14:14, 13 October 2012 - Monoskop

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Farocki: A Filmography 345 first broadcast 17.04.1986, West 3 note commissioned for the TV series ‘Kino ’86’ Wie man sieht (As You See) director, scriptwriter, commentary, interview Harun Farocki assistant director Michael Pehlke cinematographer Ingo Kratisch, Ronny Tanner editor Rosa Mercedes (Harun Farocki) negative cut Elke Granke sound Manfred Blank, Klaus Klingler mixing Gerhard Jensen researcher Michael Pehlke narrator Corinna Belz production Harun Farocki Filmproduktion, Berlin- West, with financial support from Hamburger Filmbüro producer Harun Farocki, Ulrich Ströhle length 72 min. format 16 mm, b/w and Eastmancolor, 1:1.37 first screening 08.06.86, Berlin-West (Kinofest ’86) Austrian premiere 03.04.1987, Wien (Stadtkino) first release 28.05.1987, Köln distributor Basis first broadcast 19.03.1990, West 3 Filmtip: Schlagworte Schlagbilder. Ein Gespräch mit Vilém Flusser director, scriptwriter, commentary, interview Harun Farocki production WDR, Köln length <strong>13</strong> min. format video-U-Matic, col., 1:1.37 first broadcast 01.05.1986, West 3 note commissioned for the TV series ‘Filmtip’
346 Harun Farocki Filmtip: Kuhle Wampe director, scriptwriter, commentary Harun Farocki production WDR, Köln length 6 min. format video 1-inch-VTR, col.,1:1.37 first broadcast 01.05.1986, West 3 note commissioned for the TV series ‘Filmtip’ 1987 Die Schulung (Indoctrination) director, scriptwriter Harun Farocki cinematographer Simon Kleebauer second cinematographer Rosa Mercedes (Harun Farocki) light design, video technician Jürgen Frieß, Fabian Meyer editor Roswitha Gnädig sound Rolf Müller production SWF, Baden-Baden TV-producer Ebbo Demant location manager Uwe Kremp length 44 min. format video 1-inch-VTR, col., 1:1.37 first broadcast 19.02.1987, ARD note commissioned for the TV series ‘Ziele’ Filmtip: Der Tod des Empedokles director, scriptwriter, commentary Harun Farocki cinematographer Ingo Kratisch editor Harun Farocki sound Klaus Klingler production WDR, Köln TV-producer Werner Dütsch length 7 min. format 16 mm, col., 1:1.37 first broadcast 08.10.1987, West 3
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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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From the Surveillance Society to th
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290 Harun Farocki more important to
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292 Harun Farocki breastplates, and
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 332 and 333: Farocki: A Filmography 333 Die Arbe
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Page 348 and 349: Farocki: A Filmography 349 Kinostad
Page 350 and 351: Farocki: A Filmography 351 1992 Vid
Page 352 and 353: Farocki: A Filmography 353 awards n
Page 354 and 355: Farocki: A Filmography 355 Das Thea
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Page 358 and 359: Farocki: A Filmography 359 length 6
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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14:14, 13 October 2012 - Monoskop

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