Harun Farocki

  • Harun Farocki – Einschlafgeschichten (Brücken) AKA Bedtime stories (Bridges) (1977)

    1971-1980ArthouseGermanyHarun FarockiShort Film


    One of the five episodes of Bedtime stories for children by Harun Farocki
    Quote:
    The five Einschlafgeschichten are bed-time stories for children, made 1976/77, in which Farocki uses simple objects to elucidate cinematographic method. […]

    The stories deal with bridges, cable cars and ships crossing roads. What is worth saying? What is worth remembering? The two girls in the film imagine what is shown. Bridges that move. Something quite different to ‘bridges’. […]Read More »

  • Harun Farocki – Einschlafgeschichten (Schiffe) AKA Bedtime stories (Ships) (1977)

    1971-1980ArthouseGermanyHarun FarockiShort Film

    One of the five episodes of Bedtime stories for children by Harun Farocki.
    Quote:
    The five Einschlafgeschichten are bed-time stories for children, made 1976/77, in which Farocki uses simple objects to elucidate cinematographic method. […]

    The stories deal with bridges, cable cars and ships crossing roads. What is worth saying? What is worth remembering? The two girls in the film imagine what is shown. Bridges that move. Something quite different to ‘bridges’. […]Read More »

  • Jean-Gabriel Périot – Une jeunesse allemande AKA A German Youth (2015)

    2011-2020DocumentaryGermanyJean-Gabriel PériotPolitics

    Quote:
    At the end of the 1960s the post-war generation began to revolt against their parents. This was a generation disillusioned by anti-communist capitalism and a state apparatus in which they believed they saw fascist tendencies. This generation included journalist Ulrike Meinhof, lawyer Horst Mahler, filmmaker Holger Meins as well as students Gudrun Ensslin and Andreas Baader.Read More »

  • Harun Farocki – Zwischen zwei Kriegen AKA Between Two Wars (1978)

    1971-1980ExperimentalGermanyHarun FarockiPolitics

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

    The essay from the Berlin filmmaker, Harun Farocki, on heavy industry and the gas of the blast furnace, convinces through the author’s cool abstraction and manic obsession and through the utilization of a single example of the self-destructive character of capitalistic production: “The image of the blust furnace gas is real and metaphoric; an energy blows away uselessly into the air. Guided through a system of pipes, the pressure increases. Hence, a valve is needed. That valve is the production of war material.”Read More »

  • Brecht Debackere – Exprmntl (2016)

    2011-2020BelgiumBrecht DebackereDocumentaryExperimental



    Quote:
    Knokke, Belgium. A small mundane coastal town, home to the beau-monde. To compete with Venice and Cannes, the posh casino hosts the second ‘World Festival of Film and the Arts’ in 1949, organized in part by the royal cinematheque of Belgium. To celebrate cinema’s 50 year existence, they put together a side program showcasing the medium in all its shapes and forms: surrealist film, absolute film, dadaist films, abstract film,… The side program would soon become a festival in its own right: ‘EXPRMNTL’, dedicated to experimental cinema, and would become a mythical gathering of the avant-garde…Read More »

  • Harun Farocki – Bilder der Welt und Inschrift des Krieges AKA Images of the World and the Inscription of War (1989)

    1981-1990DocumentaryGermanyHarun FarockiWar

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    Quote:
    The vanishing point of is the conceptual image of the ‘blind spot’ of the evaluators of aerial footage of the IG Farben industrial plant taken by the Americans in 1944. Commentaries and notes on the photographs show that it was only decades later that the CIA noticed what the Allies hadn’t wanted to see: that the Auschwitz concentration camp is depicted next to the industrial bombing target. (At one point during this later investigation, the image of an experimental wave pool – already visible at the beginning of the film – flashes across the screen, recognizably referring to the biding of the gaze: for one’s gaze and thoughts are not free when machines, in league with science and the military, dictate what is to be investigated.Read More »

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