Over the course of his career, legendary director Werner Herzog (b. 1942) has made almost sixty films and given more than eight hundred interviews. This collection features the best of these, focusing on all the major films, from Signs of Life and Aguirre, the Wrath of God to Grizzly Man and Cave of Forgotten Dreams. When did Herzog decide to become a filmmaker? Who are his key influences? Where does he find his peculiar themes and characters? What role does music play in his films? How does he see himself in relation to the German past and in relation to film history? And how did he ever survive the wrath of Klaus Kinski? Herzog answers these and many other questions in twenty-five interviews ranging from the 1960s to the present. Critics and fans recognized Herzog's importance as a young German filmmaker early on, but his films have attained international significance over the decades. Most of the interviews collected in this volume--some of them from Herzog's production archive and previously unpublished--appear in English for the very first time. Together, they offer an unprecedented look at Herzog's work, his career, and his public persona as it has developed and changed over time.

The name of Carl Hagenbeck is as evocative in Europe as that of P. T. Barnum or Walt Disney in North America. Hagenbeck was the nineteenth century's foremost animal trader and ethnographic showman, known for his enormously popular displays of people, animals, and artifacts gathered from all corners of the globe. The culmination of Hagenbeck's commercial ventures was the opening of his Tierpark near Hamburg in 1907, a dazzling assemblage of constructed exotic environments inhabited by humans and animals. Eric Ames shows that Hagenbeck's various enterprises illustrate a significant evolution in popular culture. Earlier display forms that relied on the collection and presentation of "authentic" artifacts and living beings--the panorama, the zoological garden, the ethnographic collection--gave rise to the self-consciously synthetic forms of entertainment that we now associate with theme parks and films. This shift took place in the context of Hagenbeck's exhibitions, which were simultaneously the apotheosis of the collecting impulse and the germinating source for the creation of fictional spaces that rely for their effect on the spectator's imaginative engagement and interaction with the spectacle. Carl Hagenbeck's Empire of Entertainments locates Hagenbeck's myriad enterprises in the context of colonialism and nascent globalization; ethnography and anthropology; zoological gardens and international expositions; museum culture and visual spectacle; and consumerism and immersive entertainments. By tracing out the divergent lineages of themed environments, Ames offers a vivid reconstruction of the impulses and contradictions that lay behind the visual and display culture of the nineteenth and early twentieth centuries--a culture that forms the foundation of contemporary themed environments. Written in an accessible style with many wonderful images, this book draws on meticulous archival research and a wealth of primary sources not available in English. It is an original and entertaining interdisciplinary study that will appeal to readers interested in visual culture, popular culture, nineteenth-century German history, and film studies, as well as anyone intrigued by the history of such popular entertainments as zoos, museums, panoramas, world's fairs, cinema, theme parks, anthropological exhibitions, and Wild West Shows.

Eric Ames draws on original archival research to provide fresh perspectives on Werner Herzog's breakthrough 1972 film, Aguirre, the Wrath of God (Aguirre, der Zorn Gottes), which portrays an expedition by Spanish conquistadors led by Aguirre (played by Klaus Kinski) to find the legendary city of El Dorado. Ames explores how the film is remembered: for its breathtaking visual style and narrative power, but also for Herzog's tense, behind-the-scenes relationship with star Kinski. Did Herzog really direct him at gunpoint? Did they plot each other's murder? The legends begin here ... Ames reconstructs the film as an experiment in visualising the past from the viewpoint of the present. Aguirre is not a history film in the narrow sense, but it does engage a specific episode in the conquest of the New World, and it explores that history in terms of vision. Interweaving close analysis with extensive archival research, Ames explores Aguirre as a seminal film about the madness and hopelessness of Western striving. In addition, as an appendix, he offers for the first time a complete translation of an infamous, secretly recorded argument between Herzog and Kinski on the set.

Over the course of his career Werner Herzog, known for such visionary masterpieces as Aguirre: The Wrath of God (1972) and The Enigma of Kaspar Hauser (1974), has directed almost sixty films, roughly half of which are documentaries. And yet, in a statement delivered during a public appearance in 1999, the filmmaker declared: "There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization." Ferocious Reality is the first book to ask how this conviction, so hostile to the traditional tenets of documentary, can inform the work of one of the world's most provocative documentarians. Herzog, whose Cave of Forgotten Dreams was perhaps the most celebrated documentary of 2010, may be the most influential filmmaker missing from major studies and histories of documentary. Examining such notable films as Lessons of Darkness (1992) and Grizzly Man (2005), Eric Ames shows how Herzog dismisses documentary as a mode of filmmaking in order to creatively intervene and participate in it. In close, contextualized analysis of more than twenty-five films spanning Herzog's career, Ames makes a case for exploring documentary films in terms of performance and explains what it means to do so. Thus his book expands the field of cinema studies even as it offers an invaluable new perspective on a little studied but integral part of Werner Herzog's extraordinary oeuvre.

Over the course of his career, legendary director Werner Herzog (b. 1942) has made almost sixty films and given more than eight hundred interviews. This collection features the best of these, focusing on all the major films, from Signs of Life and Aguirre, the Wrath of God to Grizzly Man and Cave of Forgotten Dreams. When did Herzog decide to become a filmmaker? Who are his key influences? Where does he find his peculiar themes and characters? What role does music play in his films? How does he see himself in relation to the German past and in relation to film history? And how did he ever survive the wrath of Klaus Kinski? Herzog answers these and many other questions in twenty-five interviews ranging from the 1960s to the present. Critics and fans recognized Herzog's importance as a young German filmmaker early on, but his films have attained international significance over the decades. Most of the interviews collected in this volume--some of them from Herzog's production archive and previously unpublished--appear in English for the very first time. Together, they offer an unprecedented look at Herzog's work, his career, and his public persona as it has developed and changed over time.

Germany's Colonial Pasts is a wide-ranging study of German colonialism and its legacies. Inspired by Susanne Zantop's landmark book Colonial Fantasies, and extending her analyses there, this volume offers new research by scholars from Europe, Africa, and the United States. It also commemorates Zantop's distinguished life and career (1945-2001). Some essays in this volume focus on Germany's formal colonial empire in Africa and the Pacific between 1884 and 1914, while others present material from earlier or later periods such as German emigration before 1884 and colonial discourse in German-ruled Polish lands. Several essays examine Germany's postcolonial era, a complex period that includes the Weimar Republic, Nazi Germany with its renewed colonial obsessions, and the post-1945 era. Particular areas of emphasis include the relationship of anti-Semitism to colonial racism; respectability, sexuality, and cultural hierarchies in the formal empire; Nazi representations of colonialism; and contemporary perceptions of race. The volume's disciplinary reach extends to musicology, religious studies, film, and tourism studies as well as literary analysis and history. These essays demonstrate why modern Germany must confront its colonial and postcolonial pasts, and how those pasts continue to shape the German cultural imagination. Eric Ames is an assistant professor of German at the University of Washington. Marcia Klotz is an instructor in the English department at Portland State University. Lora Wildenthal is an associate professor of history at Rice University. Sander L. Gilman is Distinguished Professor of Liberal Arts and Sciences at Emory University and the author of Fat Boys: A Slim Book (Nebraska 2004).

"Germany's Colonial Pasts" is a wide-ranging study of German colonialism and its legacies. Inspired by Susanne Zantop's landmark book "Colonial Fantasies," and extending her analyses there, this volume offers new research by scholars from Europe, Africa, and the United States. It also commemorates Zantop's distinguished life and career (1945-2001). Some essays in this volume focus on Germany's formal colonial empire in Africa and the Pacific between 1884 and 1914, while others present material from earlier or later periods such as German emigration before 1884 and colonial discourse in German-ruled Polish lands. Several essays examine Germany's postcolonial era, a complex period that includes the Weimar Republic, Nazi Germany with its renewed colonial obsessions, and the post-1945 era. Particular areas of emphasis include the relationship of anti-Semitism to colonial racism; respectability, sexuality, and cultural hierarchies in the formal empire; Nazi representations of colonialism; and contemporary perceptions of race. The volume's disciplinary reach extends to musicology, religious studies, film, and tourism studies as well as literary analysis and history. These essays demonstrate why modern Germany must confront its colonial and postcolonial pasts, and how those pasts continue to shape the German cultural imagination.