In Grizzly Man (2005),Werner Herzog presents a self-appointed grizzly bear expert, Timothy Treadwell, as a symbol of all interventionist and wrong-headed do-gooders. Treadwell spent years living in Alaska among the bears, often alone for months at a time, before his luck ran out in a bear attack. He shot 100 hours of video footage, including both animal behavior and also his own first-person confessionals. Treadwell romanticizes the wild animals around him, ascribing human characteristics and names to bears and foxes. He wrongly assumes that he's living in harmony with a community of like-minded creatures. He's as misguided as First World volunteers on a Third World charity trip. Herzog's voice-over narration finds meaning in Treadwell's aspirations and beauty in his videotapes. An array of friends and observers provide a bracing contrast to Treadwell's on-camera emotional narcissism. Herzog's structuring, contextualizing, and moralizing creates value from home videos that probably would never have been seen if Treadwell hadn't been killed and eaten.
Documentaries, old and new, with stills and notes for students, makers, and observers of documentary film and video. ______________________________________________________________________________________________
Thursday, December 2, 2010
Werner Herzog
In Grizzly Man (2005),Werner Herzog presents a self-appointed grizzly bear expert, Timothy Treadwell, as a symbol of all interventionist and wrong-headed do-gooders. Treadwell spent years living in Alaska among the bears, often alone for months at a time, before his luck ran out in a bear attack. He shot 100 hours of video footage, including both animal behavior and also his own first-person confessionals. Treadwell romanticizes the wild animals around him, ascribing human characteristics and names to bears and foxes. He wrongly assumes that he's living in harmony with a community of like-minded creatures. He's as misguided as First World volunteers on a Third World charity trip. Herzog's voice-over narration finds meaning in Treadwell's aspirations and beauty in his videotapes. An array of friends and observers provide a bracing contrast to Treadwell's on-camera emotional narcissism. Herzog's structuring, contextualizing, and moralizing creates value from home videos that probably would never have been seen if Treadwell hadn't been killed and eaten.
Title:
Grizzly Man
