Sublime-Irony on Werner Herzog’s documentary films. An analysis on The White Diamond and Grizzly Man

  • Fabiola Alcalá Anguiano Universidad de Guadalajara
Palabras clave: Irony, Sublime, Non-Fiction, Documentary, Werner Herzog, romanticism

Resumen

This article explains the concept of Sublime-Irony as a key feature to interpret the non-fiction films of Werner Herzog. In the following pages, two of his documentary films are analyzed: The White Diamond (2004) and Grizzly Man (2005), with the purpose of arguing how this German filmmaker’s aesthetic can be reconstructed using precisely this mixed figure of romantic origin.

Biografía del autor/a

Fabiola Alcalá Anguiano, Universidad de Guadalajara

Fabiola Alcalá Anguiano is a Research professor at the Department of Social Communication Studies, at the University of Guadalajara, México. Doctors Degree in Audiovisual Communication by the Universitat Pompeu Fabra of Barcelona. Masters Degree in Theory and Practice of the Creative Documentary by the Universidad Autónoma of Barcelona. Mem- ber of the Red de Investigadores de Cine (REDIC) in Guadalajara. Her main areas of research are: the cinematographic and audiovisual analysis, the new television formats and the informative ethics. She has published about Werner Herzog’s work, Harun Farocki’s, Alexander Kluger’s, among others.

Contact: f.alcala79@gmail.com

Citas

Alcalá, F. (2010). Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso de The White Diamond, Grizzly Man y The Wild Blue Yonder (Doctoral Thesis). Universitat Pompeu Fabra, Barcelona, Spain.

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Publicado
2017-07-01
Sección
Zoom out / Miradas más allá de Iberoamérica