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poster

79

43

8.0

/730/

72

/17/

78

/16/

4.1

/1731/

86

/158/

A minute-by-minute chronology of the Romanian revolution in December 1989 in Bucharest. This cinematic montage of live footage from the state television company TVR and video taken by numerous amateurs becomes a new media-based form of historiography.

poster

69

24

7.5

/361/

58

/9/

65

/10/

4.0

/1614/

Farocki’s intriguing and troubling film explores the processes of visual perception and how they affect our understanding of history and society. In a work reminiscent of the writings of Paul Virilio and Michel Foucault, Farocki examines a range of phenomena including aerial reconnaissance photos of the Auschwitz concentration camp.

poster

63

16

7.2

/233/

47

/4/

58

/6/

3.8

/1109/

Using one of the Lumière Brothers' first films of workers leaving the Factory as his starting point, Farocki provides an insight to changes in industrial production, workers' strikes and motion pictures-- via images of workers leaving factories throughout the years.

poster

?

5.8

/12/

50

/1/

Director Aysun Bademsoy continues her long-term documentary on the lives of five Turkish women in Berlin. Whereas 13 years ago, they were still optimistic and rebellious, their lifestyle is now more conformist. Together, they take a look back at the good old times and the difficult path that led them here. Despite all the frustrations and hardships, we can still feel how determined they are and see the sparkle in their eyes. Bademsoy shows life in all its ambivalence and grants us a close look into the lives of these women, as well as a direct glimpse of them into the camera.

?

8.3

/28/

20

/1/

Documentary about the german police force.

poster

?

7.2

/32/

An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.

poster

?

7.2

/30/

An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.

poster

?

6.7

/32/

An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.

poster

?

6.7

/35/

An exploration of how the U.S. military employs video game technology to train troops for war. Filmed at the United States Marine Corps Air Ground Combat Center, Watson is Down pairs footage of soldiers at computers engaging in combat-simulation training with scenes from the video games.

?

5.8

/8/

20

/1/

In her documentary, Aysun Bademsoy portrays five young Turkish women from Berlin Kreuzberg who used to be members of the successful Turkish women's soccer team "BSC-Agrispor". Until recently, the friends had high hopes for an independent future based on their sporting success. But now the season is coming to an end and the five young women, all in their 20s, will stop playing soccer. They don't know exactly what they want to do with their lives. Apprenticeships are rare, and without money, independence from the strict parental home is impossible. But now they are enjoying the Berlin summer together once again, wandering the streets, chasing boys, going to parties, "hanging out".

poster

?

10

/1/

Single is not a theoretical treatise; it just uses clips to show how a single is produced. The song is Time to Love, the singers call themselves Witchcraft. Also involved are the composer, arranger, producer, the studio musicians and later on the strings. At the beginning the off camera narrator points out a scandalous discrepancy. The film crew spent two days in the recording studio observing a three minute piece of music being produced. The film itself condenses the duration of production: 15 minutes into the film, the narrator announces that the producers are satisfied with the basic backing-track, after a four hour test. After 24 minutes we learn that the crew has left the studio after nine hours filming, whilst work on the guitar tracks continued for some hours.

poster

?

7.2

/37/

46

/3/

58

/4/

An advertising agency has to pitch a marketing concept to an optician's consortium, represented by the manager who is the first to see the campaign. The logo submitted is examined from every angle: it must simultaneously express both the company's dynamism and its reliability. A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.

poster

?

7.4

/20/

10

/1/

Farocki revisits the executive trainer from his earlier "Die Schulung" (Indoctrination, 1987), this time holding a seminar with ex-GDR employees of a West German construction company.

poster

57

?

5.9

/54/

47

/4/

53

/3/

3.5

/285/

Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video 'about his work'. His creation was an installation for two screens that was presented within the scope for the 1995 exhibition The World of Photography. The work Schnittstelle developed out of that installation. Reflecting on Farocki's own documentary work, it examines the question of what it means to work with existing images rather than producing one's own, new images. The title plays on the double meaning of 'Schnitt', referring both to Farocki's workplace, the editing table, as well as the 'human-machine interface', where a person operates a computer using a keyboard and a mouse.

poster

?

7.2

/54/

40

/1/

60

/5/

A film about the time of the blast furnaces – 1917–1933 – about the development of an industry, about perfect machinery which had to run itself to the point of its own destruction.

poster

?

7.2

/86/

50

/3/

63

/3/

A look at how mall producers design malls in order to maximise traffic and sales.

poster

63

?

6.4

/84/

56

/3/

60

/4/

3.6

/217/

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of "War at a Distance", which continues the deconstruction of claims to visual objectivity Harun Farocki developed in his earlier work. With the help of archival and original material, Farocki sets out in effect to define the relationship between military strategy and industrial production and sheds light on how the technology of war finds applications in everyday life.

poster

?

5.2

/14/

100

/1/

The diagrams used to help represent consumer shopping baskets, the pensions deficit or migration are anachronistic, Farocki posits; Whether pictographs or simple bar or pie charts, their abstractions all display an impotence of information. "Examples of diagrams gleaned from newspapers, school text books and official publications are [...] the history of migration in the Federal Republic of Germany. What we are seeking, therefore, is a conceptual critique of the ways in which migration is presented, pursuing the icons and symbols back to their origins and examining them with regard to content they themselves are unaware of." -HF

poster

70

?

7.8

/103/

67

/4/

63

/7/

3.7

/364/

Respite consists of silent black-and-white film shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.' In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer. “By exhuming the scattered fragments and traces of the phantom film (intertitle cards, ideas for the scenario, graphic elements), Harun Farocki inscribes the Dutch footage within the genre of the corporate film.

poster

?

6.8

/17/

10

/1/

57

/3/

Portrait of Georg Glaser, who is a writer in the mornings and a blacksmith in the afternoons.

poster

70

?

7.4

/127/

65

/6/

70

/6/

3.6

/349/

A film composed of images from prisons. Quotes from fiction films and documentaries as well as footage from surveillance cameras. A look at the new control technologies, at personal identification devices, electronic ankle bracelets, electronic tracking devices.

?

7.7

/9/

"If there is a relationship between production and destruction, between the development of productive and destructive forces, then the atom bomb is the ultimate weapon of the post-industrial age. Greatest tonnage, highest mortality, maximum devastation. But what comes next, what are the weapons of the post-industrial age?" - Harun Farocki

poster

?

10

/1/

An issue of the magazine Kino 81, designed for the film department of WDR by staff of FILMKRITIK

poster

?

7.2

/86/

65

/2/

63

/3/

What venture capital or VC for short actually means is explained in the film itself. Banks only lend money against collateral. Those who have none have to turn to VC companies and pay interest of 40%.

poster

?

6.5

/71/

10

/1/

61

/8/

This film is at once a self-portrait and an homage to Jean-Marie Straub, Farocki's role model and former teacher at the Film Academy.

poster

71

?

7.6

/161/

68

/5/

66

/4/

3.7

/411/

In Comparison revisits issues explored in the director's 2007 two channel installation Comparison Via a Third. Spanning continents and cultures, the film focuses on the brick in its many contexts, from the collective efforts of a community building a clinic in Burkina Faso, through semi industrialized moldings in India, to industrial production lines in Germany, France, Austria and Switzerland. Through its notable structure and its captivating rhythms, In Comparison presents various methods of labor production, allowing for an assessment that changes with every layer and goes well beyond a simple binary divide.

poster

?

6.4

/68/

40

/3/

53

/3/

Peter Lorre achieved international fame for his performance in the myth-making role in M. This character has held a peculiar fascination for generations of cinephiles. However, at the time, whilst such success meant recognition, it also weighed on the Hungarian actor as a constrictive burden. Using photographs and film extracts, Das doppelte Gesicht reconstructs the ups and downs of Lorre's career, taking into consideration the economic imperatives and workings of the film industry at the time. (Arnold Hohmann, 1984)

poster

64

?

7.2

/60/

52

/4/

58

/5/

3.7

/296/

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, its symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

poster

62

?

6.9

/79/

56

/3/

51

/8/

3.5

/327/

A documentation during four days of the creation of a Playboy magazine centerfold photograph from start to finish.

poster

63

?

7.4

/144/

50

/8/

57

/6/

3.7

/458/

A series of 32 short scenes, uniformly set in West German instructional and training classes, that show various tasks among the citizenry being done solely as the result of exhaustive preparation - everything from women preparing to give birth, to strippers stripping, to policemen making arrests. Farocki uses the material to savagely dissect the West German mode of life. ~ Nathan Southern, Rovi

poster

?

Interview film with Peter Weiss

poster

?

This Harun Farocki film shows the creation of a picture on which the artist worked for nine weeks. Sarah Schumann lives in Berlin and is a pioneer of the feminist scene. 1977 together with several other artists she organized the first large exhibition in which only work by women was shown. Sarah Schumann paints figuratively, that is to say she has developed a technique using layers of collage and painting worked on top of and into one another. Regarding a picture becomes an adventure. (harunfarocki.de)

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