In this article the object of consideration is the films of Werner Herzog. These movies are “philosophical images” hidden behind the mask of an art or documentary narrative. The classical music has the great influence on the meaning formation in Herzog’s cinematic universe. In Herzog's films the music is interpreted not only as a soundtrack, but also as the mode of transmitting the additional meaning. For decades the constant interrelations between certain compositions and specific motion picture frames migrate from the one film to another. They have a function of audio and video lexical items, which allows us to mark the special semantic role of music in Werner Herzog’s films. The other important feature of the director’s creative method is the dialogue with the German cultural heritage. In his films Herzog recreates the different genre models of the Golden age of German cinema. He turns to Richard Wagner as to the artist whose ideas have directly influenced over the state of German culture in the first half of the twentieth century and over the cinema as a new art. Herzog refers to Wagner’s music as to the phenomenon summarizing German romantic poetics. Numerous foreign studies on Werner Herzog are concentrated on the philosophical concept of his films. In a lesser degree, they consider the musical component of his films. This article defines the function of Wagner’s music in Herzog’s selected films in order to concretize their philosophical and artistic sense.
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