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284 Harun Farocki<br />
6. Harun Farocki, in a lecture given at the Cologne Academy of Media Arts, 7 December<br />
1999, borrowing a term from the media theorist Friedrich Kittler (Berlin):<br />
‘inhaltistisch’.<br />
7. See Rolf Aurich ‘Von Bildern und Träumen. Überall Filmgeschichte: Kinostadt<br />
Paris‘, in: R. Aurich and Ulrich Kriest (eds.), Der Ärger mit den Bildern. Die Filme von<br />
Harun Farocki (Konstanz: UVK Medien, 1998), pp. 245-252 (247f), referring (quotation)<br />
to: ‘Harun Farocki, Wortsprache, Bildsprache. Der Dokumentarfilmer Harun<br />
Farocki reflektiert anhand der Ereignisse 1989’ in ‘Rumänien über die Diskrepanz<br />
zwischen Verstehen- und Mitteilenkönnen, wenn es um Bilder geht’, in: Zoom No.<br />
9 (September) 1995, pp. 22-25 (23).<br />
8. Philippe Aigrain, Philippe Joly, and Véronique Longueville, ‘Medium Knowledge-Based<br />
Macro-Segmentation of Video into Sequences’, in: Maybury 1997,<br />
pp. 159-174 (159).<br />
9. Hong Jiang Zhang et al., ‘Video Parsing, Retrieval and Browsing: An Integrated<br />
and Content-based Solution’, in: Maybury 1997, pp. <strong>13</strong>9-158 (<strong>14</strong>3).<br />
10. Hauptmann and Witbrock 1997, p. 222.<br />
11. Zhang et al.1997, p. <strong>14</strong>9.<br />
12. Ibid.<br />
<strong>13</strong>. Flickner et al. 1997, p. 8.<br />
<strong>14</strong>. Inderjeet Mani et al., ‘Towards Content-Based Browsing of Broadcast News<br />
Video’, in: Maybury 1997, pp. 241-258 (243).<br />
15. Hans Ulrich Reck, ‘Aby Warburg als Medientheoretiker? Aus Anlass und zur Edition<br />
von Band 1 der “Gesammelten Schriften”’ (Kunstforum International, Bd. 152,<br />
Dezember), Köln 2000, p. 225.<br />
16. Exhibition at Kunstbank Berlin, Mai 2000.<br />
17. See Richard DeCordova, ‘From Lumière to Pathé. The Break-Up of Perspectival<br />
Space’, in: Thomas Elsaesser (ed.), Early Cinema. Space, Frame, Narrative, London<br />
(BFI) 1990, p. 76 (76ff.).<br />
18. On the convergence of technical standardisation, economic consumpation, scriptural<br />
organisation (screenplay) and Tayloristic working structure see: Bordwell,<br />
Staiger, Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production,<br />
London 1985; Wsewolod Pudowkin, Über Filmtechnik, Zürich 1961; Lew<br />
Kuleshov, Kuleshov on Film. Writings, Berkeley 1974.<br />
19. See Karl von Amira and Claudius von Schwerin, Rechtsarchäologie. Gegenstände,<br />
Formen und Symbole Germanischen Rechts, Teil I: Einführung in die Rechtsarchäologie,<br />
Berlin (Ahnenerbe-Foundation) 1943.<br />
20. Stefan Müller, Frank Wallhoff, Stefan Eickeler, and Gerhard Rigoll (Dept. of Computer<br />
Science, Faculty of Electrical Engineering, Gerhard-Mercator-University<br />
Duisburg, Germany), ‘Content-based retrieval of digital archives is using statistical<br />
object modelling techniques’, in: Conference proceedings volume: EVA 99 (Electronics<br />
in the Visual Arts) Berlin, 12-1 to 12-4 (12-1).<br />
21. Ich glaubte Gefangene zu sehen (double projection installation); Single<br />
Channel Version on video, 25 min., colour and black/white, by Harun Farocki. Cooperation<br />
and camera: Cathy Lee Crane; Sound: Louis Van Rooki, Editing: Max<br />
Reimann, funded by the Generali Foundation Vienna, 2000.<br />
22. Quoted in: Jay Leyda, Films Beget Film, [German trans. by Ernst Adler: Filme aus<br />
Filmen. Eine Studie über den Kompilationsfilm, Berlin (Henschel) 1967, p. 16].
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