The stylized imagination in Werner Herzog's documentary cinema
DOI:
https://doi.org/10.33871/19805071.2024.30.1.8812Keywords:
Werner Herzog, Imagination, Ecstatic Truth, Documentary FilmAbstract
This research aims to analyze how the German director Werner Herzog uses imagination to compose his documentary mise-en-scène to build moments of sublimity in his narrative, called Ecstatic Truth. Methodologically, we use the picture and sound approach (iconic analysis), systematized by Aumont and Marie (2004) and applied to the documentaries The Great Ecstasy of Woodcarver Steiner (1974) and The Dark Glow of the Mountains (1984). In both films, the protagonists engage in adventure sports that emphasize the importance of physical movement, a significant element in Herzog's narrative. From this debate, imaginative forms emerge in Herzog with constant use of rehearsal, repetition, and self-reflection, characteristics used for his characters to reach the Ecstatic Truth.
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References
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Referências audiovisuais
Fitzcarraldo, direção: Werner Herzog, Alemanha Ocidental, 1982.
Gasherbrum – A montanha luminosa, direção: Werner Herzog, Alemanha, 1984.
Meu melhor inimigo, direção: Werner Herzog, Alemanha, 1999.
O grande êxtase do Entalhador Steiner, direção: Werner Herzog, Alemanha, 1974.
O pequeno Dieter precisa voar, direção: Werner Herzog, Alemanha,1997.
Sinais de vida, direção: Werner Herzog, Alemanha Ocidental,1968.
Tokyo-Ga, direção: Wim Wenders, Alemanha Ocidental, Estados Unidos, 1985.
Visita ao inferno, direção: Werner Herzog, Áustria e Reino Unido, 2016.
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