14:14, 13 October 2012 - Monoskop

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Farocki: A Filmography 359 length 68 min. format video BetaSP, col., 1:1.37 2000 Ich glaubte Gefangene zu sehen (I Thouht I Was Seeing Convicts) director, scriptwriter researcher and cinematographer editor sound production length format first screening Harun Farocki Cathy Lee Crane Max Reimann Luis Van Rooki Harun Farocki Filmproduktion,Berlin, Generali Foundation, Wien, with support from 3 sat, Mainz Inge Classen, Movimento, Paris Christian Baute 25 min. BetaSP, col. International Film Festival Locarno, 06.08.2000 Music Video director, scriptwriter cinematographer editor sound production curator length Format first screening Harun Farocki Harun Farocki, Antje Ehmann Harun Farocki Harun Farocki Harun Farocki Filmproduktion, Berlin Hans-Ulrich Obrist 50 sec. and 20 sec. MiniDV, col. Digital City Seoul 2000, Seoul, South Korea, 31.08.2000 Gefängnisbilder (Prison Images) director, scriptwriter cinematographer editor sound researcher Harun Farocki C. Lee Crane, Ingo Kratisch Max Reimann Louis van Rooky Jörg Becker, Cathy Crane
360 Harun Farocki production TV-producer length format commissioned by Harun Farocki Filmproduktion, Berlin, Movimento, Paris, Christian Baute Inge Classen 60 min. video, col. and b/w ZDF/3sat 2001 Die Schöpfer der Einkaufswelten (The Creators of the Shopping Worlds) director, scriptwriter Harun Farocki assistant Matthias Rajmann cinematographer Ingo Kratisch, Rosa Mercedes editor Max Reimann sound Ludger Blanke, Matthias Rajmann, Leo van Rooki researcher Rob Miotke, Stefan Pethke, Matthias Rajman, Brett Simon executive producer SWR Thomas Lorenz production Harun Farocki Filmproduktion, Berlin, in coproduktion with SWR, NDR and WDR in collaboration with arte TV-producer Gudrun Hanke-El Ghomri (SWR), Bernd Michael Fincke (NDR), Werner Dütsch (WDR) length 72 min. format video, col. Premiere Wiener Festwochen, Wien, 11.6.2001 Auge/Maschine (Eye Machine) director, scriptwriter editor with support from production length format Harun Farocki with Matthias Rajmann, Ingo Kratisch, Rosa Mercedes Max Reimann ZDF/3sat, Mainz, (Inge Classen), Galerie Greene Naftali, New York, (Carol Greene), ZKM, Karlsruhe (Peter Weibel), Harun Farocki Filmproduktion, Berlin 25 min. video, col.
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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
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294 Harun Farocki tive’ nuclear o
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Nine Minutes in the Yard: A Convers
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Page 308 and 309: 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 328 and 329: Farocki: A Filmography 329 1972 Rem
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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
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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 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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