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14:14, 13 October 2012 - Monoskop

14:14, 13 October 2012 - Monoskop

Harun Farocki:

Harun Farocki: Filmmaker, Artist, Media Theorist 37 form of his own essays (dating respectively from 1977, 1982, 1988, 1995, 1998, 1999) and by two interviews (Elsaesser, 1993, Hüser, 2000). They indicate the different intellectual as well as cinéphile traditions Farocki draws on in his work, as do the essays taken from a German publication on Farocki, which pay attention to his immediate circle of friends as well as the role he played in the journal Filmkritik (Siebel, Möller, Knepperges). Three essays were written more recently, one of which provides a close reading of Videogramme einer Revolution in the light of political theory and media politics (Young), the second pinpoints some of the major thematic preoccupations up to and including his installation work (Blümlinger) and the third by Wolfgang Ernst (and coauthored by Farocki) outlines an ambitious project which aims to take our cinematic heritage and audio-visual memory into the digital realm, at least conceptually, by asking how, and in the name of what criteria given the vast capacity to store images one can sort, archive, and make accessible this ‘grammar’ of our culture, this software programme of our memory, where moving images form units both above and below the lexical and the semantic dimensions. Ernst and Farocki seem to want to continue the work of film semioticians, of folklorists and narratalogists, but now within the image and through the image itself. It not so much concludes his film work as it opens even his installations to a new dimension. As these hints at layers and strata indicate, this book has itself had an almost geological genesis. When I first wrote about Farocki in 1983, I was still under the strong impression of a chance encounter from 1975. The many times we have met since have always included an element of surprise, of displacement and detour, of a moment that should be fixed but probably was better remembered as being transitory. The first time I introduced one of his films was at a conference in Vancouver, having smuggled a 16mm print of Zwischen zwei Kriegen past Canadian customs. Nearly ten years later, I introduced Farocki and Wie man sieht in Berkeley, California, in January 1992. But what was more memorable was the dinner afterwards, with Laura Mulvey, Carol Clover and Kaja Silverman. In London, in February 1993, I interviewed him on Bilder der Welt for a retrospective I had curated at the NFT, where it was his stage presence that kept the audience spellbound. No less a spell was cast by him in Amsterdam, a year later, when he showed Videogramme einer Revolution to my students. A born performer as much as a born pedagogue, I saw him discuss his films with Paul Virilio at the Jeu de Paume in Paris, and invited him again to Amsterdam for a workshop on Arbeiter verlassen die Fabrik. When I visited him in a remote part of the former East Berlin, it was a wall of peculiarly enigmatic graffiti that seemed to lead me to his home, and in New York, at the MoMA’s retrospective of his films, I saw him patiently sit every evening by the auditorium door like K. waiting ‘Before the Law’ in Kafka’s The

38 Harun Farocki Castle. Each of these encounters left me with a particular gesture, sharp remark, witty pun, or vivid image; and, finally, with the desire to do this book. In realizing it, I was helped by many: Christa Blümlinger, Tom Keenan, Ulrich Kriest and Rolf Aurich, Kay Hoffmann, the Goethe Institute Melbourne, Fiona Villella of Senses of Cinema, Wolfgang Ernst, Tamara de Rijk and above all by Harun Farocki himself. Thanks also go to the other authors, Jonathan Rosenbaum, Nora Alter, and Benjamin Young who graciously permitted me to reprint or publish their essays. Initially I had wanted to include the filmography, carefully compiled by Christa Blümlinger for a French publication, but in the end opted for the annotated filmography, as listed on the official website: www.farockifilm.de. Biographical notes about Farocki are included in the List of Authors, and bibliographical details concerning the original publication of essays here reprinted and of their translators can be found at the end of the volume. Notes 1. Harun Farocki, ‘Controlling Observation’, originally in Jungle World no. 37 (8 September 1999); in this volume. 2. These examples are all taken from Wie man sieht. 3. Dialogue passage by ‘Robert’ from Before Your Eyes – Vietnam. 4. Harun Farocki, ‘Ein Schnitt, oder die Rache der Fernsehleute’, Die Tageszeitung (Berlin), 2 February 1989. 5. See also Blaise Pascal: ‘you would not be looking for me if you had not already found me’. 6. Harun Farocki, ‘Ein Zigarettenende’, Filmkritik no. 1, 1977. 7. ‘... a typical German misunderstanding. People do not realise that an author like Farocki seeks [...] to disguise his own labour and himself as a person. It is part of this hide-and-seek – and it is worth insisting on this – that what appears as a throwaway joke or casual remark is in fact the expression of persistent work and the fruit of reflected experience.’ D. Lederer, ‘Begegnungen in Duisburg und anderswo’, in: Rolf Aurich/Ulrich Kriest (eds.) Der Ärger mit den Bildern Die Filme von Harun Farocki, Konstanz: UVK Medien 1998, p. 61. 8. Alfred Sohn-Rethel, ‘Ökonomie und Klassenstruktur des deutschen Faschismus’, Kursbuch 21, October 1970, originally published in Deutsche Führerbriefe,nr.72, 73, then reprinted in: Der Rote Aufbau, vol. V, no. 20, Berlin, 15 October 1932, p. 934. 9. Harun Farocki, ‘Notwendige Abwechslung und Vielfalt’, Filmkritik 224, August 1975, pp. 360-369. 10. Among the most notorious of these instructional shorts were Their Newspapers (which ends with a stone being thrown through the window of the Springer Press Headquarters), How to Separate a Policeman from his Helmet and the (apoc-

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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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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    Political Filmmaking after Brecht:

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    The Road Not Taken: Films by Harun

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    The Road Not Taken: Films by Harun

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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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    Making the World Superfluous: An In

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    Making the World Superfluous: An In

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    Making the World Superfluous: An In

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    Making the World Superfluous: An In

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    Making the World Superfluous: An In

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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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    On Media and Democratic Politics: V

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    On Media and Democratic Politics: V

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    On Media and Democratic Politics: V

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    On Media and Democratic Politics: V

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    On Media and Democratic Politics: V

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    On Media and Democratic Politics: V

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    On Media and Democratic Politics: V

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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    Towards an Archive for Visual Conce

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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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    Nine Minutes in the Yard: A Convers

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    Nine Minutes in the Yard: A Convers

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    Harun Farocki: Critical Strategies

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    Harun Farocki: Critical Strategies

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    Harun Farocki: Critical Strategies

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    Harun Farocki: Critical Strategies

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    Acknowledgements The editor wishes

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    Farocki: A Filmography 1966 Zwei We

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    Farocki: A Filmography 327 scriptwr

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    Farocki: A Filmography 329 1972 Rem

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    Farocki: A Filmography 331 editor p

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    Farocki: A Filmography 333 Die Arbe

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    Farocki: A Filmography 335 1977 Ein

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    Farocki: A Filmography 341 first re

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    Farocki: A Filmography 343 producti

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    Farocki: A Filmography 347 quotatio

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    Farocki: A Filmography 349 Kinostad

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    Farocki: A Filmography 351 1992 Vid

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    Farocki: A Filmography 353 awards n

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    Farocki: A Filmography 355 Das Thea

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    Farocki: A Filmography 357 Stillebe

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    Farocki: A Filmography 359 length 6

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    Farocki: A Filmography 361 2002 Eye

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    364 Harun Farocki search fellowship

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    Index of Names Achternbusch, Herber

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    Index 369 Ernst, Wolfgang 37-38, 26

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    Index 371 Lumières, Auguste and Lo

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    Index 373 Truffaut, François 82, 3

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    376 Harun Farocki Das Prinzip Hoffn

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    378 Harun Farocki Nick’s Film - L

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