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Author: Hurley, Andrew W
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS IN FILMS; AUDIENCE RECEPTION; GERMANY; INDUSTRY, FILM. AUSTRALIA; URAN GEHOERT DER REGENBOGENSCHLANGE, DAS (GW, Nina Gladitz, 1978); WO DIE GRUNEN AMEISEN TRAUMEN (GW, Werner Herzog, 1984); BIS ANS ENDE DER WELT (GG/FR/AT, Wim Wenders, 1991)
Summary: This article examines some aspects of the West German reception of a series of Australian films about Aborigines including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975) which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at the time, and how they themselves contributed to the begetting of several German films on Aboriginal themes including Nina Gladitz's documentary Das Uran gehrt der Regenbogenschlange (The Uranium Belongs to the Rainbow Serpent) (1979), Werner Herzog's Where the Green Ants Dream (1984) and Wim Wenders' Until the End of the World (1991).

PhysDes: Article
Subject: WO DIE GRUNEN AMEISEN TRAUMEN (GW, Werner Herzog, 1984); HELLER WAHN (GW/FR, Margarethe von Trotta, 1983); WARHOL, ANDY; DISTRIBUTION; SEHNSUCHT DER VERONIKA VOSS, DIE (GW, Rainer Werner Fassbinder, 1982)
Summary: Article on Rock Film Distribution becoming New Vision and the films they will be distributing.

Call No: 792 HER
Author: Herzog, Werner
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2019
PhysDes: 222 pages : illustrations ; 21 cm.
Subject: STROSZEK (GW, Werner Herzog, 1977); NOSFERATU: PHANTOM DER NACHT (GW/FR, Werner Herzog, 1979); WO DIE GRUNEN AMEISEN TRAUMEN (GW, Werner Herzog, 1984); COBRA VERDE (GW, Werner Herzog, 1988)
ISBN: 9781517907815

Author: Hurley, Andrew
PhysDes: Article
Subject: ABORIGINAL AUSTRALIANS IN FILMS; HERZOG, WERNER; WO DIE GRUNEN AMEISEN TRAUMEN (GW, Werner Herzog, 1984)
Summary: In 1983, the German film-maker Werner Hrezog realized a decade-ling ambition to create a film thematizing the struggles of Aboriginal groups against mining companies in Northern Australia. Where the green ants dream (1984) was ultimately reviled by Australian pundits and also disappointed international critics. However, the film and the story behing its making raise important issues, not only about the creative appropriation of Aboriginal mythology, and the filmic representation of Aboriginality and of the struggle for Aboriginal land rights, but also about the intricacies of cross-cultural collaboration. This article reveals how Herzig relied upon the first land rights court case (Milirrpum v Nabalco) in writing his film script. In doing so, he came up with a hybrid ambigyously sitated between documentary and feature film, something which proved uncomfortable for the lead Aboriginal actors Wandjuk and Roy Marika, who had both been players i Milirrpum v Nabalco. This article analyses Herzog's mix of documentary and fiction, examines the film's reception - both by white Australian critics and by Aboriginal Australians - and argues that, while the film may be flawed, it is valuable becaue it threw (and continues to throw) light on the processes and pitfalls of cross-cultural collaboration. -- ABSTRACT

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Clippings
Subject: WO DIE GRUNEN AMEISEN TRAUMEN (GW, Werner Herzog, 1984)