The American Nightmare, or the Revelation of the Uncanny in three documentary films by Werner Herzog
This paper analyzes three Werner Herzog’s films: How Much Wood Would a Woodchuck Chuck (1976), Huie’s Sermon (1981) and God’s Angry Man (1981) through his use of the sequence shot as a documentary device. Although the strong relation of this way of shooting with direct cinema, Herzog deconstructs it...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | México |
| Recursos: | UNIVERSIDAD DE GUADALAJARA |
| Repositorio: | Comunicación y Sociedad |
| Idioma: | español inglés |
| OAI Identifier: | oai:comunicacionysociedad.cucsh.udg.mx:article/6940 |
| Acesso em linha: | https://www.comunicacionysociedad.cucsh.udg.mx/index.php/comsoc/article/view/6940 |
| Access Level: | acceso abierto |
| Palavra-chave: | Documentary device sequence shot Werner Herzog direct cinema ecstasy Dispositivo documental plano secuencia cine directo éxtasis |
| Resumo: | This paper analyzes three Werner Herzog’s films: How Much Wood Would a Woodchuck Chuck (1976), Huie’s Sermon (1981) and God’s Angry Man (1981) through his use of the sequence shot as a documentary device. Although the strong relation of this way of shooting with direct cinema, Herzog deconstructs its use to generate moments of filmic revelation, away from a mere recording of events. |
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