| Summary: | Literary animal studies are confronted with a systematic question: How can writing, as a human-made sign system, represent the nonhuman animal as an autonomous agent without falling back into the pitfalls of anthropomorphism? Against the backdrop of this problem, this paper asks how the medium of film allows for a different representation of the animal and analyzes two of Werner Herzog’s later documentary films. Although the depiction of animals and landscapes has always played a significant part in Herzog’s films, critical assessments of his work—including those of Herzog himself—tended to view the role of nature imagery as purely allegorical: it expresses the inner nature, the inner landscapes of the film’s human protagonists. This paper tries to open up a different view. It argues that both Grizzly Man and Encounters at the End of the World develop an aesthetic that depicts nonhuman nature as an autonomous and lively presence. In the close proximity amongst camera, human, and nonhuman agents, a clear distinction between nature and culture is increasingly blurred.
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