Harun Farocki
Harun Farocki (1944-2014) was a German film director and theorist. He studied at the Deutsche Film und Fernsehakademie (Berlin) in the 1960s. As a political activist in the thick of the militant student milieu, he soon became one of the leading figures in militant documentary and experimental cinema. From 1974 to 1984, he was the editor-in-chief of “Filmkritik”, Germany’s best known film journal. As a professor at Berkeley and the Academy of Fine Arts in Vienna, he saw cinema as a resolutely socio-political praxis and had an anti-educational approach. He directed over one hundred films and video installations for film and television, from drama to documentary via cinematographic essays.
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Images of the World and the Inscription of War
Images of the World and the Inscription of War
Duration: 2h28_Images of the World and Inscription in War_ is an essay whose central motif is the aerial photograph of the camp at Auschwitz taken on April 4, 1944 by an American reconnaissance plane. On this photo, analysts identified the surrounding factories but not the concentration and extermination camp. Dialectic montage and a distanced commentary compose this film which analyses the conditions under ...
Workers Leaving the Factory
The workers leave the Lumière factory. The first film in history frames the industry itself and tells us in its modest language: "Look, we can record our image in motion". This first document gives us an outline of what, from then on, will be made possible thanks to cinema. Telling this story, *Workers Leaving the Factory* shows similar sequences shot in a hundred years of cinema.
Respite
Harun Farocki resurrects the images shot by Rudolf Breslauer, a photographer, of the Westerbork camp during the Second World War in the Netherlands. This camp was first created by the Dutch authorities to take in Jewish refugees from Germany in 1939 and finally became a "transit camp" in 1942 following the German occupation. These images do not reveal the horror but underline a certain "calm", ...
An Image
The making of the "centerfold", the poster of a naked woman in the center of a Playboy magazine, is the object of all the attention. In the magazine's Munich studios, Harun Farocki films the creation of this photograph for four days, from the making of the sets to the obtaining of a convincing shot. This work mobilizes workers, stage managers, decorators, prop makers, make-up artists, models, p...
Industry and Photography
Industry and photography are linked, and reproduction connects them. But what do we see, over time, with mechanisation and the arrival of modern industrial production, increasingly hidden behind company walls? Does photography, which includes cinematographic shots, allow us to see the work, the ongoing processes, the production rather than the product? Industry and photography raise the questio...
A New Product
For an entire year, the German director Harun Farocki attended the meetings of the Quickborner Team (QT), a consulting company from Hamburg that was developing a new product. Fixed, personalised offices are dead! Long live the companies whose 80,000 square metres of floor space constitute the nomadic office of all the employees, authorised to go jogging during work hours to boost their producti...
Images of the World and the Inscription of War
Images of the World and the Inscription of War
Duration: 2h28_Images of the World and Inscription in War_ is an essay whose central motif is the aerial photograph of the camp at Auschwitz taken on April 4, 1944 by an American reconnaissance plane. On this photo, analysts identified the surrounding factories but not the concentration and extermination camp. Dialectic montage and a distanced commentary compose this film which analyses the conditions under ...
Workers Leaving the Factory
The workers leave the Lumière factory. The first film in history frames the industry itself and tells us in its modest language: "Look, we can record our image in motion". This first document gives us an outline of what, from then on, will be made possible thanks to cinema. Telling this story, *Workers Leaving the Factory* shows similar sequences shot in a hundred years of cinema.
Respite
Harun Farocki resurrects the images shot by Rudolf Breslauer, a photographer, of the Westerbork camp during the Second World War in the Netherlands. This camp was first created by the Dutch authorities to take in Jewish refugees from Germany in 1939 and finally became a "transit camp" in 1942 following the German occupation. These images do not reveal the horror but underline a certain "calm", ...
An Image
The making of the "centerfold", the poster of a naked woman in the center of a Playboy magazine, is the object of all the attention. In the magazine's Munich studios, Harun Farocki films the creation of this photograph for four days, from the making of the sets to the obtaining of a convincing shot. This work mobilizes workers, stage managers, decorators, prop makers, make-up artists, models, p...
Industry and Photography
Industry and photography are linked, and reproduction connects them. But what do we see, over time, with mechanisation and the arrival of modern industrial production, increasingly hidden behind company walls? Does photography, which includes cinematographic shots, allow us to see the work, the ongoing processes, the production rather than the product? Industry and photography raise the questio...
A New Product
For an entire year, the German director Harun Farocki attended the meetings of the Quickborner Team (QT), a consulting company from Hamburg that was developing a new product. Fixed, personalised offices are dead! Long live the companies whose 80,000 square metres of floor space constitute the nomadic office of all the employees, authorised to go jogging during work hours to boost their producti...
