NOSFERATU THE VAMPYRE

I wasn't sure if I would ask you to post to our blog about Nosferatu, but I couldn't resist because I really do want to hear what your impressions of the film are.

Please write whatever comes into your mind and heart, but I'm particularly interested in how you aesthetically and thematically connect Nosferatu to the previous work of Herzog's we've seen up to this point. I'm also curious to know what it is about this work that struck you the most.

As usual and in general, I welcome and appreciate whatever detailed insights you're inspired to provide - by no later than noon next Wednesday of course.

STROSZEK

The last time I taught a course on Herzog, the students proclaimed Stroszek their favorite film of the semester up to this point. Was this your favorite so far, too? If so, why? If not, why not?

Please write whatever you'd like, but I would of course love it if you were to get specific about the ways in which Stroszek is both similar to but also very different from the other films of Herzog's we've seen.

And what about Herzog's view of America? He says this film "does not criticize the country; it is almost a eulogy to the place." How so?

And what about the animal-oriented sequence that ends the film? What is it with Herzog and chickens, and was that an effective way to finish this story?

In general, I look forward to hearing what you thought of Stroszek (which is definitely one of my favorite Herzog films, too) - by no later than this coming Wednesday at noon of course.

THE ENIGMA OF KASPAR HAUSER

So what did you think The Enigma of Kaspar Hauser? What about those dream sequences? And why did Kaspar himself describe his coming into this world "a terribly hard fall"?

You have been studying Herzog and his work for a while now, so for this week just write what you like. Please keep in mind that I really do love seeing you make connections between the film you're commenting on (in this case, Kaspar Hauser) and what you know about Herzog and the films of his we've already seen. I would be especially interested to hear about any similarities or differences - thematically, aesthetically or otherwise - that you see between Hauser and Aguirre, Woodcarver Steiner and Silence and Darkness.

Regardless, freestyle and enjoy. I look forward to reading what you write - by no later than noon on Wednesday, of course.

AGUIRRE, WRATH OF GOD

What is it about Aguirre? Why does J. Hoberman say in his impassioned review that this is Herzog's "defining work...not just a great movie but an essential one"? Hoberman goes on to to call Kinski's performance "curdled glam rock" - but he means it as a complement. And what about Kinski? Holy shit, right?

You've been watching Herzog's films and reading about him for five weeks now, so you tell me. What's going on here? Say anything, but if you can connect Aguirre to Herzog's earlier work and explain the connection with some specificity, that would be sweet. And if you can let me know what moment or scene or shot you think you will most remember from this film and give me a reason or two as to why - all the better.

LAND OF SILENCE AND DARKNESS

This week we watched our first Herzog documentary Land of Silence and Darkness, and although I'd like you to write whatever you want, please try to address the following questions in your response:

• How is this film thematically and aesthetically similar to and/or different from the three Herzog films we've previously seen (Signs of Life; Even Dwarfs Started Small; Fata Morgana)
• I've already mentioned in class how the "real" always makes its way into Herzog's fiction films and the way in which his non-fiction films always contain performative, or fictional, elements. Did you notice any potentially fictional element in Land of Silence and Darkness? If so, what was it and when did it occur?

I'll be interested to see what sorts of connections you made between this film and the other Herzog work we've seen, and I look forward to reading all of your thoughts (good, bad or ugly) by next Wednesday at 12noon.