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Notes on Contributors viii <p>Acknowledgments xiv</p> <p>Werner Herzog’s Companions: The Consolation of Images 1<br /> <i>Brad Prager</i></p> <p><b>Part I Critical Approaches and Contexts 33</b></p> <p>1 Herzog and Auteurism: Performing Authenticity 35<br /> <i>Brigitte Peucker</i></p> <p>2 Physicality, Difference, and the Challenge of Representation: Werner Herzog in the Light of the New Waves 58<br /> <i>Lúcia Nagib</i></p> <p>3 The Pedestrian Ecstasies of Werner Herzog: On Experience, Intelligence, and the Essayistic 80<br /> <i>Timothy Corrigan</i></p> <p><b>Part II Herzog and the Inter-arts 99</b></p> <p>4 Werner Herzog’s View of Delft: Or, <i>Nosferatu</i> and the Still Life 101<br /> <i>Kenneth S. Calhoon</i></p> <p>5 Moving Stills: Herzog and Photography 127<br /> <i>Stefanie Harris</i></p> <p>6 Archetypes of Emotion: Werner Herzog and Opera 149<br /> <i>Lutz Koepnick</i></p> <p>7 Coming to Our Senses: The Viewer and Herzog’s Sonic Worlds 168<br /> <i>Roger Hillman</i></p> <p>8 <i>Death for Five Voices</i> : Gesualdo’s “Poetic Truth” 187<br /> <i>Holly Rogers</i></p> <p>9 Demythologization and Convergence: Herzog’s Late Genre Pictures and the Rogue Cop Film in <i>Bad Lieutenant: Port of Call—New Orleans</i> 208<br /> <i>Jaimey Fisher</i></p> <p><b>Part III Herzog’s German Encounters 231</b></p> <p>10 “I don’t like the Germans”: Even Herzog Started in Bavaria 233<br /> <i>Chris Wahl</i></p> <p>11 Herzog’s <i>Heart of Glass</i> and the Sublime of Raw Materials 256<br /> <i>Noah Heringman</i></p> <p>12 The Ironic Ecstasy of Werner Herzog: Embodied Vision in <i>The Great Ecstasy of Woodcarver Steiner</i> 281<br /> <i>Roger F. Cook</i></p> <p>13 Tantrum Love: The Fiendship of Klaus Kinski and Werner Herzog 301<br /> <i>Lance Duerfahrd</i></p> <p><b>Part IV Herzog’s Far-Flung Cinema Africa, Australia, the Americas, and Beyond 327</b></p> <p>14 Werner Herzog’s African Sublime 329<br /> <i>Erica Carter</i></p> <p>15 Didgeridoo, or the Search for the Origin of the Self: Werner Herzog’s <i>Where the Green Ants Dream</i> and Bruce Chatwin’s <i>The Songlines</i> 356<br /> <i>Manuel Köppen</i></p> <p>16 A March into Nothingness: The Changing Course of Herzog’s Indian Images 371<br /> <i>Will Lehman</i></p> <p>17 The Case of Herzog: Re-Opened 393<br /> <i>Eric Ames</i></p> <p>18 The Veil Between: Werner Herzog’s American TV Documentaries 416<br /> <i>John E. Davidson</i></p> <p>19 Herzog’s Chickenshit 445<br /> <i>Rembert Hüser</i></p> <p>20 Encountering Werner Herzog at the End of the World 466<br /> <i>Reinhild Steingröver</i></p> <p><b>Part V Toward the Limits of Experience Philosophical Approaches 485</b></p> <p>21 Perceiving the Other in the <i>Land of Silence and Darkness</i> 487<br /> <i>Randall Halle</i></p> <p>22 Werner Herzog’s Romantic Spaces 510<br /> <i>Laurie Johnson</i></p> <p>23 The Melancholy Observer: Landscape, Neo-Romanticism, and the Politics of Documentary Filmmaking 528<br /> <i>Matthew Gandy</i></p> <p>24 Portrait of the Chimpanzee as a Metaphysician: Parody and Dehumanization in <i>Echoes from a Somber Empire</i> 547<br /> <i>Guido Vitiello</i></p> <p>25 Herzog and Human Destiny: The Philosophical Purposiveness of the Filmmaker 566<br /> <i>Alan Singer</i></p> <p>Filmography 587<br /> <i>Compiled by Chris Wahl</i></p> <p>Index 611</p>

<p><b>Brad Prager</b> is Associate Professor of German and an active member of the Program in Film Studies at the University of Missouri. He has authored two monographs: <i>Aesthetic Vision and German Romanticism: Writing Images</i> (2007) and <i>The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth</i> (2007). His articles have appeared in <i>New German Critique, Studies in Documentary Film, Art History</i>, and in the <i>Modern Language Review</i>. Most recently he has co-edited the collections <i>The Collapse of the Conventional: German Film and its Politics at the Turn of the Twenty-First Century</i> (2010) and<i> Visualizing the Holocaust: Documents, Aesthetics, Memory </i>(2008).</p>

<p>“Brad Prager has collected together a world class and diverse group of scholars to map out with great lucidity the complex interconnectivity of Herzog’s equally diverse oeuvre.”<BR><i>Paul Cooke, University of Leeds</i></p><p>“Werner Herzog towers as one of world cinema’s most engaging, energetic, and enigmatic directors. <i>A Companion to Werner Herzog </i>charts the career of an extraordinary artist whose only predictable feature remains his unpredictability.”<BR><i>Gerd Gemünden, Dartmouth College</i></p><p>“Contrary to his self-presentation, Werner Herzog is a filmmaker profoundly influenced by the history of film, art, and literature and an integral part of the spatial imaginaries and aesthetic sensibilities of the postwar period. It is the main achievement of this anthology, expertly put together by Brad Prager, to highlight these connections with rich and insightful articles on Herzog and painting, photography, opera, geography, documentary, and the essay film. And at last, we understand the strange power exerted by the chicken in <i>Stroszek</i>…”<BR><i>Sabine Hake, The University of Texas at Austin</i></p><p>Continually blurring the line between fiction and reality, Werner Herzog has made a career of crossing boundaries and reinventing himself. Since his early emergence as a leader in the New German cinema, Herzog is now widely recognized as one of the most acclaimed and innovative filmmakers of the modern era—as well as one of its most controversial and enigmatic figures.</p><p><i>A Companion to Werner Herzog</i> presents more than two dozen original scholarly essays that probe deeply into various aspects of Herzog’s career and eclectic body of cinematic work. Contributions from internationally recognized film scholars and Herzog experts offer fresh perspectives on such topics as Herzog’s engagement with music and the arts, his self-stylization as a global filmmaker, the director’s Bavarian origins, and even his visionary collaboration—and love–hate relationship—with the late actor Klaus Kinski. Filled with illuminating insights, <i>A Companion to Werner Herzog</i> offers a long-overdue exploration of the life and artistic contributions of one of the true giants of international cinema.</p>

“Brad Prager has collected together a world class and diverse group of scholars to map out with great lucidity the complex interconnectivity of Herzog’s equally diverse oeuvre.”<br /> - <i>Paul Cooke, University of Leeds</i><br /> <br /> <p>“Werner Herzog towers as one of world cinema’s most engaging, energetic, and enigmatic directors. <i>A Companion to Werner Herzog</i> charts the career of an extraordinary artist whose only predictable feature remains his unpredictability.”<br /> - <i>Gerd Gemünden, Dartmouth College</i></p> <p>“Contrary to his self-presentation, Werner Herzog is a filmmaker profoundly influenced by the history of film, art, and literature and an integral part of the spatial imaginaries and aesthetic sensibilities of the postwar period. It is the main achievement of this anthology expertly put together by Brad Prager to highlight these connections with rich and insightful articles on Herzog and painting, photography, opera, geography, documentary, and the essay film. And at last, we understand the strange power exerted by the chicken in <i>Stroszek</i>…”<br /> - <i>Sabine Hake, The University of Texas at Austin</i></p>

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