Özet:

Werner Herzog, from the authors of his own New German film, especially in some films often uses his indigenous images: God's Anger, Aguirre (The Wrath of God, Aguirre) (1972), Everyone Against Himself and God Against Everyone, (Enigma of Kasper Hauser) (1974), Fitzcarraldo (1982), The Weight of Dreams (Burden of Dreams) (1982), The Little Soldier's Song (Ballad of the Little Soldier) (1984), Where the Green Ants Dream (Where the Green Ants Dream) (1984), Green Cobra (Cobra Verde) (1987). The geographics in which the indigenous images appear in these films are the ancient colonial lands that were exposed to the economic and cultural exploitation of Europe. The indigenous images in the Herzog films, in this study, will be studied in the perspective of colonial and post-colonial approaches. The main objective in this direction is to discuss how the indigenous images in the Herzog films have a place in social memory. The main argument of the study is the claim that the colonial history of the regions is at the center of the director's films. Also, Karl May’s character Winnetou, an important popular image in the German colonial history, will be referred to the concept of “noble savage”. The film will be analyzed by the method of text analysis. The main conclusion of the study is that the images created by the director in the films contain this history more than excluding the colonial history.

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