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Topic: Harun Farocki

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	Carnegie International - Artist Bio
		Harun Farocki describes this project as a way of documenting "the industrialization of thought": the development of technologies and artificial devices that encroach on the activity of the human mind and senses.
		He is particularly interested in the graphic elegance of the aerial bomber's crosshairs and the geometric clarity of a target seen from the sky—both introduced to the public in footage from the suicidal cameras on the so-called smart bombs used in the 1991 Gulf War.
		Farocki's vast catalog of destruction is clinical, computable, and utterly convincing as a warning against the chilling convergence of advanced technology and human belligerence.
	www.cmoa.org /international/the_exhibition/artist.asp?farocki (236 words)

	Introduction: Harun Farocki
		In this respect, Farocki's cinema is a meta-cinema also in the sense of being a permanent commentary on filmmaking in West Germany since the demise of the film-industry and the rise of this so-called New German Cinema in the 1970s and 1980s.
		Farocki captures in devastating mini-narratives the new social deployment of images, making one sense the unimaginable quantities of their recording and storage, alerting one to their replay and circulation in opaque and unaccountable sites of power.
		As one walks through Farocki's works, which have become our worlds, one realises that he may be one of the few filmmakers today capable of understanding the logic of this convergence, contesting its inevitability and yet feeling confident enough to continue to believe in the wit, wisdom and the poetry of images.
	www.sensesofcinema.com /contents/02/21/farocki_intro.html (2004 words)

	Untitled Document
		Farocki's work includes investigations of such concerns as the role of the allies in World War II, the Vietnam War, the working class and the German "guerilla" war of the 1960s and the Romanian Revolution.
		Harun Farocki was born in 1944 in Neutitschein, the part of Czechoslovakia annexed by the Germans at that time.
		Harun Farocki was recently a Professor of Media Studies at Hochschule der Kunste, Berlin.
	fcis.oise.utoronto.ca /~cmce/presentations.htm (1419 words)

	[Reader-list] Harun Farocki Exhibition (Site not responding. Last check: 2007-10-23)
		Harun Farocki (D), 25 Min., 16mm What Farocki Taught (1998), d.
		The exhibition centers specifically on Farocki's methodology and practice on the scale of a highly individual artistic approach and convention, that of first and foremost a filmmaker, a documentarist and writer engaged in politics of representation.
		As Godmilow writes for this haus.0 presentation: What Farocki Taught is a replica -- not a remake, not an homage, not an updating -- but a shot-for-shot replica of Harun Farocki's 1969 film Inextinguishable Fire.
	mail.sarai.net /pipermail/reader-list/2001-October/000773.html (728 words)

	U B U W E B - Film & Video: Harun Farocki
		Farocki refrains from making any sort of emotional appeal.
		You have to fight napalm where it is produced: in the factories." Resolutely, Farocki names names: the manufacturer is Dow Chemical, based in Midland, Michigan in the United States.
		Farocki's development unfolds: "(1) A major corporation is like a construction set.
	www.ubu.com /film/farocki.html (465 words)

	Painting Pavements
		Farocki's fine ear for the German language, for the etymology of words and the meanings that resonate with them, but above all for the abuse to which language is subject means that he is able to identify the virulence with which false consciousness can permeate language.
		Farocki was always at pains to find a visual language matching the precision with which his texts encompass reality.
		Farocki's method here partakes in a wholly traditional artistic realism: whoever wishes to learn something about a society has to turn to what is self-evident.
	pandora.nla.gov.au /pan/10772/20020909/www.sensesofcinema.com/contents/02/21/farocki_siebel.html (4594 words)

	Harun Farocki
		In the opening sequence of Between Two Wars, filmmaker Harun Farocki sits at a drafting table examining a collection of photographs of partially nude women in provocative poses as he recounts in voice-over of his decision to undertake a series of odd jobs (in this case, advertisement captioning) in order to finance the proceeding film.
		Inevitably, it is in these unreconciled images of human obsolescence that Farocki seeks "to unify the contradictions", a defiance against the systematic erasure of the imprint of human identity from the inexorable, man-made elements of war, class division, and automated technology.
		It is this assignment of significance to the act of visual observation that underlies Harun Farocki's thoughtful, understated, and engaging exposition on the interconnection - and at times, disjunction - between cognition and recognition in Images of the World and the Inscription of War.
	www.filmref.com /directors/dirpages/farocki.html (561 words)

	Archive: NICHT löschbares Feuer
		Farocki suggests the foundation of a research archive for images, which would allow for building further a vocabulary of visual terms and expressions in order to enhance understanding of what it really is that we perceive.
		Farocki's film is radical in technique - taking up one of the hottest of political questions - the production of terror - and cooling it down to frank, rational substance through the strategy of "under-representation", refusing the pornography of documentary "evidence" and replacing it with Brechtian reconstruction and demonstration.
		Farocki´s media investigations underway over these decades can be seen in the video viewing area for the duration of the exhibition, making available a large selection of newly produced DVDs, both films and TV productions, ranging from his early 16 mm film Erzählen from 1975 to his latest documentary Schöpfer der Einkaufswelten from 2001.
	www.haussite.net /haus.0/PROGRAM/INFO_2001/farocki/farocki_E.html (1769 words)

	ArtForum: Harun Farocki. - Eye Machine and I Thought I Was A Convict - movie review (Site not responding. Last check: 2007-10-23)
		Harun Farocki has made nearly eighty films for both the big and small screen since he was a graduate student at the Deutsche Film- und Fernsehakademie Berlin in the mid-'60s.
		Farocki's typical format is the film essay: text and narration combined with images lifted from newsreel and industrial footage, a hybrid of political sloganeering and documentary.
		Farocki's films demand analysis on both aesthetic and theoretical grounds, whether he screens them at a theater, a college campus, a union hall, or a gallery.
	www.findarticles.com /p/articles/mi_m0268/is_10_40/ai_87453051 (669 words)

	Kulturbyrået Mesén
		Fußball : Football av Harun Farocki på Oslo S
		Den tyske filmkunstneren Harun Farocki fikk tilgang til alle opptak som ble gjort under VM-finalen i 2006, og har satt sammen et videoverk som gjør fotball-VM til samtidskunst.
		I 2007 starter ROM eiendom AS omfattende byggearbeider på Oslo Sentralstasjon, og i den forbindelse har Kulturbyrået Mesén utarbeidet en helhetlig plan for visuelle uttrykk på byggevegger, brakkerigger og andre bygginstallasjoner.
	www.mesen.com (592 words)

	Sutton on Silverman and Farocki
		Silverman and Farocki meditate upon a number of Godard films (eight in total), voicing their thoughts in relation to recurring themes and to specific shots, which they subject to detailed and close reading.
		Farocki and Silverman attempt to do something that has seemed nearly impossible: to theorise through description' (xi).
		Perhaps, Silverman and Farocki's project was to point to precisely this impossibility; perhaps it was their intention to demonstrate the difficulties inherent in such a project, the futility of attempting to re-write or re-narrate Godard critically, in a series of eight dialogues.
	www.film-philosophy.com /vol4-2000/n7sutton (1783 words)

	Harun Farocki: Viewpoint Festival - Stedelijk Museum voor Actuele Kunst - Absolutearts.com
		Harun Farocki is making films since 1966 in a style close to the French 'Nouvelle Vague' movement of the fifties.
		On the one hand it refers to the editing table of the filmmaker, where the tape is 'cut'; on the other hand to the way a human being moves in the virtual world of computers, cameras etc., namely with the help of a keyboard, a webcam and all kind of internetconnections.
		By omitting the sound of this fragment and by placing the camera next to the rifleman Farocki emphasises the social relationship between the one who fires and the one who films; between the one with force and the one who take shots.
	www.absolutearts.com /artsnews/2001/02/14/28097.html (699 words)

	Harun Farocki (Berlin) - Goethe Institut
		Harun Farocki attended the Deutsche Film- und Fernsehakademie Berlin (DFFB).
		Farocki has made close to 90 films, including three feature films, essay films and documentaries, partially in collaboration with Andrei Ujica.
		Farocki is regarded as one of the most important representatives of the contemporary documentary film.
	www.goethe.de /om/tel/harunfarocki.htm (69 words)

	Time Out New York [video] (Site not responding. Last check: 2007-10-23)
		Although independent filmmaker Jill Godmilow (Roy Cohn/Jack Smith) recently paid German documentarian Harun Farocki the honor of remaking a film he made in the '60s about the manufacture of napalm, his name doesn't ring many bells even in the kind of cinephile circles where Aleksandr Sokurov and Abbas Kiarostami are household names.
		Farocki's unabashed debt to theory (and Marxism) may explain his obscurity here: Outside some corners of academia, this intellectual approach just isn't very fashionable.
		A film that can't be easily summarized, it takes a set of aerial photographs of Auschwitz shot in 1944—but not recognized as such for 33 years—as the starting point for a meditation on the power and limitations of photography and sight itself.
	www.timeoutny.com /video/212/212.video.farocki.open.html (546 words)

	Afterimage: A perfect replica: an interview with Harun Farocki and Jill Godmilow - filmmakers - Interview (Site not responding. Last check: 2007-10-23)
		The questions were posed and answered by e-mail and fax; Harun Farocki responded from Berlin and Berkeley, CA, where he dives and works; Jill Godmilow, who teaches at the University of Notre Dame, responded from New York City.
		Q: Harun Farocki, tell us about the context in which you were working when you made Inextinguishable Fire.
		Farocki: Auschwitz has become the symbol for all concentration camps because so many types of camps were collected into one and because there were survivors who could tell their stories.
	www.findarticles.com /p/articles/mi_m2479/is_3_26/ai_53436061 (1597 words)

	ARTicles: Rene -- Farocki -- As far as the eye can see...
		Harun Farocki was born in 1944 in Nový Jicin (Neutitschein, Czechoslovakia, now the Czech Republic).
		I came across Farocki’s essay entitled Reality Would Have to Begin” (Die Wirklichkeit hätte beginnen)2 once again in connection with a project that commenced last year and was planned originally to be held at the Holocaust Documentation Center on Páva Street.
		Farocki disrupts the historical sequence, so that the structure of both the film and the text are built upon the shifting rhythm of cuts, pauses, superimpositions and repetitions.
	www.16beavergroup.org /mtarchive/archives/001437.php (4966 words)

	Elsaesser, Thomas: Harun Farocki
		Over the thirty-plus years of his career, Farocki has explored not the images of life but rather the life of images that surrounds us in newspapers, cinema, books, television, and advertising.
		Harun Farocki examines, from different critical perspectives, his vast oeuvre, which includes three feature films, critical media pieces, children’s television features, “learning films” in the tradition of Brecht, and installation pieces.
		Interviews, a selection of Farocki’s own writings, and an annotated filmography complete a valuable biography of this pioneering artist and his legendary career.
	www.press.uchicago.edu /cgi-bin/hfs.cgi/00/16074.ctl (165 words)

	HighBeam Research: Library Search: Results (Site not responding. Last check: 2007-10-23)
		To see or not to see: relying almost exclusively on found footage, German independent filmmaker Harun Farocki explores today's pervasive use of surveillance devices and "smart" technology in both war and peace.
		Farocki was here recently to give a seminar...
		by Kaja Silverman and Harun Farocki; foreword by Constance Penley.
	www.highbeam.com /library/search.asp?q=Harun+Farocki&refid=kunstnet (473 words)

	Videodrom film & lecture
		Harun Farocki beobachtet deren Schöpfer bei ihrer Arbeit.
		Deutschland 2001; Regie: Harun Farocki, Kamera: Ingo Kratisch, Rosa Mercedes; Schwarzweiß and Farbe; deutsche Originalfassung; 70 Minuten; Produktion: Harun Farocki Filmproduktion mit SWR, NDR, WDR; Verleih in Österreich: Sammlung Generali Foundation (Wien)
		Harun Farocki (1944 Neutischein) wurde als Sohn eines indischen Arztes geboren.
	www.videodrom.at (353 words)

	Norsk filminstitutt: Cinemateket
		RETT FRA DOCUMENTA: I over førti år har Harun Farocki manipulert bilder for å få oss til å tvile på det vi ser.
		I høst kan du oppleve Farockis arbeider på flere ulike kunstarenaer i Oslo — mannen selv treffer du på Cinemateket lørdag 13.
		Noen regissører finner raskt sitt format og holder seg der.
	www.nfi.no /cinemateket (415 words)

	News of the dead: War at a Distance - Harun Farocki
		War at a Distance is Harun Farocki's documentary about technology in warfare.
		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.
	wileywiggins.blogspot.com /2005/01/war-at-distance-harun-farocki.html (218 words)

	NYU - Press Release (Site not responding. Last check: 2007-10-23)
		Harun Farocki, the German-Egyptian documentary filmmaker, has consistently challenged the boundaries of his genre.
		Screenings of Farocki’s films will be shown at Anthology Film Archives, 32 Second Avenue, on October 17 and October 18 at 7:30 p.m.
		Farocki’s opus includes investigations of such topics as the role of the allies in World War II, the Vietnam War, the Rumanian Revolution, the working class and the German “guerrilla” war of the 1960s.
	www.nyu.edu /publicaffairs/newsreleases/b_IA2.shtml (317 words)

	World Wide Video Festival: 2004: Double Vision: Harun Farocki
		These three double projections are film essays in which Farocki uses visual material from the Gulf War to raise the question of the 'seamy side' of modern image technology.
		State-of-the-art communication and image technology from this war was used after the war in the civilian sector to, for instance, analyse consumer buying behaviour.
		Farocki brings together visual material from both sources and reveals how this technology is used in systems of control.
	www.wwvf.nl /2004/0dv_farocki.htm (93 words)

	NetArt Commons \| HARUN FAROCKI Eye/Machine, 2001 (Site not responding. Last check: 2007-10-23)
		He uses and combines disparate source materials including aerial and documentary photographs, film footage, and newsreels, often incorporating texts and/or voice narratives in his works.
		"Farocki's videos are unembellished to the point of austerity, but in their stripped-down, virtual verité style, these films become hypnotic."
		Underscoring the political and ideological function of image-making, Farocki's films often combine newsreel, archival, and industrial/technological footage with text or voice narrative in the form of "film-essays."
	netartcommons.walkerart.org /article.pl?sid=02/04/26/1625228&mode=thread (442 words)

	Interactivist Info Exchange \| Rembert Hüser. Interview with Harun Farocki (Site not responding. Last check: 2007-10-23)
		Rembert Hüser: In the film-installation you showed recently at the Generali Foundation in Vienna, Ich glaubte Gefangene zu sehen (I Thought I Was Seeing Convicts, 2000), the dead prison convict, William Martinez, is lying in the yard for nine minutes before he is taken away.
		Harun Farocki: I'm sure you are using the term 'choreography' because the yard resembles a stage.
		She says: “Farocki's got the images and they are lacking here.
	info.interactivist.net /article.pl?sid=05/06/12/2251251 (9058 words)

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