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Lessons of Darkness

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317:: "The collapse of the stellar universe will occur – like creation – in grandiose splendor." This attribution is apocryphal, as the text was written by Herzog for the film and chosen, like the music, to give the film a certain mood. The prologue of the quotation is followed by thirteen sections, denoted by numbered title cards: "A Capital City", "The War", "After the Battle", "Finds from Torture Chambers", "Satan's National Park", "Childhood", "And a Smoke Arose like a Smoke from a Furnace", "A Pilgrimage", "Dinosaurs on the Go", "Protuberances", "The Drying Up of the Source", "Life Without the Fire" and "I am so tired of sighing; Lord, let it be night". 97: 341:
actual causes of the catastrophic scenes, but interprets them in epic terms with vaunting rhetoric to accompany the Wagnerian score. The workers are described as "creatures" whose behaviour is motivated by madness and a desire to perpetuate the damage that they are witnessing. A climactic scene involves the workers re-igniting the flow of oil, shortly after succeeding in stopping the fires. The narration asks, "Has life without fire become unbearable for them?"
1771: 22: 328:, although no relevant political or geographical information is mentioned. Herzog intended to alienate the audience from images to which they had become inured from saturated news coverage. In his words, Herzog wanted to "penetrate deeper than CNN ever could". Herzog uses a telephoto lens, truck-mounted shots as in 340:
Herzog's sparse commentary interprets the imagery out of its documentary context, and into a fiction: the opening narration begins "A planet in our solar system/wide mountain ranges, clouds, the land shrouded in mist". The narrative stance is detached, bemused; Herzog makes no effort to explain the
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of the bleak landscape. By avoiding establishing shots, Herzog heightens the apocalyptic effect of depicting the devastated landscape. Herzog remarked that "the film has not a single frame that can be recognised as our planet, and yet we know it must have been shot here".
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as both "extraordinarily beautiful" and "deeply ambiguous", interpreting the decontextualization of the geopolitical background as an avoidance which meant that the intent of the work lacked clarity.
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end of year review for 1992 recognized the film as "the year's most memorable documentary", describing it as "Herzog's apocalyptic, ultimately ironic view of the Gulf War". Critic
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remarked that the director "uses his gift for eloquent abstraction to create sobering, obscenely beautiful images of a natural world that has run amok"; her colleague
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The film is a meditation on catastrophe, contextualized through the literary modes of religion and science fiction. It begins with a quotation, attributed to
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Kuwait, portrayed in a manner that accentuates the catastrophic and surreal nature of the landscape. An effective companion to his earlier film
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Torbett, Rachel June (2009). "The quick and the flat : Walter Benjamin, Werner Herzog". In Dalle Pezze, Barbara; Salzani, Carlo (eds.).
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Prager, Brad (2010). "Landscape of the Mind: The Indifferent Earth in Werner Herzog's Films". In Harper, Graeme; Rayner, Jonathan (eds.).
1803: 1476: 490: 51: 1828: 1798: 1484: 1284: 1241: 1209: 784: 689: 69: 1217: 399: 1404: 764: 1356: 998: 1818: 1853: 1607: 1348: 1300: 361: 202: 191: 1863: 1858: 1732: 1372: 1129: 1048: 298: 183: 47: 1808: 1412: 1249: 1177: 1080: 364:. The director waved his hands fiercely and protested "You're all wrong! You're all wrong!", and later maintained 1121: 1105: 1097: 1075: 614: 1631: 1615: 1492: 1444: 1113: 290: 1639: 302: 187: 390:
called it "the culmination of Mr. Herzog's romantic doomsday worldview". Academic Rachel June Torbett hailed
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The technique of re-contextualizing documentary footage was also used in Herzog's later film
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For an explanation of this action, see section "Safety and Environmental Concerns" at
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The sources of music used in the film were classical, and predominantly theatrical:
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Mostly devoid of commentary, the imagery concentrates on the aftermath of the first
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A co-production with Paul Berriff, the film was financed by the television studios
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The garden in the machine : a field guide to independent films about place
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Hillman, Roger (2005). "The great eclecticism of the filmmaker Werner Herzog".
937: 663: 1008: 794: 699: 1145: 829: 473: 321: 285: 1022: 890:"Werner Herzog's German Comeback: Cinema Legend Heads Berlinale Jury" 922:. Critical studies, v.31. Amsterdam/New York: Rodopi. p. 158. 294:, Herzog again perceives the desert as a landscape with its voice. 775:. Berkeley, California: University of California Press. pp.  1033: 1037: 284:. The film is an exploration of the ravaged oil fields of post- 15: 684:. Bloomington: Indiana University Press. pp. 147–149. 332:, static shots of the workers near the oil fires, and many 1557:
The Fire Within: A Requiem for Katia and Maurice Krafft
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The Unprecedented Defence of the Fortress Deutschkreuz
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At the close of its screening at the 853: 807: 748: 31:contains content that is written like 1549:Fireball: Visitors from Darker Worlds 1317:How Much Wood Would a Woodchuck Chuck 888:Beier, Lars-Olav (11 February 2010). 524:Siegfried's death and Funeral march ( 354:Melbourne International Film Festival 7: 849: 847: 459:Suite No. 1, Op. 46 (Death of Aase) 362:aestheticised the horror of the war 1477:Encounters at the End of the World 951:Koehler, Robert (2 January 1993). 14: 1485:Happy People: A Year in the Taiga 1285:The Flying Doctors of East Africa 1242:My Son, My Son, What Have Ye Done 613:Maslin, Janet (25 October 1995). 1770: 1769: 867:"How Does Blowout Control Work?" 372:had done likewise in their art. 20: 1824:Films directed by Werner Herzog 1405:Gesualdo: Death for Five Voices 920:Essays on boredom and modernity 722:"Werner Herzog's New Direction" 1357:The Dark Glow of the Mountains 1: 511:(starts from vocal entrance) 493:, op. 56 (Andante cantabile) 1608:Precautions Against Fanatics 1349:Ballad of the Little Soldier 1301:Land of Silence and Darkness 558:The Drying Up of the Source 487:Finds from Torture Chambers 203:Werner Herzog Filmproduktion 192:Werner Herzog Filmproduktion 1834:1990s German-language films 1733:Werner Herzog Eats His Shoe 1373:Echoes from a Sombre Empire 1130:The Enigma of Kaspar Hauser 720:Hoberman, J. 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Werner Herzog
Paul Berriff
Lucki Stipetić
Simon Werry
Rainer Klausmann
Rainer Standke
Canal+
Première
Werner Herzog Filmproduktion
Werner Herzog Filmproduktion
documentary
Werner Herzog
Gulf War
Fata Morgana
Canal+
Première
Blaise Pascal
Gulf War
Kuwaiti oil fires
helicopter shots
Melbourne International Film Festival
Berlin Film Festival
aestheticised the horror of the war

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