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

Please use this identifier to cite or link to this item: https://hdl.handle.net/20.500.12104/88447

Full metadata record

DC Field	Value	Language
dc.creator	Alcalá Anguiano, Fabiola	-
dc.date	2017-07-01	-
dc.date.accessioned	2021-10-09T02:20:29Z	-
dc.date.available	2021-10-09T02:20:29Z	-
dc.identifier	http://elojoquepiensa.cucsh.udg.mx/index.php/elojoquepiensa/article/view/271	-
dc.identifier.uri	https://hdl.handle.net/20.500.12104/88447	-
dc.description	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.	es-ES
dc.format	application/pdf	-
dc.language	spa	-
dc.publisher	Universidad de Guadalajara	es-ES
dc.relation	http://elojoquepiensa.cucsh.udg.mx/index.php/elojoquepiensa/article/view/271/275	-
dc.rights	Derechos de autor 2018 El ojo que piensa. Revista de cine iberoamericano	es-ES
dc.source	El ojo que piensa. Revista de cine iberoamericano; No 15 (2017); 8-22	en-US
dc.source	El ojo que piensa. Revista de cine iberoamericano // e-ISSN: 2007-4999; Núm. 15 (2017); 8-22	es-ES
dc.source	2007-4999	-
dc.title	Sublime-Irony on Werner Herzog’s documentary films. An analysis on The White Diamond and Grizzly Man	es-ES
dc.type	info:eu-repo/semantics/article	-
dc.type	info:eu-repo/semantics/publishedVersion	-
dc.type	Artículos académicos y científicos	es-ES
Appears in Collections:	Revista El ojo que piensa

Files in This Item:

There are no files associated with this item.