“The epithets used to describe the films of Werner Herzog invariably emphasise the critics’ feeling that they have been impressed by something that goes beyond rational analysis”1
This statement by John Sandford seems to sum up the fascinating consequence of the mysterious enigma of Werner Herzog’s films: an irrational aesthetic method, an irrational performance and an irrational effect. Typical terms used in the past to describe Herzog’s work were: “obsessive, fanatic, titanic, apocalyptic, holy, demonic”, but also, more neutrally, terms like “fantastic, irrational, mysterious”.2 Indeed, when watching his films, they can create a very strange atmosphere. The viewer is often confronted with human megalomania or total human failure which stands in contrast to a mighty, unconquerable nature. Herzog plays with the presentation of these concepts. They are linked, varied, mixed and often set in a somewhat mystical context. At times this mixture of opposing elements are that grotesque that the viewer does not really know whether to laugh or to cry. There is a steady presence of an uncomfortable kind of humour in Herzog’s work. Some of Herzog’s films seem more like a psychedelic experience, than a typical, classically told story, which follows narrative laws like exposition, plot or climax. In these films the emotions seem to be more important than their narrative origin and therefore the story becomes less important than what it carries. This is the Herzog-typical irrational element, which leaves the viewer impressed, but leaves him/her with more questions than answers.
1 Sandford, John: The New German Cinema. (London: 1980); p. 48
2 ibid.; p. 48
Inhaltsverzeichnis (Table of Contents)
- Introduction
- I. "Aguirre, the Wrath of God"
- 1. Plot
- 2. Main Character
- II. "STROSZEK"
- 2. Main Character
- Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay examines the question of viewer identification with protagonists in two Werner Herzog films, "Aguirre, the Wrath of God" and "Stroszek," in relation to Herzog's unique aesthetic approach. It analyzes how Herzog's portrayal of his characters, presented as both "supermen" and "supervictims," affects the viewer's capacity for identification and critical distance.
- Viewer identification with Herzogian protagonists
- Herzog's aesthetic method and its impact on identification
- The portrayal of megalomania and human failure in Herzog's films
- The role of irrationality and symbolism in Herzog's narrative
- The contrast between human ambition and the unconquerable force of nature
Zusammenfassung der Kapitel (Chapter Summaries)
Introduction: This introduction establishes the context for the essay by highlighting the enigmatic and often irrational nature of Werner Herzog's films. It introduces the concept of Herzog's protagonists as both symbolic figures and realistically portrayed individuals, which complicates viewer identification. The essay's focus on analyzing viewer identification in "Aguirre, the Wrath of God" and "Stroszek" is clearly stated, setting the stage for the subsequent in-depth analysis of these two films.
I. "Aguirre, the Wrath of God": This chapter details the plot of "Aguirre, the Wrath of God," focusing on Aguirre's descent into madness and the expedition's ultimate failure. The analysis emphasizes Aguirre's megalomania and his tragicomic attempt to conquer the Amazon, highlighting the futility of his ambition. The chapter explores the film's cyclical imagery of entrapment and hopelessness, using examples from the film, such as the raft stuck in the rapids, to illustrate the themes of human helplessness in the face of nature's overwhelming power. Aguirre's self-proclaimed status as "The Wrath of God" is examined as a reflection of his hubris and his ultimate downfall. The connection between Aguirre's actions and the critique of the colonial project is also discussed.
Schlüsselwörter (Keywords)
Werner Herzog, New German Cinema, viewer identification, protagonist, "Aguirre, the Wrath of God," "Stroszek," megalomania, irrationality, symbolism, nature, human failure, colonialism, aesthetic method.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main topic of this essay?
This essay analyzes viewer identification with protagonists in two Werner Herzog films, "Aguirre, the Wrath of God" and "Stroszek," focusing on how Herzog's unique aesthetic approach impacts viewer engagement and critical distance. It explores how Herzog portrays his characters as both "supermen" and "supervictims," creating a complex relationship between the audience and the on-screen figures.
Which films are analyzed in this essay?
The essay focuses on two films by Werner Herzog: "Aguirre, the Wrath of God" and "Stroszek."
What are the key themes explored in the essay?
Key themes include viewer identification with Herzogian protagonists, Herzog's aesthetic method and its impact on identification, the portrayal of megalomania and human failure, the role of irrationality and symbolism in Herzog's narrative, and the contrast between human ambition and the unconquerable force of nature. The essay also touches upon the critique of the colonial project in "Aguirre, the Wrath of God."
What is the structure of the essay?
The essay is structured with an introduction, two chapters analyzing "Aguirre, the Wrath of God" and "Stroszek" respectively, and a conclusion. Each chapter delves into the plot, main characters, and thematic elements of the respective films. The introduction establishes the context and outlines the essay's objectives, while the conclusion synthesizes the findings.
What is the chapter on "Aguirre, the Wrath of God" about?
This chapter details the plot of "Aguirre, the Wrath of God," focusing on Aguirre's descent into madness and the expedition's failure. It emphasizes Aguirre's megalomania, the futility of his ambition, and the cyclical imagery of entrapment and hopelessness. The chapter analyzes Aguirre's self-proclaimed status as "The Wrath of God" and explores the connection between his actions and a critique of colonialism.
What keywords are associated with this essay?
Keywords include Werner Herzog, New German Cinema, viewer identification, protagonist, "Aguirre, the Wrath of God," "Stroszek," megalomania, irrationality, symbolism, nature, human failure, colonialism, and aesthetic method.
What is the purpose of the essay?
The essay aims to examine the complex relationship between the viewer and Herzog's protagonists, analyzing how his unique directorial style and character portrayals affect audience engagement and interpretation. It seeks to understand how viewers identify with, or distance themselves from, these characters.
What is the overall argument of the essay?
The essay argues that Herzog's portrayal of his protagonists as both superhuman and tragically flawed significantly influences viewer identification. By employing specific aesthetic techniques, Herzog creates characters that are simultaneously compelling and repulsive, forcing viewers to engage critically with their actions and motivations within the context of the films' larger themes.
- Quote paper
- Guido Böhm (Author), 2001, The Individual in Werner Herzog's Films Aguirre, the Wrath of God and STROSZEK, Munich, GRIN Verlag, https://www.grin.com/document/64805
