the most Western of Japanese directors, Ozu is called the most Japanese of filmmakers by his countrymen, and an American like me can see at least a little bit of why this is so.
As an assistant I could drink all I wanted and spend my time talking. ” There is no evidence that Ozu gave up drinking and talking, but there’s plenty of evidence that he soon got a reputation for hard work. In 1927 he made his first film. He wrote the script with Kogo Noda, with whom he also wrote the script of Tokyo Story in 1953, as well as many other scripts. Most of Ozu’s early pictures were light comedies, like the very first movie he worked on as an assistant. I have no intention, though, of sketching his whole career for more than the obvious reasons: some of the early films have disappeared, and the remaining ones have not all been available in the United States.