University of Maryland Global Campus Understanding Movie Paper “

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ETHEL MBANWI
UNIVERSITY OF MARYLAND GLOBAL CAMPUS
ARTH 334 7387 UNDERSTANDING MOVIE
PROFFESSOR IVANA ROSENBLATT
April 4, 2023
Project Proposal
Introduction
The film Aguirre Wrath of God is an epic historical drama written, directed, and
produced by Werner Herzog. The film is mainly known for its international cooperation and was
a co-production between Mexico and West German. The film’s idea is mainly borrowed from a
book about a friend’s historical adventures, which inspired him, leading to the film’s plot. The
film cost approximately USD 370,000. Deapo argues that the movie’s success at the box office is
12 609 US dollars in a theatrical performance. The movie has production countries in Germany,
Mexico, and Peru and runs for 95 minutes. The movie was filmed in the Peruvian rainforest in a
place called Machu Picchu and in the Amazon forest. I chose this movie because the filming was
done physically, took five weeks, and was done chronologically. The crew was forced to climb
mountains and through heavy vines in the forest to various jungle locations and rivers to aid in
the shooting. The movie was later opened to different scholars’ criticism and became one of the
director’s best-known films in 1977 (Deapo, 2019). Different critics have declared the film a
masterpiece, and have appeared on the Time magazine list as one of the All Time 100 Best Films
(Deapo, 2019). The film has won numerous awards, including the NSFCA and the German Film
Award for best cinematography. The movie is regarded as a masterpiece of madness as it tells
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the story of the doomed expedition led by Aguirre into the Peruvian rainforest in search of a gold
city called.
El Dorado.
Objectives
This project aims to analyze the film movie on its production, the awards it was
nominated for, and the critical responses towards the film. The project explores the different
filmmaking models used, including editing, sound and music, cinematography, exceptional
camera work, and the special effects incorporated in the film. From watching this movie, I seek
to learn how the opening shots are utilized and the different camera movements and angles used
in the film.
Goals of the Project
This project seeks to evaluate the structural analysis of the movie in terms of its
production and its authenticity by the director, cast, and crew. This allows for a better
understanding of the movie and the different camera angles used in shooting the film.
Wrath of God.
The project also seeks to distinguish the elements of cinematography, editing, and special
effects in the movie.
The project evaluates critics’ views and perspectives about the movie, including scholars
such as Roger Ebert (1999).
Methodology
Observation
The project proposal will incorporate observation as a way of collecting information.
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This will include watching Aguirre’s Wrath of God, which will help identify the movie’s various
film adaptations. Watching the film will help one understand the techniques used by the director
to make it a great movie and win different awards.
Secondary Sources
I will also use secondary sources to attain further explanations of the movie. The film has
received much criticism over time, making it Herzog’s best-selling movie ever produced. The
peer-reviewed journals will be useful in showing what is needed and the filming techniques
observed in the scholarly journals. The journals give their point of view and focus on the
characters in the movie and how he uses art such as camera angles, landscaping, color shades,
and costumes to create a story that bridges the gap between history and the current world.
Conclusion
The film Wrath of God was introduced in 1972 by Herzog, the director who contributed
to the New German Cinema movement. This project proposal will describe the movie Aguirre
Wrath of God and its filming techniques and share different reactions. Personal reactions to the
movie will be included.
Works Cited
Deapo, M. (2019, June 14). Aguirre, the Wrath of God (1972, Werner Herzog). Essays and
Criticism for the Film Enthusiast | Kinetoscope Film Journal.
https://kinetoscope.org/blog/aguirre
Ebert, R. (1999, April 4). Aguirre, the Wrath of God movie review (1972) | Roger Ebert.
Https://Www.rogerebert.com/. https://www.rogerebert.com/reviews/great-movieaguirrethe-wrath-of-god-1972
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ETHEL MBANWI
UNIVERSITY OF MARYLAND GLOBAL CAMPUS
ARTH 334 7386 UNDERSTANDING MOVIE
PROFFESSOR IIVANA ROSENBLATT
04/18/2023
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Annotated Bibliography
Research problem
Information about a film (Wrath of God, 1972)
Ebert, R. (1999, April 4). Aguirre, the Wrath of God movie review (1972) | Roger Ebert.
Https://Www.rogerebert.com/.
https://www.rogerebert.com/reviews/great-movie- aguirre-the-wrath-of-God-1972
This section examines how well-known films such as Caché and Aguirre: The Wrath of
God depict anti-colonial narratives. Important sources of inspiration for this section include
Gayatri Chakravorty Spivak’s theoretical and normative analysis of colonial representations of
“the other,” and her later appeal for Westerners to confront their intellectual privilege. This
perspective significantly impacts how colonized people are typically regarded and how colonial
history is usually presented. Aguirre’s The Wrath of God destabilizes and drives the colonizer
insane because it imitates the subjugated other only partially. Second, the Caché narrative is
evaluated based on the claim that it inverts Foucault’s power over monitoring, compelling
colonization to consider Caché’s preeminence.
Galily, Y. (2022). ‘We can only trust ourselves’: Operation Wrath of God in perspective.
Israel Affairs, 28(4), 589-596.
This article examines how the Munich Massacre at the 1972 Summer Olympics prompted
the government to devise a strategy to prevent future terrorist attacks. Even though Operation
Wrath of God did not capture all of the murderers, it did result in the deaths of Ali Hassan
Salameh, the mastermind of the murders, and several other key PLO terrorists. As a result,
Palestinian terrorism in Europe virtually ceased, and the group began attacking Israelis. Israel
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must devise a new strategy to combat Palestinian and Islamic terrorism that considers the
opportunities and challenges of the current international order.
Lerner, P. (2023). Beyond Silence: On the Absence of God in the Films of Ingmar Bergman.
In Psychoanalytic Perspectives on the Films of Ingmar Bergman (pp. 169-194).
Routledge.
The previous article, “Beyond Silence: On the Absence of God in Ingmar Bergman’s
Films,” was authored by Pablo Lerner, a Swedish psychologist in Paris. This article examines the
absence of God in three Ingmar Bergman films—The Seventh Seal (1957), Through a Mirror
Darkly (1961), and Winter Light (1963)—and proposes a psychoanalytic explanation. People
assert that Bergman portrays this absence as both a lack of love, which represents the failure to
reincarnate Christ as love in man based on St. John’s equation of love and God, and as God’s
silence, which means God-the-Father’s abandonment and the Word’s inability to express itself
through language. People believe the shortage of reverence in his films indicates a “hidden”
absence of the divine. Polytheism is not a component of this “hidden” technique.
Ncube, G. (2022). This is Improper and Irreligious: Navigation of Queer Sexuality,
Religion, and Practice in Marwan Hamed’s Film Imarat Yacoubian and Abdellah
Taya’s Novel Une Melancholier Arabia—African Journal of Gender and Religion,
28(2).
The author of this article examines how North Africans of Arab and Muslim descent
determine their sexual identities. This article examines the book “Une Mélancolie Arabe” by
Moroccan author Abdellah Taya and the film “Imarat Yácubyan” by Egyptian director Marwan
Hamed to learn more about how Muslims in North Africa deal with their sexuality, religion, and
practice in places where homosexuality is kept quiet and ignored. The film and the book
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demonstrate that Islam may be a sensual and effeminate faith. People use the term “queer” to
describe Islam, which implies that non-normative sexual orientations are acceptable within the
religion and can coexist. Imarat Yácubyan and Une Mélancolie Arabe present novel perspectives
on what it means to be gay, Arab, and Muslim in North African countries, despite their different
depictions of homosexuality and Islamic practice.
Newall, M. (2022). The Roman Arena Overturned: Revelation 14: 9–11 as God’s Wrath in
History. The Expository Times, 133(11), 457-467.
Revelation 14:9–11 has long been recognized as one of the finest justifications for
conscious suffering. These portions make sense as a metaphor for the Winepress and, more
importantly, the Seven Bowl Judgments when the remainder of chapter 14 and the narrative arc
of chapters 15 and 16 are considered. These items may have been mentioned in the preceding
chapters (2:22, 3:10, 6:16–17, 7:2-4, 9:3–10). I believe examining these works in the context of
their time is more essential than analyzing them in depth. The first summary of the book reveals
that it is a mosaic and picture narrative of end-of-the-world symbols and images that lead to
God’s ultimate victory over evil. Near the end, a vision reveals that Christ, the genuine Witness,
will return as Judge and Lord. On the larger stage of world history, where Christians were
shamed, tortured, and murdered, he and his angels replaced the emperor and his advisors.
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References
Ebert, R. (1999, April 4). Aguirre, the Wrath of God movie review (1972) | Roger Ebert.
Https://Www.rogerebert.com/. https://www.rogerebert.com/reviews/great-movie-Aguirrethe-wrath-of-God-1972
Galily, Y. (2022). ‘We can only trust ourselves’: Operation Wrath of God in perspective. Israel
Affairs, 28(4), 589-596.
Lerner, P. (2023). Beyond Silence: On the Absence of God in the Films of Ingmar Bergman. In
Psychoanalytic Perspectives on the Films of Ingmar Bergman (pp. 169-194). Routledge
Ncube, G. (2022). This is Improper and Irreligious: Navigation of Queer Sexuality, Religion, and
Practice in Marwan Hamed’s Film Imarat Yacoubian and Abdellah Taya’s Novel Une
Melancholier Arabia—African Journal of Gender and Religion, 28(2).
Newall, M. (2022). The Roman Arena Overturned: Revelation 14: 9–11 as God’s Wrath in
History. The Expository Times, 133(11), 457-467.

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