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14:14, 13 October 2012 - Monoskop

14:14, 13 October 2012 - Monoskop

Painting Pavements 51

Painting Pavements 51 turns up again in Farocki’s work), but where the former was still dominated by the charm of the amateur film, the latter is pure concept. The similarly conceived sequel Was ist los? (What’s Up?, 1991) again attempted to help the viewer along with words and in so doing, was not nearly as good. How to Live in the FRG is probably the film which makes most transparent the intentions behind Farocki’s critique of language (which is, of course, as it already was in The Training Course and Image und Umsatz (Image and Turnover, 1989), a critique of the system) even though or precisely because Farocki dispenses with all commentary. To see how in all walks of life, from a New Age commune to the Federal Army, the paper language of administration is on a permanent collision course with regional dialects and colloquial speech, is irresistibly, devastatingly funny. Becoming Invisible In the 1990s, Farocki made films consisting entirely of pre-produced images: Videogramme einer Revolution (Videograms of a Revolution, in collaboration with Andrei Ujica, 1991/92); the advertising clip collage Ein Tag im Leben der Endverbraucher (A Day in the Life of the End-user, 1993); Arbeiter verlassen die Fabrik (Workers leaving the Factory, 1995, the one most reminiscent of his earlier works with foreign material); on through to the video installation Schnittstelle, in which he mainly works with his own old films. It completes a further circle: Farocki has again become a copyist, in the vein of Flaubert’s lovable dilettantes, Bouvard and Pécuchet. Just as the most advanced musical tendencies in contemporary pop music sampling techniques and re-mixes, dub and hip hop, respond to the daily increase in acoustic debris with formal minimalism, these films are Farocki’s answer to the same problem in the area of the visual: ‘You don’t have to look for new images that have never been seen, but you have to work on existing images in a way that makes them new. There are various paths. Mine is to look for the buried sense, and to clear away the rubble lying on top of the images.’ 5 The musician’s sampler is the filmmaker’s editing table. The author working with found material tends to become invisible as the originator of the work, because he hides behind something that pretends to be a piece of ‘reality’ become history. The creative process shifts from production to reproduction. The artistic material is charged with meaning not intended by the original producers. Techniques like sampling, dub, assemblage, collage, compilation film, essay film and found footage film are made possible by the increasing availability of an immense wealth of ready-made material from cultural his-

52 Harun Farocki tory. The techniques are made necessary by the increasing arbitrariness of every artefact newly added to the pile. The abundance of what has been produced, no longer kept in check, at some stage or other renders everything indifferent, and the chances of an audience gaining information by what has been newly created verge on zero. The more encyclopaedic the knowledge of an author/artist, the greater will be his distrust of his work being truly ‘his own’ or ‘innovative’. So it makes sense for the filmmaker, who has to become an archaeologist in order to keep up with his age, to secure for himself those images already there, so as to project on to them what is his own. Did not Farocki involuntarily practice something similar back in his days as a pavement painter? His tendency toward iconoclasm, which he could be accused of because of his last films, is not a negation of the image, when you look at it more closely, but a progressive step back to the essential quality of an image. By underlining the facticity of images through recycling, he makes evident what significance images could possess, had we, who live in a world of images, undergone a proper initiation into seeing. Whether this method of working is capable of building up a functioning opposition to the mainstream is another question. What in music has opened up not only a world-wide body of listeners, but also a viable market, remains too marginal in the visual realm on account of its aesthetic indifference. Moreover, here too, television and advertising were quicker off the mark. The Double Author Farocki’s instrument is no longer the camera but the editing room. In one of his ironic insights he apostrophised himself as a ‘sales representative’ for the prefilmed. In his dual-channel video installation Schnittstelle, he ends up representing himself (see ill. 38). The idea of double projection being not exactly new (many artists and avant-garde filmmakers have been employing it for ages), one has to wonder why Farocki had never done something of the sort earlier. For he always wanted to comment on the use of images by using images. And although he yet again reproduces an image of himself and his own workplace, he still keeps a distance from his object: himself. Although he shows how he becomes his own encyclopaedist and analyst, the attempt is not meant to be honest, more a wink and a nod, a rogue’s progress. Farocki is by no means, as Schnittstelle seems to suggest, the lone bricoleur holed up in his studio, remote from the real world. If not before, the end credits listing the crew involved, disabuse one of such a misconception. The impression one gets is of someone chatting a bit about his work. In actual fact, he is coaching us

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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 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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    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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    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 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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