Tag Archives: Harun Farocki

Harun Farocki – Ein Bild AKA An Image (1983)

Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it’s like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It’s impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, a responsibility as if they were splitting uranium. Read More »

Harun Farocki – Sauerbruch Hutton Architekten (2013)

Farocki’s latest documentary catches the creative process at work at Berlin-based architectue firm Sauerbruch Hutton. Read More »

Harun Farocki – Serious Games 2: Three Dead (2010)

In this second of a four part series, media artist Harun Farocki explores the interplay between modern warfare and electronic media using computer simulation and documentary footage. Originally presented as a simultaneous four-screen gallery video installation, the separate films are available exclusively on realeyz.tv. Director’s notes to Part II “In Twentynine Palms, we filmed an exercise with around 300 extras playing both Afghan and Iraqi civilian populations. A few dozen Marines stood guard and went on patrol. The maneuver town lay on a piece of land that rose slightly above the desert; its buildings were assembled out of containers. The scene looked like something modeled on the reality of a computer simulation.” Read More »

Harun Farocki – Immersion: Serious Games 3 (2009)

For Immersion, Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations. One of their projects consists in using virtual reality (environments created to simulate this world) for therapeutic reasons for soldiers suffering traumas after the Iraq war. The double projection creates a parallel between animations and testimonies by soldiers reliving their mission, the explosions, gunshots and ambushes, their fears and their guilt. The chosen direct rendering and simplicity of the edit places us like the voyeur of a personal and difficult experience. Read More »

Harun Farocki – Zum Vergleich AKA In Comparison (2009)

Bricks are manufacured in Africa, India and Europe and used to erect clinics, children’s homes, schools and residential buildings. Harun Farocki observed the different steps of the manufacturing process. Bricks are cast, fired or pressed by hands, machines or robots. Depending on the country of production, this involves a single worker or a large group. The film’s title communicates a decisive aspect: Farocki merely offers material to the viewer, who has to draw the actual comparisons between traditional, early industrial, and fully industrialized societies himself. Read More »

Harun Farocki – Ein Tag im Leben der Endverbraucher AKA A Day in the Life of a Consumer (1993)

Harun Farocki plunders 40 years of advertising films, which he orchestrates to constitute an ironic 24 hours in the life of typical consumers. Mixing different colours, periods, various “ideologies of well being” to hold up a mirror up to our times, values, worries, hopes.

This collage of “beautiful images”, gleeful and chaotic, deconstructs not only the domestic reference points which punctuate our daily life, but also gives full rein to an off-beat humour in the tradition of Brechtian distanciation.
(Andrei Ujica) Read More »

Harun Farocki – Wie man sieht AKA As You See (1986)

My film As You See is an action-filled feature film. It reflects upon girls in porn magazines to whom names are ascribed and about the nameless dead in mass graves, upon machines that are so ugly that coverings have to be used to protect the workers’ eyes, upon engines that are too beautiful to be hidden under the hoods of cars, upon labor techniques that either cling to the notion of the hand and the brain working together or want to do away with it. Read More »