14:14, 13 October 2012 - Monoskop

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Film: Media: Work: Archive
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FILM CULTURE IN TRANSITION Harun Fa
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Harun Farocki Working on the Sightl
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Contents Introduction Harun Farocki
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Contents 7 From the Surveillance So
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Harun Farocki: Filmmaker, Artist, M
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Image In(ter)ventions
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44 Harun Farocki perpetual state of
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46 Harun Farocki missing, and Bauma
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48 Harun Farocki the status of an a
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50 Harun Farocki Becoming Interchan
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52 Harun Farocki tory. The techniqu
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54 Harun Farocki 5. Conny Voester,
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56 Harun Farocki imparted and secur
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58 Harun Farocki ing oriented to an
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60 Harun Farocki tion of work, and
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62 Harun Farocki temporal one, beca
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64 Harun Farocki act: a twofold tho
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66 Harun Farocki these temporalitie
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Passage along the Shadow-Line: Feel
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78 Harun Farocki dance competitions
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80 Harun Farocki [W]hy does dramatu
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82 Harun Farocki cannot know how th
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84 Harun Farocki if today televisio
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86 Harun Farocki managed to maintai
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88 Harun Farocki there in a pinstri
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90 Harun Farocki off his cap, pulls
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Between Wars, Between Images
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96 Harun Farocki by Alfred Sohn-Ret
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98 Harun Farocki ‘disappears from
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100 Harun Farocki cal perspective).
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102 Harun Farocki Farocki’s film
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104 Harun Farocki Voice of Robert:
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106 Harun Farocki rents out a cinem
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Dog from the Freeway Harun Farocki
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Dog from the Freeway 111 In the win
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Dog from the Freeway 113 however, d
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Dog from the Freeway 115 The spark
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Dog from the Freeway 117 This wisdo
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Dog from the Freeway 119 The villag
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Dog from the Freeway 121 peace, the
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Dog from the Freeway 123 MACV NLF P
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Dog from the Freeway 125 there is b
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Dog from the Freeway 127 published
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Dog from the Freeway 129 thought of
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Dog from the Freeway 131 ‘For rea
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Political Filmmaking after Brecht:
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ack to the 1960s is necessary, when
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The Road Not Taken: Films by Harun
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164 Harun Farocki with Peter Nestle
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166 Harun Farocki why were there so
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168 Harun Farocki thus strikes at t
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170 Harun Farocki shard that finall
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172 Harun Farocki In the laboratory
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174 Harun Farocki This is, of cours
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Making the World Superfluous: An In
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Page 184 and 185: Making the World Superfluous: An In
Page 186 and 187: Making the World Superfluous: An In
Page 188: Making the World Superfluous: An In
Page 192 and 193: Reality Would Have to Begin Harun F
Page 194 and 195: Reality Would Have to Begin 195 The
Page 196 and 197: Reality Would Have to Begin 197 the
Page 198 and 199: Reality Would Have to Begin 199 in
Page 200 and 201: Reality Would Have to Begin 201 roo
Page 202 and 203: Light Weapons Tom Keenan ... Scan F
Page 204 and 205: Light Weapons 205 pressed together.
Page 206 and 207: Light Weapons 207 ment’s opening
Page 208 and 209: Light Weapons 209 3. The image is a
Page 210 and 211: The Political Im/perceptible: Faroc
Page 236 and 237: Workers Leaving the Factory Harun F
Page 238 and 239: Workers Leaving the Factory 239 Det
Page 240 and 241: Workers Leaving the Factory 241 tor
Page 242: 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
Page 263 and 264: 264 Harun Farocki story’. 2 Begin
Page 265 and 266: 266 Harun Farocki ing the spoken co
Page 267 and 268: 268 Harun Farocki Gefangene zu sehe
Page 269 and 270: 270 Harun Farocki more. ‘A progra
Page 271 and 272: 272 Harun Farocki This is reminisce
Page 273 and 274: 274 Harun Farocki formation in the
Page 275 and 276: 276 Harun Farocki high-tech prison
Page 277 and 278: 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
Page 283 and 284: 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
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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
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308 Harun Farocki RH: Sure, but suc
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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
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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
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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
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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
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350 Harun Farocki editor Rosa Merce
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352 Harun Farocki producer Harun Fa
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354 Harun Farocki Schnittstelle (Se
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356 Harun Farocki production Harun
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358 Harun Farocki editor Max Reiman
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360 Harun Farocki production TV-pro
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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
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370 Harun Farocki Horkheimer, Max 9
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372 Harun Farocki Rajmann, Matthias
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Index of Films / Subjects 3 america
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Index 377 History Lessons 133 Hitle
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Index 379 Their Newspapers 38n Toky
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14:14, 13 October 2012 - Monoskop

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