14:14, 13 October 2012 - Monoskop

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Farocki: A Filmography 337 first release 17.11.1978 Berlin-West (Cinema Bundesallee) distributor Basis first broadcast 11.12.1993, Hessen 3 awards Prix Carosse d´Or 1978 Zu ‘Zwischen zwei Kriegen’ (On ‘Between Two Wars’) director, scriptwriter, editor Rosa Mercedes (Harun Farocki) production Harun Farocki Filmproduction, Berlin- West, for WDR, Köln length 10 min. format 16 mm, b/w, col., 1:1.37 first broadcast 1978, West 3 note commissioned for the TV series ‘Kino 78’ Häuser 1-2 director, scriptwriter Harun Farocki production Harun Farocki Filmproduction, Berlin- West, for NDR, Hamburg length 10 min. (2 à 5 min.) format 16 mm, col., 1:1. 37 note commissioned for the TV series ‘Sesamstraße’ Einschlafgeschichten 1-3 / Katzengeschichten director, scriptwriter cinematographer length format production note Harun Farocki Ingo Kratisch, David Slama 9 min. (3 à 3 min.) 35 mm, col. Harun Farocki Filmproduction, Berlin- West, NDR, Hamburg commissioned for the TV series ‘Sandmännchen’, NDR 1979 Industrie und Fotografie director, scriptwriter Harun Farocki
338 Harun Farocki cinematographer Ingo Kratisch, Rosa Mercedes (Harun Farocki), Rolf Silber editor Hella Vietzke music Tony Conrad and Faust narrator Christhart Burgmann production manager Hans-Dieter Müller production Harun Farocki Filmproduction, Berlin- West, for WDR, Köln producer Guenther Weinhold TV-producer Werner Dütsch length 44 min. format 35 mm., b/w 1:1,37 first broadcast 01.03.1979, West 3 Anna und Lara machen das Fernsehen vor und nach director, cinematographer, editor scriptwriter production Harun Farocki Annabel Lee Faroqhi, Larissa Lu Faroqhi Harun Farocki Filmproduction, Berlin- West 18 min. length format 16 mm, col., 1:1,37 note The film is presumed lost Single. Eine Schallplatte wird produziert director, scriptwriter Harun Farocki cinematographer Ingo Kratisch, David Slama, Gerd Braun editor Gerd Braun, Gerrit Sommer, Helga Kohlmeier, Dorothea Haffner, Brigitte Kurde sound Rolf Müller, Johannes Beringer, Karl- Heinz Wegmann music ‘Time to Love’ by Stephan Baal, Caryn McCombs production manager Rosa Mercedes (Harun Farocki) production Harun Farocki Filmproduction, Berlin- West, for SFB length 49 min. format 1-Zoll-MAZ, col., 1:1.37
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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 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
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Page 354 and 355: Farocki: A Filmography 355 Das Thea
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Page 360: Farocki: A Filmography 361 2002 Eye
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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