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14:14, 13 October 2012 - Monoskop

14:14, 13 October 2012 - Monoskop

14:14, 13 October 2012 -

FILM CULTURE IN TRANSITION Harun Farocki Working on the Sight-Lines EDITED BY THOMAS ELSAESSER Amsterdam University Press

  • Page 2: Harun Farocki
  • Page 5 and 6: Front cover illustration: Schnittst
  • Page 7 and 8: 6 Harun Farocki Political Filmmakin
  • Page 9 and 10: Introduction
  • Page 11 and 12: 12 Harun Farocki Certainly since th
  • Page 13 and 14: 14 Harun Farocki the respective kin
  • Page 15 and 16: 16 Harun Farocki present’, as a s
  • Page 17 and 18: 18 Harun Farocki which Farocki as a
  • Page 19 and 20: 20 Harun Farocki formal concerns (t
  • Page 21 and 22: 22 Harun Farocki sight is, as he hi
  • Page 23 and 24: 24 Harun Farocki language of film b
  • Page 25 and 26: 26 Harun Farocki Farocki’s self-i
  • Page 27 and 28: 28 Harun Farocki was seized by a sh
  • Page 29 and 30: 30 Harun Farocki War and Cinema ‘
  • Page 31 and 32: 32 Harun Farocki reminiscent of Une
  • Page 33 and 34: 34 Harun Farocki to be known. Wave
  • Page 35 and 36: 36 Harun Farocki matter of a single
  • Page 37 and 38: 38 Harun Farocki Castle. Each of th
  • Page 39 and 40: 40 Harun Farocki 23. See the interv
  • Page 42 and 43: Painting Pavements Volker Siebel A
  • Page 44 and 45: Painting Pavements 45 exception, Be
  • Page 46 and 47: Painting Pavements 47 The Trouble w
  • Page 48 and 49: Painting Pavements 49 always had a
  • Page 50 and 51: Painting Pavements 51 turns up agai
  • Page 52 and 53:

    Painting Pavements 53 again with a

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    Images and Thoughts, People and Thi

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    Images and Thoughts, People and Thi

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    Images and Thoughts, People and Thi

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    Incisive Divides and Revolving Imag

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    Incisive Divides and Revolving Imag

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    Incisive Divides and Revolving Imag

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    Filming as Writing, Writing as Film

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    70 Harun Farocki from among several

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    72 Harun Farocki Straub, or like ma

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    74 Harun Farocki to Van Morrison, w

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    The Green of the Grass: Harun Faroc

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    The Green of the Grass: Harun Faroc

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    The Green of the Grass: Harun Faroc

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    Staking One’s Life: Images of Hol

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    Staking One’s Life: Images of Hol

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    Staking One’s Life: Images of Hol

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    Staking One’s Life: Images of Hol

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    Staking One’s Life: Images of Hol

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    Working at the Margins: Film as a F

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    Working at the Margins: Film as a F

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    Working at the Margins: Film as a F

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    Working at the Margins: Film as a F

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    Working at the Margins: Film as a F

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    Working at the Margins: Film as a F

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    Working at the Margins: Film as a F

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    110 Harun Farocki soil, into the me

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    112 Harun Farocki had broken away f

  • Page 113 and 114:

    114 Harun Farocki 3 It is just not

  • Page 115 and 116:

    116 Harun Farocki ‘What news is t

  • Page 117 and 118:

    118 Harun Farocki never even been i

  • Page 119 and 120:

    120 Harun Farocki foreigners - and

  • Page 121 and 122:

    122 Harun Farocki gandistic functio

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    124 Harun Farocki 7 John Keegan ask

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    126 Harun Farocki Have you had drea

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    128 Harun Farocki Ich Tien village

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    130 Harun Farocki 4. In1970, a Viet

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    132 Harun Farocki great care to not

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    134 Harun Farocki In West Germany,

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    136 Harun Farocki Modernism in Retr

  • Page 137 and 138:

    138 Harun Farocki of the debate bet

  • Page 139 and 140:

    140 Harun Farocki reflexivity the v

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    142 Harun Farocki shifts laterally,

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    144 Harun Farocki Most of the image

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    146 Harun Farocki parable to and ye

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    148 Harun Farocki ‘representabili

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    150 Harun Farocki had succumbed not

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    152 Harun Farocki So thoroughly doe

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    Documenting the Life of Ideas? - Fa

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    158 Harun Farocki What this questio

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    160 Harun Farocki a concept could b

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    Slowly Forming a Thought While Work

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    Slowly Forming a Thought While Work

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    Slowly Forming a Thought While Work

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    Slowly Forming a Thought While Work

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    Slowly Forming a Thought While Work

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    Slowly Forming a Thought While Work

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    Slowly Forming a Thought While Work

  • Page 177 and 178:

    178 Harun Farocki regional funding

  • Page 179 and 180:

    180 Harun Farocki say, regardless o

  • Page 181 and 182:

    182 Harun Farocki starting point of

  • Page 183 and 184:

    184 Harun Farocki one image can elu

  • Page 185 and 186:

    186 Harun Farocki there is movement

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    188 Harun Farocki double displaceme

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    Images of the World and the Inscrip

  • Page 193 and 194:

    194 Harun Farocki was much less mon

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    196 Harun Farocki and marked the ga

  • Page 197 and 198:

    198 Harun Farocki leum. An experien

  • Page 199 and 200:

    200 Harun Farocki land’ to remain

  • Page 201 and 202:

    202 Harun Farocki Notes 1. Günther

  • Page 203 and 204:

    204 Harun Farocki exactly a film ab

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    206 Harun Farocki A woman has arriv

  • Page 207 and 208:

    208 Harun Farocki the task of a new

  • Page 209 and 210:

    210 Harun Farocki tion Camp Survivo

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    212 Harun Farocki direct tribute to

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    214 Harun Farocki it raises the per

  • Page 215 and 216:

    216 Harun Farocki alternative histo

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    218 Harun Farocki enabling and enco

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    220 Harun Farocki All the photograp

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    222 Harun Farocki back again to the

  • Page 223 and 224:

    224 Harun Farocki III. Political In

  • Page 225 and 226:

    226 Harun Farocki ing to Auschwitz,

  • Page 227 and 228:

    228 Harun Farocki read between the

  • Page 229 and 230:

    230 Harun Farocki 22. Thomas Elsaes

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    232 Harun Farocki 36. For an import

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    234 Harun Farocki Photographie nach

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    Workers Leaving the Factory Harun F

  • Page 238 and 239:

    Workers Leaving the Factory 239 Det

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    Workers Leaving the Factory 241 tor

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    Workers Leaving the Factory 243 str

  • Page 245 and 246:

    246 Harun Farocki quences from port

  • Page 247 and 248:

    248 Harun Farocki what this confusi

  • Page 249 and 250:

    250 Harun Farocki in the twilight o

  • Page 251 and 252:

    252 Harun Farocki ing the temporali

  • Page 253 and 254:

    254 Harun Farocki willed omniscienc

  • Page 255 and 256:

    256 Harun Farocki response to this

  • Page 257 and 258:

    258 Harun Farocki Washington Post,

  • Page 259 and 260:

    260 Harun Farocki 14. Deborah Esch

  • Page 261 and 262:

    262 Harun Farocki not make sense to

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    264 Harun Farocki story’. 2 Begin

  • Page 265 and 266:

    266 Harun Farocki ing the spoken co

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    268 Harun Farocki Gefangene zu sehe

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    270 Harun Farocki more. ‘A progra

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    272 Harun Farocki This is reminisce

  • Page 273 and 274:

    274 Harun Farocki formation in the

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    276 Harun Farocki high-tech prison

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    278 Harun Farocki act out a fight.

  • Page 279 and 280:

    280 Harun Farocki ally did, but it

  • Page 281 and 282:

    282 Harun Farocki A and B - it can

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    284 Harun Farocki 6. Harun Farocki,

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    286 Harun Farocki orientierten Bild

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    Controlling Observation Harun Faroc

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    Controlling Observation 291 Public

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    Controlling Observation 293 Studio

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    Controlling Observation 295 marchin

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    298 Harun Farocki HF: I show these

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    300 Harun Farocki You know, like

  • Page 301 and 302:

    302 Harun Farocki HF: Firstly, all

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    304 Harun Farocki HF: InBilder der

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    306 Harun Farocki that there is no

  • Page 307 and 308:

    308 Harun Farocki RH: Sure, but suc

  • Page 309 and 310:

    310 Harun Farocki and that film arc

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    312 Harun Farocki like Karl Kraus w

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    314 Harun Farocki RH: Do you think

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    316 Harun Farocki taken from archiv

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    318 Harun Farocki here, always at a

  • Page 319 and 320:

    320 Harun Farocki struggle for jobs

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    322 Harun Farocki 9. Warburg explai

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    324 Harun Farocki kungen zum politi

  • Page 325 and 326:

    326 Harun Farocki scriptwriter Haru

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    328 Harun Farocki 1970 Die Teilung

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    330 Harun Farocki Titles Transport

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    332 Harun Farocki TV-producer Angel

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    334 Harun Farocki cast Avinho Barbe

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    336 Harun Farocki Zwischen zwei Kri

  • Page 337 and 338:

    338 Harun Farocki cinematographer I

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    340 Harun Farocki cinematographer a

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    342 Harun Farocki Jean-Marie Straub

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    344 Harun Farocki location manager

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    346 Harun Farocki Filmtip: Kuhle Wa

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    348 Harun Farocki 1988 Georg K. Gla

  • Page 349 and 350:

    350 Harun Farocki editor Rosa Merce

  • Page 351 and 352:

    352 Harun Farocki producer Harun Fa

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    354 Harun Farocki Schnittstelle (Se

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    356 Harun Farocki production Harun

  • Page 357 and 358:

    358 Harun Farocki editor Max Reiman

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    360 Harun Farocki production TV-pro

  • Page 362 and 363:

    Notes on Contributors About the Edi

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    Notes on Contributors 365 Rainer Kn

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    368 Harun Farocki Block, Axel 279 B

  • Page 369 and 370:

    370 Harun Farocki Horkheimer, Max 9

  • Page 371 and 372:

    372 Harun Farocki Rajmann, Matthias

  • Page 374 and 375:

    Index of Films / Subjects 3 america

  • Page 376 and 377:

    Index 377 History Lessons 133 Hitle

  • Page 378:

    Index 379 Their Newspapers 38n Toky

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