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Re-Framing "Ecstatic Truth" Experime...

Wright, Cesare.

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Re-Framing "Ecstatic Truth" Experiments in the New Visual Language of Werner Herzog.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Re-Framing "Ecstatic Truth" Experiments in the New Visual Language of Werner Herzog./
作者:	Wright, Cesare.
面頁冊數:	319 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.
Contained By:	Dissertation Abstracts International78-03A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10179035
ISBN:	9781369291506

Re-Framing "Ecstatic Truth" Experiments in the New Visual Language of Werner Herzog.
Wright, Cesare.

Re-Framing "Ecstatic Truth" Experiments in the New Visual Language of Werner Herzog. - 319 p.

Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.

Thesis (Ph.D.)--University of Rochester, 2016.

This dissertation critically examines the cinema of Werner Herzog -- a prolific director who has produced and directed more than sixty films over the course of fifty years. Though the films of Herzog have often been described by scholars as whimsical or idiosyncratic, my work shows that the variations of form, content, and style that emerge throughout his expansive oeuvre actually reflect a strategic and ever-evolving experiment in the art and limitations of cinematic representation. I therefore approach Herzog's collective works as a series of formal and rhetorical experiments in a new visual language of cinema that challenges the conventions of normative filmmaking. More specifically, Herzog reimagines the poetic or creative potential of cinema, contesting the textual-taxonomical registers of fiction and documentary film.

ISBN: 9781369291506Subjects--Topical Terms:

2122736
Film studies.

Re-Framing "Ecstatic Truth" Experiments in the New Visual Language of Werner Herzog.
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245 1 0 $a Re-Framing "Ecstatic Truth" Experiments in the New Visual Language of Werner Herzog.
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500 $a Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.
500 $a Advisers: Reinhild Steingrover; Paul Duro.
502 $a Thesis (Ph.D.)--University of Rochester, 2016.
520 $a This dissertation critically examines the cinema of Werner Herzog -- a prolific director who has produced and directed more than sixty films over the course of fifty years. Though the films of Herzog have often been described by scholars as whimsical or idiosyncratic, my work shows that the variations of form, content, and style that emerge throughout his expansive oeuvre actually reflect a strategic and ever-evolving experiment in the art and limitations of cinematic representation. I therefore approach Herzog's collective works as a series of formal and rhetorical experiments in a new visual language of cinema that challenges the conventions of normative filmmaking. More specifically, Herzog reimagines the poetic or creative potential of cinema, contesting the textual-taxonomical registers of fiction and documentary film.
520 $a Herzog also situates his films within a broader commentary on the crisis of language and the inadequacy of what he refers to as a "worn out" grammar of images. As such, he advocates for a deeper truth encounter in cinema -- an "ecstatic truth" that relies on "fabrication and stylization and imagination." In order to move beyond the rhetoric of "ecstatic truth," I advance an emulative/liminal model that provides a discursive lens through which to contest the apparent unevenness and discontinuity of Herzog's films. Furthermore, by casting a critical lens upon the rhetoric of Herzog's own publications and public addresses, I advance a theoretical approach that maintains a degree of analytic distance, while also acknowledging the narrative role of Herzog's performative directorial persona.
520 $a Through a survey of contemporary literature and an examination of applied filmic case studies, I establish the call for a scholarly treatment of Herzog that more comprehensively accounts for the discrete iterations of form and style that emerge recurrently in his films, as well as the notable departures of style and form that problematize a more straightforward reading of Herzog as an auteur. Whereas extant literature focuses predominantly on specific aspects of style and form that arise within particular filmic texts, my work establishes a representative subset of the abstract themes, narrative tropes, and stylistic devices that more holistically comprise a distinctive Herzogian mode.
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