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1	Zur filmischen Zusammenarbeit von Klaus Kinski und Werner Herzog / Reitze, Matthias. January 1900 (has links) Magisterarbeit--Köln--Universität, 2000. / Filmogr. p. 120-121. Bibliogr. p. 109-119. Kinski, Klaus, Herzog, Werner,
2	Encounters at the End of the World: A Collection of Essays on Werner Herzog Mulhall, Michael January 2008 (has links) Thesis advisor: John Michalczyk / Werner Herzog is one of the most important directors of today. He is also, however, woefully misunderstood. These four essays attempt to refute some commonly held views about the director, but also to reinforce others. The first essay looks at his cultural heritage. The second essay places Herzog under the microscope of the Auteur Theory of cinema. The third examines his relationship with his volatile, long-time collaborator Klaus Kinski. The final essay turns to Herzog's documentary films and asks what role they play in his oeuvre. / Thesis (BA) — Boston College, 2008. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Fine Arts. / Discipline: College Honors Program. Cinema Herzog Kinski Aguirre Auteur Documentary Fitzcarraldo
3	Klaus Kinski : Erster Liebhaber und Lebenskünstler / Klaus Kinski : First Lover and Artist of Life Wahlberg, Andreas January 2014 (has links) This study examines the relationship between sexuality and actorial artistic creation in the autobiographic writings of the German actor Klaus Kinski (1926-1991). Departing from Socrates’ appraisal of Eros in the Platonic dialogue Symposion, the text confronts two classic theories on sexuality and art: Christoph Wilhelm Hufeland’s book on macrobiotics and vital power (Lebenskraft), The Art of Prolonging Human Life, and Sigmund Freud’s texts on sublimation. Plato, Hufeland and Freud have in common that they see art and sexuality, representing spiritual and carnal life, as rivals. Hence, artistic production has to rely on a renunciation of physical love, either through abstinence or transformation of sexual energy into spiritual creative power. The case of Klaus Kinski is particularly important, since his literary works seems to resist sublimation of any kind. While devoting himself to libertinage – which he renders in detail – he still succeeds in creating works of art, as an actor and as a writer. The artistic conditions for Kinski the actor, being an active force in control of theatrical objects and means, in contrast to the passive-receptive actor in Rainer Maria Rilke’s The Notebooks on Malte Laurids Brigge, further adds to this particularity. Kinski’s refusal to recognise a rivalry between love and art has its roots in Constantin Stanislavski’s method of acting, in which the task of the actor is to give life to the role by giving it both spiritual and bodily life, having body and mind working together towards the higher aim of theatrical performance. Yet this paradigm of incarnation, as opposed to inspiration, does not apply exclusively to theatrical and performing arts, where the work of art is constituted by the actor’s body. In a text from 1927 about the rhyme, the Austrian writer Karl Kraus proposes an „erotics of language”, in which the ideal Paarung (coupling or mating) implies both the physical act of reproduction, and sonorous combination of two rhyming words, uniting distant spheres or entities. In this sense, Kinski’s ideal coupling can be understood as a joint venture between mind and body, art and sexuality, theatre and life, enabling him to enjoy a frivolous love life without abandoning artistic creation. Klaus Kinski sexuality artistic creation acting K.S. Stanislawski sublimation (S. Freud) vital power (C.W. Hufeland) Symposion (Plato) Karl Kraus
4	Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film Barnett, Katrina 08 1900 (has links) The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms. Catwoman subversive women witches femme fatale female archetypes in film cats and women cat goddess female sexuality strong willed women female laughter womens laughter unruly women patriarchal storytelling batman returns bringing up baby war of the roses that darn cat bell book and candle cat people the dark knight rises batman television curse of the cat people tomb of ligeia the blue bird cat girl gale sondergaard michelle pfieffer anne hathaway eartha kitt julie newmar halle berry nastassja kinski paul schrader tim burton island of lost souls panther woman katharine hepburn cary grant christopher nolan female resurrection Cinema Gender Studies Women's Studies

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