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ofa culture wasnopractical formulation andtheoretical basedonfemale desire" (p. 15) in this women's in fact helpedto trivialize movement andthatfeminists the sexual Sichtermann byinsisting solelyon morerefined "techniques," arguesthat experience in themselvesas "desirers," womenshoulddevelopconfidence and that this selfthe confidence wouldinclude She defends ability. pridein allaspectsof reproductive as not totallyrational desirefor children (this seems to go withoutsaying,but her socialenvironment" of thispointis probably dueto the "inquisitorial emphasis (p. 29) in the Federal some of the feminist among groupsshe mentions Republic). Referring to her earlierbookLebenmit einemNeugeborenen. Ein Buchiiberdas erstehalbe andthe heterosexual sex betweenbreast-feeding Jahr (1981),she drawsan analogy of the breastscouldchangeoureveryday act andasserts that"acultivated eroticism life"(p. 66). Suchstatementsare madein a rather journalistic, impressionistic way whichmaybe a very honestexpression of the author's ownfeelings,butwhichdoes not contribute to a moregeneraltheoretical of these matters. understanding The chapter is especially on "Beauty, andDeath" Here, Democracy problematic. Sichtermann sets out to critique boththe "feminine whichdemanded that mystique" all womentry to makethemselvesbeautiful objectsfor men'spleasure,as well as the "feminist," and"Fat" movements which"repress theirlonging forbeauty "Old," (p. 50). The point she makes is very justified:how couldfeminism altogether" a notion of personal attractiveness which would be anexpression of subjective develop choiceratherthantotalobjectification? Yetshe writesin a very impressionistic way by the sightof someonebeautiful" againaboutthe "needwe allhaveto be refreshed human stimulation" (p. 54) and the craving beingshavefor "visual (p. 50). These needs and cravings in her presentation, soundalmostbiological becauseshe does not analyze themat allas socially andculturally createdneeds. It would be important hereto remember thatidealsof beauty andattractiveness change throughout history, andalso thatlove anddesirearenot limited to those who conform closelyto those ideals. The bookoffersfewpractical forcoping withtheproblems it raisessuggestions not thatone author should be expectedto develop a complete butin many program, instancesSichtermann that improvements and solutionsare gives the impression for simplya matterof good will. Forexample,she writes that it is also "advisable men to change" (p. 120), or that"itonlyneeds someoneto puta bit of imagination andinitiative intothese problems" inorderto "doaway withthe socialconsequences" of the inequality in reproductive functions our (p. 110).The bookdoes not advance theoretical or historical of why there is such resistanceto these understanding changesandof whatit mighttaketo bringthemabout.
Brown University CAROL POORE

The Films of WernerHerzog: Between Mirage and History. Ed. Timothy Corrigan. New Yorkand London: Methuen, 1986. 232 pp. $39.95 cloth, $14.95 paper. filmspresentandpartly Partlybecauseof the extremes that Werner Herzog's becauseof thedifficulty inseparating theactual filmsfrom thedirector's self-promoted

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admiration to image,the responseto his worksrunsthe gamutfromunquestioning At one end of the spectrum are viewerswho consider absoluterejection. himto be a champion of primitive a visionary cultures,and an idealistwho risks humanist, inorder to realize hisdreams. themselves to hismesmerizTheysurrender everything of theirown romantic ing imagesand see in them manifestations longings.These withthe director's At the other idealimplied viewer. basically spectators correspond of Herzogis motivated not only endof the spectrum arethose whosecondemnation or moral butalso by political concerns.Theyviewhimas a megalomaniac by artistic who risks lives and exploitshis subjectsfor the sake of aestheticcreation.This criticism of civilization in andthe fatalistic worldview grouplikensthe neo-romantic his filmsto fascisticideology. of individual Giventhe nature viewers' horizons of expectations, of films readings will alwaysbe subjective,yet such extreme viewpointsoften obstructobjective andevaluation of Herzog's films.Corrigan's articulate bookmediates between analysis these twoextremesbyengaging ina critical diverse dialogue. Presenting perspectives and occasionally these provocative opposing arguments, essays progressfromthe morespecificto the moregeneralandabstract. On Walking Horak's onIcetackles Jan-Christopher essay on the filmmaker's diary the problems inHerzog's directorial andwork.Afterdiscussing thedirector's persona to Lotte Eisnerandthe tales of his adventurous symbolic relationship exploits,he of the "symbolic over actualhuman life, coupled arguesthat Herzog'sprivileging withan aestheticization of death,markhimas dangerously close to fascistic tendencies" (p. 39). AmosVogel,whofirstintroduced filmsto the U.S., viewsthe director as Herzog's a "humanist filmmaker" from FilmComment) describes (p. 46). Hisarticle(reprinted the difference betweenviewinga new 35 mmprintof FataMorgana in 1970anda in1980,pointing outhowthetechnical conditions affect poor16mmprint perception. Also reprinted are an articleby BrigittePeucker anda revisedversionof one by Dana Benelli.Peucker takesuptheimplications ofilliteracy, thejuxtaposition between of Herzog's indebtedness to German Romanticism. imageandtext, andthe question Benellianalyzes howHerzog's recurrent cinematic (the use of landscapes, practices the theme of revoltandthe function of leitmotifs) betweenthe making of changed Signs of LifeandAguirre. Both William VanWertandGertrud Kochdiscusshow Herzogprojectshimself intohis documentaries andturnstheminto a medium for self-expression. Because of its "re-sacralization of the aestheticsphere, the transformation of the artistas Koch LandofSilence andDarkness as anexample of"neo-romanprophet," interprets tic regression" whichshe brieflycontrastswith Alexander Kluge's"democratic, romanticism" emancipated (p. 75). Froma feminist of authorship, sexuJudith viewpoint, Mayneexploresquestions voiceinNosferatu, the dualities of passion andirrationalityandnarrative discussing alityvs. reasonandscience in BramStoker'snovelas well as in theiradaptations andHerzog. by Murnau ThomasElsaesserexamines theGreen AntsDreamthwarts audience why Where Withits comicmise-en-scene andits protagonist as a Hollywood interexpectations. of Hollywood andthe New German Cinema. text, the filmemergesas a hybrid The finalarticlesby Eric Rentschler andAlanSingerfocus on Heartof Glass. Rentschler succeedsin his aimto "demystify [Herzog's] mystifications" (p. 164)by

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random or structurally chaotic as many howthe filmis not as narratively explaining as doubles and function revealshowthe two protagonists claim.His original analysis thisessay, a romantic howRiefensthal andHerzogappropriated legacy.Afterreading clear. the similarities betweenTheBlue LightandHeartof Glassbecomeobviously More abstractin his discussionof Herzog'sironicsublime,Singeranalyzesthe of the director's mysticalworlds:preciselythose imageswhichseem to paradox attention to theirrepresendirectthe viewer's of mythical longing expressfulfillment transcendence. tational devicesanddenyvisionary aboutfilms,recolwhenwriting Without recourseto a printed text forreference Fata lections of smalldetailscan be incorrect.Thus some commentsregarding Small;Stroszek Morgana (pp. 52 & 63) apparently applyto EvenDwarfsStarted scenicrailway" does not commitsuicideon a "circular (p. 152)buton a ski lift, and to of statues of human figures" (p. 127)are, according Nosferatu's "images opening ina Mexican bodies hehadfound cave. Herzog,notstatuesbutnaturally preserved Most of the arguments in this bookare presentedwell and maybringabouta "Film is not the art of scholars, of opinions.Herzogproclaimed: re-consideration of the mind." is not analysis,it is agitation There but of illiterates. Andfilmculture is an obviousironyin the fact that through these essays the readerwillgainnew insightsinto Werner Herzogandhis films.
Universityof Pennsylvania A. BIRGEL FRANZ

A new monograph series, entitled"Sociocriticism: Literature, Society,andHishas been established Inc. Focusing on the tory," by Peter LangPublishing mainly in the Western literatures earlymodern 1550-1850), period European (approximately this series seeks to publishtexts that examinethe relationship betweenliterary artforms andsocio-historical Ofparticular interstructures, tensions,or mentalities. est are the problems of representing in the contextof theirsocialgroups individuals or geographic) and the processes of assimilation, (economic,sexual, intellectual, and exclusionthat applyto them. Especially welcomeare studiesthat affiliation, shed new lighton traditional or on the turning groupdefinitions, groupdynamics, thatgovernauthors, theirsubjects,andtheiraudiences. pointsin socialconventions The Editorial Board,composedof RalphAlbanese,Jr., StuartAtkins,James F. Fritz Nies, Alexander and Gaines,Jost Hermand, Sokalski,NicholasSpadaccini, will be gladto considertexts in English,French,Italian, HenrySullivan, Spanish, or German. be carefully to eitherMLA orUniversity Theyshould prepared according of Chicago and should not exceed 300 Direct allinquiries style requirements pages. andsubmissions to the General JamesF. Gaines,P.O.Box724, Southeastern Editor, Louisiana LA 70402. Hammond, University,