For this title in the "Philosophy of Popular Culture” series, Wilson and Turner bring together an international team of philosophy and film theory scholars to discuss Herzog and his films as they relate to the philosophical writings of Burke, Heidegger, Kierkegaard, Nietzsche, Wittgenstein, and film theorist Siegfried Kracauer. A variety of topics are covered, including some that are unusual, e.g., Herzog’s philosophy of masculinism, alternative facts and fake news, and the filmmaker’s philosophy of death. The first essay provides a helpful overview of recent scholarship. The diverse perspectives presented make this volume a welcome complement to Richard Thomas Eldridge’s Werner Herzog: Filmmaker and Philosopher. This volume certainly sheds new light on Herzog, but will be most useful to those who are already familiar with him, philosophy, and film theory. Recommended.

Choice Reviews

[I]n examining the thought both behind his films and his words, this becomes a fascinating Werner Herzog book.

Comparative Cinema

Even with so much already said and written (some of it by Werner, despite himself), this book shows that there is much left to think about Herzog’s films, even while he warns us against thinking about them and then abandons us, leaving town for his next assignment.

Paul Cronin, from the Foreword

Approaching Herzog’s work from a wide variety of philosophical viewpoints––from Burke, Nietzsche, and Wittgenstein to Baudrillard, Heidegger, Adorno, and Kierkegaard––this volume offers an international cast of contributors who keep Herzog’s films themselves deftly in focus. In doing so, they provide welcome illumination of Herzog’s practices of filmmaking, his stylized self-stagings, and his astonishing achievements.

Richard Eldridge, Swarthmore College

This outstanding collection of essays brings together a diverse group of philosophers and film scholars to tease out the philosophical significance of the work of a filmmaker who famously scoffs at scholarly interpretations of his films. Whether Herzog would approve of their efforts is unknown, but they have produced an indispensable “viewer’s guide” for anyone interested in thinking more deeply about the themes of his films, such as the nature of truth, madness, and the shadow that death casts over our lives. It will enhance not only its readers’ understanding of Herzog’s films, but their enjoyment of them as well.

George A. Dunn, editor of The Philosophy of Christopher Nolan

Ecstatic truth and the sublime infuse the films of Werner Herzog. But what does that mean? The answer is in your hands. Engaging with the work of Burke, Nietzsche, Heidegger, and Wittgenstein, this book is essential reading for the philosophically inclined Herzog fan.

William Irwin, King's College, Pennsylvania