Essay On Margaret Herzog
Werner Herzog declares, “There are deeper strata of truth in cinema.” This “mysterious and elusive” truth that he searches for is “poetic, ecstatic…and can be reached only through fabrication and imagination and stylization” (Minnesota Declaration). His manifesto of sorts aptly explains why the line between documentary and narrative fiction is so blurry in his plethora of films. In this same pronouncement, Herzog denounces “the so-called Cinema Verite’,” which he deems is “devoid of verite” because it and (more accurately to him) direct cinema bungles “fact and truth.” Rather Herzog employs a stylistically diverse skill-set in the seven films that I viewed and explored. In these films, Herzog always explores a fiercely individualistic and personal theme (communication vs. isolation, human beings’ relationship with a harsh and warlike nature, or the
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This is known on the outset. Herzog has stated point blank, “I am my film.” He does not claim objectivity and in fact rejects the notion “that truth can be easily found by taking a camera and trying to be honest” (Minnesota Declaration). In general, Herzog is against the idea that truth can be passively observed and agrees with the idea that artificiality can expose it. With this idea in mind, Herzog ethically is not worried about manipulation behind the camera or fabrications of actors (which he claims are always approved by the actors) because he claims that at worst it adds a poetic or ecstatic element to his characters. While this may seem less obvious in Land of Silence and Darkness, in a film such as My Best Fiend, Herzog has no problem erasing the specificity of his subject to suit his means. The film, which traces the tumultuous, fruitful, and troubled relationships of the director-actor of Klaus Kinski and himself, rarely goes into any background on Kinski. Kinski’s personal life is barely touched
This is known on the outset. Herzog has stated point blank, “I am my film.” He does not claim objectivity and in fact rejects the notion “that truth can be easily found by taking a camera and trying to be honest” (Minnesota Declaration). In general, Herzog is against the idea that truth can be passively observed and agrees with the idea that artificiality can expose it. With this idea in mind, Herzog ethically is not worried about manipulation behind the camera or fabrications of actors (which he claims are always approved by the actors) because he claims that at worst it adds a poetic or ecstatic element to his characters. While this may seem less obvious in Land of Silence and Darkness, in a film such as My Best Fiend, Herzog has no problem erasing the specificity of his subject to suit his means. The film, which traces the tumultuous, fruitful, and troubled relationships of the director-actor of Klaus Kinski and himself, rarely goes into any background on Kinski. Kinski’s personal life is barely touched