FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W313612693> ?p ?o ?g. }

• W313612693 startingPage "50" @default.
• W313612693 abstract "Life in the oceans must be sheer hell. A vast, merciless hell of permanent and immediate danger. So much of a hell that during evolution some species--including man--crawled, fled onto some small continents of solid land, where the lessons of darkness continue. (1) In the most recent publication of his A Biographical Dictionary Of Film, David Thomson curiously goes back on a comment he made in the 1994 edition and remarks of Werner Herzog that: He is not the ideal documentarian, (2) a statement that logically carries the (implicit) suggestion that Herzog doesn't make 'ideal' documentaries. Given the fact that Thomson fails to construct a convincing framework for such an assertion, never providing a model of who he believes an 'ideal' documentary filmmaker to be (much less what an 'ideal' documentary is), we are left to infer that what is actually meant by this is that Herzog doesn't make orthodox documentaries, and on this point I would whole-heartedly agree. Where I may differ from Mr. Thompson is in my belief that this is a very good thing. Herzog's documentaries (if they can so be called) are, like many of his fiction films, among the most idiosyncratic and determinedly singular works the cinema has given us in the past thirty years. Lessons Of Darkness, however, may initially appear to be a more conventional, even uninspiring, undertaking. In contrast to works where Herzog has characteristically scoured the planet for small, out of the way stories to tell, finding subjects in everything from ski jumpers (The Great Ecstasy Of Woodcarver Steiner, 1973) to televangelists (God's Angry Man, 1980) by way of the world championship of livestock auctioneers (How Much Wood Would A Woodchuck Chuck, 1976), and turned them into typically Herzogian inquiries into the marginal, the eccentric and the dispossessed, a documentary about the effects of the 1991 Gulf war on Kuwait seems to hint at something more generic, much larger and more political. But nothing could be further from the quote at the top of this article is from Herzog's confrontational manifesto (of sorts) entitled The Minnesota Declaration: Truth and fact in documentary cinema. (3) In it, he repeats what has recently been an oft-quoted remark: that cinema verite Reaches a merely superficial truth, the truth of accountants ... there are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. (4) This statement could point to Herzog's methods on many of his films, discursive or otherwise, but it seems particularly apt in discussing Lessons Of Darkness, for in this documentary perhaps more than any other, Herzog's truth has never appeared so enigmatic: or so tangible. particular method of Lessons Of Darkness could, broadly and not un-schematically, be said to be that it begins in abstraction and proceeds, over the course of its fifty-four minutes, to try and find something concrete, the deeper layer of It is not without reason that Herzog has described the film as a work of science-fiction, an interesting observation for a so-called documentary, and one which implicitly seems to cue it in as a companion piece to his 1971 docu-poem Fata Morgana. In that most remarkable work, originally conceived as a sci-fi film in which an alien report on a doomed planet, Uxmal, is discovered by Humans, Herzog ironically uses a sacred Quiche Indian creation myth against scenes (shot in the Sahara) that starkly capture the fallout of Western colonialism. In a land of detritus, wreckage and fire that strongly pre-figures the apocalyptic mise en scene of Lessons Of Darkness, Fata Morgana offers an increasingly despairing and disillusioned view of mankind as corrupter and polluter of an almost primeval landscape, set in poignant and marked relief only by the native people who wander aimlessly, as though lost, amid the technological flotsam and jetsam that has turned their (our) land into a graveyard. …" @default.
• W313612693 created "2016-06-24" @default.
• W313612693 creator A5019579190 @default.
• W313612693 date "2003-06-22" @default.
• W313612693 modified "2023-09-23" @default.
• W313612693 title "Apocalypse Then: Lessons of Darkness Re-Visited" @default.
• W313612693 hasPublicationYear "2003" @default.
• W313612693 type Work @default.
• W313612693 sameAs 313612693 @default.
• W313612693 citedByCount "2" @default.
• W313612693 countsByYear W3136126932013 @default.
• W313612693 crossrefType "journal-article" @default.
• W313612693 hasAuthorship W313612693A5019579190 @default.
• W313612693 hasConcept C105795698 @default.
• W313612693 hasConcept C111472728 @default.
• W313612693 hasConcept C124952713 @default.
• W313612693 hasConcept C138885662 @default.
• W313612693 hasConcept C142362112 @default.
• W313612693 hasConcept C167651023 @default.
• W313612693 hasConcept C199360897 @default.
• W313612693 hasConcept C2776639384 @default.
• W313612693 hasConcept C2777026412 @default.
• W313612693 hasConcept C33923547 @default.
• W313612693 hasConcept C40422974 @default.
• W313612693 hasConcept C41008148 @default.
• W313612693 hasConcept C519580073 @default.
• W313612693 hasConcept C52119013 @default.
• W313612693 hasConcept C59430087 @default.
• W313612693 hasConcept C95457728 @default.
• W313612693 hasConceptScore W313612693C105795698 @default.
• W313612693 hasConceptScore W313612693C111472728 @default.
• W313612693 hasConceptScore W313612693C124952713 @default.
• W313612693 hasConceptScore W313612693C138885662 @default.
• W313612693 hasConceptScore W313612693C142362112 @default.
• W313612693 hasConceptScore W313612693C167651023 @default.
• W313612693 hasConceptScore W313612693C199360897 @default.
• W313612693 hasConceptScore W313612693C2776639384 @default.
• W313612693 hasConceptScore W313612693C2777026412 @default.
• W313612693 hasConceptScore W313612693C33923547 @default.
• W313612693 hasConceptScore W313612693C40422974 @default.
• W313612693 hasConceptScore W313612693C41008148 @default.
• W313612693 hasConceptScore W313612693C519580073 @default.
• W313612693 hasConceptScore W313612693C52119013 @default.
• W313612693 hasConceptScore W313612693C59430087 @default.
• W313612693 hasConceptScore W313612693C95457728 @default.
• W313612693 hasIssue "62" @default.
• W313612693 hasLocation W3136126931 @default.
• W313612693 hasOpenAccess W313612693 @default.
• W313612693 hasPrimaryLocation W3136126931 @default.
• W313612693 hasRelatedWork W126188849 @default.
• W313612693 hasRelatedWork W1968689641 @default.
• W313612693 hasRelatedWork W1979559359 @default.
• W313612693 hasRelatedWork W2093784838 @default.
• W313612693 hasRelatedWork W209718642 @default.
• W313612693 hasRelatedWork W2230327424 @default.
• W313612693 hasRelatedWork W230558748 @default.
• W313612693 hasRelatedWork W2596751799 @default.
• W313612693 hasRelatedWork W260007168 @default.
• W313612693 hasRelatedWork W260151307 @default.
• W313612693 hasRelatedWork W27044862 @default.
• W313612693 hasRelatedWork W4110092 @default.
• W313612693 hasRelatedWork W824147592 @default.
• W313612693 hasRelatedWork W948873224 @default.
• W313612693 hasRelatedWork W96161114 @default.
• W313612693 hasRelatedWork W273882944 @default.
• W313612693 hasRelatedWork W283260676 @default.
• W313612693 hasRelatedWork W2994325651 @default.
• W313612693 hasRelatedWork W313773662 @default.
• W313612693 hasRelatedWork W826925151 @default.
• W313612693 isParatext "false" @default.
• W313612693 isRetracted "false" @default.
• W313612693 magId "313612693" @default.
• W313612693 workType "article" @default.