14:14, 13 October 2012 - Monoskop

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Farocki: A Filmography 329 1972 Remember Tomorrow is the First Day of the Rest of Your Life director, scriptwriter, editor Harun Farocki cinematographer Fritz Grosche assistant director Klaus Krahn music The Velvet Underground: ‘Afterhours’ DonMcLean: ‘American Pie’ The New Seekers: ‘I’d like to Teach the World to Sing’ Neil Young: ‘Heart of Gold’ Ray Stevens: ‘Turn Your Radio On’ production SFB, Berlin-West length 10 min. format 16 mm, Farbe, 1:1.37 first broadcast <strong>14</strong>.04.72, Nord 3 note commissioned for the TV series ‘Studio III / Aus Kunst und Wissenschaft’ Die Sprache der Revolution. Beispiele revolutionärer Rhetorik, untersucht von Hans Christoph Buch director Harun Farocki scriptwriter Hans Christoph Buch cinematographer Bernd Maus, Joachim Pritzel sound Christian Praszer editor Ulla Agne, Claudia Karsunke production WDR, Köln executive producer Volker Dieckmann length 45 min. format 16 mm,b/w, 1:1.37 first broadcast 30.10.72, Nord 3 1973 Sesamstraße director, scriptwriter Hartmut Bitomsky, Harun Farocki cinematographer Carlos Bustamante sound Hans Beringer editor Rolf Basedow production Larabel Film Harun Farocki, Berlin-West, NDR, Hamburg format 16 mm, col., 1:1.37
330 Harun Farocki Titles Transport 1 (length: 3 min.) Transport 2 (3 min., first broadcast: 23.01.1973) Container 1 (3 min.) Container 2 (3 min., 12.11.74) Sägen (2.5 min., 10.05.73) Hammer (2,5 min., 19.06.73) Der Weg des Geldes (2.75 min., 27.09.73) Baggerlied (3.5 min., 01.10.73) Dock (2.5 min., 21.05.73) Schiffsentladung 1 Schiffsentladung Make Up director, scriptwriter assistant director cinematographer assistant cinematographer sound editor set designer make up production Harun Farocki Tillmann Taube Carlos Bustamante Marco Fumasoli Hans Beringer Rolf Basedow Simone Bergmann Serge Lutens Larabel Film Harun Farocki, Berlin-West, for BR, München Walter Adler, Dirk Gerhard 29 min. executive producer length format 16 mm, col., 1:1.37 first broadcast <strong>14</strong>.-20.10.73, Bayern 3 Brunner ist dran director, scriptwriter script cinematographer assistant cinematographer sound Harun Farocki; Heinz von Cramer (overall program, concept and implementation) Harun Farocki based on the story ‘Le mauvais vitrier’ by Charles Baudelaire David Slama Marina Koischwitz, Fritz Grosche, Klaus Krahn (overall program) Hans Beringer
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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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Reality Would Have to Begin Harun F
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Reality Would Have to Begin 195 The
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Reality Would Have to Begin 197 the
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Reality Would Have to Begin 199 in
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Reality Would Have to Begin 201 roo
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Light Weapons Tom Keenan ... Scan F
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Light Weapons 205 pressed together.
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Light Weapons 207 ment’s opening
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Light Weapons 209 3. The image is a
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The Political Im/perceptible: Faroc
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Film: Media: Work: Archive
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238 Harun Farocki 1895, the Lumièr
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240 Harun Farocki Metropolis (1927)
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242 Harun Farocki worst acts of vio
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On Media and Democratic Politics: V
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Towards an Archive for Visual Conce
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Page 278 and 279: Towards an Archive for Visual Conce
Page 286: From the Surveillance Society to th
Page 289 and 290: 290 Harun Farocki more important to
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Page 293 and 294: 294 Harun Farocki tive’ nuclear o
Page 296 and 297: Nine Minutes in the Yard: A Convers
Page 314 and 315: Harun Farocki: Critical Strategies
Page 322 and 323: Acknowledgements The editor wishes
Page 324 and 325: Farocki: A Filmography 1966 Zwei We
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Page 363 and 364: 364 Harun Farocki search fellowship
Page 366 and 367: Index of Names Achternbusch, Herber
Page 368 and 369: Index 369 Ernst, Wolfgang 37-38, 26
Page 370 and 371: Index 371 Lumières, Auguste and Lo
Page 372: Index 373 Truffaut, François 82, 3
Page 375 and 376: 376 Harun Farocki Das Prinzip Hoffn
Page 377 and 378: 378 Harun Farocki Nick’s Film - L
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