Harun Farocki

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Born January 9, 1944(1944-01-09)
Neutitschein, Sudetenland, Protectorate of Bohemia and Moravia (today Nový Jičín, Czech Republic)
Died July 30, 2014(2014-07-30) (aged 70)
near Berlin, Germany
Collections MoMA 43, VDB 30, Van Abbe 1
Web Aaaaarg, Wikipedia, Academia.edu, Open Library

Harun Farocki (1944–2014) was a German filmmaker and writer.

Farocki was born as Harun El Usman Faroqhi in Neutitschein, Sudetenland, then part of the German-annexed Czechoslovakia (today Nový Jičín, Czech Republic). His father, Abdul Qudus Faroqui, had immigrated to Germany from India in the 1920s, his German mother had been evacuated from Berlin due to the Allied bombing of Germany. After World War II Farocki grew up in India and Indonesia.

Farocki attended the Deutsche Film- und Fernsehakademie Berlin from 1966 to 1968, taught at the University of California, Berkeley from 1993 to 1999, and at Hochschule der Künste, Berlin (2000-2001). In 1973-1984 he worked as editor of the magazine Filmkritik. He made over 90 films.

Filmography[edit]

(D = Director, E = Editor, S = Script, P = Producer; in German unless noted otherwise)

  • Zwei Wege [Two Paths], (D, S), 16mm, b/w, 3 min, 1966.
  • Jeder ein Berliner Kindl [Berliner Kindl Beer for Everybody], (D, S), 16mm, b/w, 4 min, 1966.
  • Der Wahlhelfer [The Election Worker], (D, S), 16mm, b/w, 14 min, 1967.
  • Die Worte des Vorsitzenden [The Words of the Chairman], (D, S), 16mm, b/w, 3 min, 1967. [1] [2]
  • Ihre Zeitungen [Some problems of anti-authoritarian and anti-imperialist urban warfare in the case of West Berlin or: Their Newspapers], (D, S), 16mm, b/w, 17 min, 1968. [3]
  • White Christmas, (D, S), 16mm, b/w, 3 min, 1968.
  • Drei Schüsse auf Rudi [Three Bullets for Rudi], (D, S), 16mm, b/w, 4 min, 1968.
  • Ohne Titel oder: Wanderking für Ingenieurstudenten [Without Title, or The Moving Cinema for Engineers], (D), 1-zoll ampex, b/w, 40 min, 1968.
  • Nicht löschbares Feuer [Inextinguishable Fire], (D, S), 16mm, b/w, 25 min, 1969. (link to a version with EN subs) Torrent, [4].
  • Ohne Titel oder: Nixon kommt nach Berlin [Without Title, or Nixon Comes to Berlin], (D, S), 16mm, b/w, 2 min, 1969.
  • Anleitung Polizisten den Helm abzureissen [How to Take off the Policemen's Helmet], (D, S), 16mm, b/w, 2 min, 1969.
  • Die Teilung aller Tage [The Division of All Days], (D, E, S), with Hartmut Bitomsky, 16mm, b/w, 65 min, 1970.
  • Eine Sache, die sich versteht [A Self-Evident Thing], (D, S, P), 16mm, b/w, 64 min, 1971.
  • Remember, Tomorrow is the First Day in the Rest of Your Life, (D, S), 16mm, col., 10 min, 1972.
  • Die Sprache der Revolution [The Language of the Revolution], (D), 16mm, b/w, 45 min, 1972.
  • Make Up, (D, S), 16mm, col., 29 min, 1972.
  • Transport 1 und 2. Container 1+2, Schiffsentladung 1+2, Der weg des Geldes, Bagger, Dock [Sesame Street, Transport Episodes], (D, S), with Hartmut Bitomsky, 16mm, 28 min, 1972.
  • Brunner ist dran [Brunner is Next], (D, S), with Heinz von Cramer, 16mm, col., 17 min, 1973.
  • Einmal wirst auch du mich lieben [You'll Also Love me Once], (D, S), 16mm, col., 44 min, 1973.
  • Der Ärger mit den Bildern [The Trouble With the Images, (D, S), 16mm, col., 48 min, 1973.
  • Moderatoren [The Television Moderators], (D, S), 2-Zoll MAZ, col., 22 min, 1974.
  • Über 'Gelegenheitsarbeit einer Sklavin' [On 'Part-time Work of a Domestic Slave'], (D, S), 16mm, b/w, 10 min, 1974.
  • Plakatmaler [Painters of Cinema Posters], (D, S), 16mm, col., 20 min, 1974.
  • Die Arbeit mit Bildern [Working with Images], (D, S), 16mm, col., 44 min, 1974.
  • Über 'Song of Ceylon' von Basil Wright [On 'Song of Ceylon' by Basil Wright], (D, S), 16mm, b/w, 25 min, 1975.
  • Erzählen [Narration], (D, S), with Ingemo Engström, 16mm, col., 58 min, 1975.
  • Auf Biegen oder Brechen [To Bend or to Break], (S), dir. Hartmut Bitomsky, 35mm, col., 94 min, 1975.
  • Die Schlacht. Szenen aus Deutschland [The Battle, Scenes from Germany], (D), 2-zoll MAZ, col., 52 min, 1976.
  • Einschlafgeschichten 1-5 [Bedtime Stories 1-5] (TV), (D, S), 16mm/35mm, col., 5 à 3 min, 1976/77.
  • Sarah Schumann malt ein Bild [Sarah Schumann Paints a Picture], (D, S), 16mm, col., 8 min, 1977.
  • Ein Bild von Sarah Schumann [A Picture by Sarah Schumann], (D, S), 16mm, col., 30 min, 1978.
  • Zwischen zwei Kriegen [Between Two Wars], (D, E, S, P), 16mm, b/w, 83 min, 1978. [5]
  • Zu "Zwischen zwei Kriegen" [On 'Between Two Wars'], (D, S, E, P), as Rosa Mercedes, 16mm, 10 min, b/w and col., 1978.
  • Häuser 1-2 [Houses 1-2], (D, S), 16mm, 2 à 5 min, 1978.
  • Katzengeschichten / Einschlafgeschichten 1-3 [Cat Stories / Bedtime Stories 1-3], (D, S), 35mm, col., 3 à 3 min, 1978.
  • Industrie-Fotografie [Industrial Photography], (D, S), 35mm, b/w, 44 min, 1977/78.
  • Anna und Lara machen das Fernsehen vor und nach [Anna and Lara Imitate Television], (D, E), 16mm, col., 18 min, 1979. Lost.
  • Single: eine Schallplatte wird produziert [Time To Love], (D, S), 1-inch MAZ, col., 49 min, 1979.
  • Zur Ansicht: Peter Weiss, (D, S), 16mm, col., 44 min, 1979.
  • Der Geschmack des Lebens [The Taste of Life], (D, S), 16mm, col., 29 min, 1979.
  • Stadtbild [City Image], (D, S), 16mm, col., 44 min, 1981.
  • Etwas wird sichtbar [Before Your Eyes - Vietnam], (D, S, P), 35mm, b/w, 114 min, 1981.
  • Kurzfilme von Peter Weiss [Short Films by Peter Weiss], (D, S), 16mm, b/w, 44 min, 1981.
  • Ein Bild [An Image], (D, S), 16mm, col., 25 min, 1983. [6]
  • Jean-Marie Straub und Danièle Huillet bei der Arbeit an einem Film nach Franz Kafkas Romanfragment "Amerika" [Jean-Marie Straub and Danièle Huillet at work on Franz Kafka's "Amerika"], (D, S), 16mm, col., 26 min, 1983. (EN subs) [7] [8]
  • Kino 83 - 'L'Argent' von Bresson [On Bresson's 'L'Argent'], (D, S), with Manfred Blank, Hartmut Bitomsky, Jürgen Ebert, Gaby Koerner, Melanie Walyund and Barbara Schlungbaum, 16mm, 30 min, 1983.
  • Das doppelte Gesicht – Peter Lorre [The Double Face of Peter Lorre], (D, S), with Felix Hofmann, 16mm, col. and b/w, 59 min, 1984.
  • Betrogen [Betrayed], (D, S), 35mm, col., 99 min, 1985.
  • Filmtip 'Der Tee im Harem des Archimedes' [On 'Tea in the Harem of Archimedes'], (D, S), 1-inch MAZ, col., 7 min, 1985.
  • Filmbücher [Film Books], (D, S), U-matic, col., 15 min, 1986.
  • Wie man sieht [As You See], (D, S, P), 16mm, col., 72 min, 1986, torrent, torrent.
  • Filmtip: Schlagworte – Schlagbilder. Ein Gespräch mit Vilém Flusser, (D, S), U-matic, 13 min, 1986.
  • Filmtip: Kuhle Wampe [On 'Kuhle Wampe'], (D, S), U-matic, 6 min, 1986.
  • Filmtip: Die Schulung [Indoctrination], (D, S), 16mm, col., 44 min, 1987. [9]
  • Filmtip: Der Tod des Empedokles [On 'The Death of Empedocles'], (D, S), 16mm, col., 7 min, 1987.
  • Die Menschen stehen vorwärts in den Strassen [The People Go Forward in the Streets], (D, S), 16mm, col., 8 min, 1987.
  • Bilderkrieg, (D, S), 16mm, col., 44 min, 1987.
  • Georg K. Glaser – Schriftsteller und Schmied, (D, S), 16mm, col., 44 min, 1988.
  • Bilder der Welt und Inschrift des Krieges [Images of the World and the Inscription of War], (D, S, P), 16mm, col. and b/w, 75 min, 1988. [10]
  • Kinostadt Paris [Paris, City of Cinema], (D, S), with Manfred Blank, BetaSP, col., 60 min, 1988.
  • Image oder Umsatz oder: Wie kann man einen Schuh darstellen? [Image and Sales, or How can you Present a Shoe], (D, S), U-matic, col. and b/w, 45 min, 1989.
  • Leben: BRD [How to live in the Federal Republic of Germany], (D, S, P), 16mm, col., 83 min, 1990. [11]
  • Was ist los? [What's Up?], (D, S), 16mm, col., 60 min, 1991.
  • Videogramme einer Revolution [Videograms of a Revolution], (D, S, P), with Andrei Ujica, 16mm (transferred from video), col., 106 min, 1992. (link to a version with IT subs)
  • Kamera und Wirklichkeit, (D, S, P), with Andrei Ujica, BetaSP, 120/186 min (2 versions), 1992.
  • Ein Tag im Leben der Endverbraucher, (D, S), BetaSP, col. and b/w, 44 min, 1993.
  • Die Umschulung, (D, S), BetaSP, col., 44 min, 1994.
  • Die führende Rolle, (D, S), BetaSP, col., 35 min, 1994.
  • Arbeiter verlassen die Fabrik [Workers Leaving the Factory], (D, S), BetaSP, col. and b/w, 36 min, 1995. [12]
  • Schnittstelle [Interface], (D, S), BetaSP, col., 23 min, 1995. Installation and Single-Channel-Version. [13]
  • Die Küchenhilfen, (D, S), 16mm, col., 60 min, 1996.
  • Das Theater der Umschulung, (D, S), BetaSP, col., 4 min, 1996.
  • Der Auftritt [The Appearance], (D, S), BetaSP, col., 40 min, 1996. [14]
  • Der Werbemensch, (D, S), BetaSP, col., 3 min, 1997.
  • Stilleben [Still Life], (D, S), 16mm, col., 56 min, 1997, torrent. [15]
  • Das Bild der Uhr, 16mm, col., 3 min, 1997.
  • Die Bewerbung [The Interview] (TV), (D, S), BetaSP, col., 58 min, 1997, torrent. [16]
  • Der Ausdruck der Hände [The Expression of Hands], (D, S), BetaSP, col. and b/w, 30 min, 1997. [17]
  • Nach dem Spiel, (P), 1997.
  • Der Finanzchef, (D, S), BetaSP, col., 7 min, 1998.
  • Worte und Spiele, (D, S), BetaSP, col., 68 min, 1998.
  • Die innere Sicherheit, 2000.
  • Ich glaubte Gefangene zu sehen [I Thought I was Seeing Convicts], (D, S), BetaSP, col. and b/w, 25 min, 2000. Installation and Single-Channel-Version. [18]
  • Music Video, (D, S), MiniDV, col., 50 sec and 20 sec, 2000.
  • Gefängnisbilder [Prison Images], (D, W), video, col. and b/w, 60 min, 2000, torrent.
  • Die Schöpfer der Einkaufswelten [Creators of the Shopping Worlds], (D, S), video, col., 72 min, 2001. [19]
  • Auge/Maschine I [Eye/Machine], with Matthias Rajmann, Ingo Kratisch and Rosa Mercedes, (D, S, P), video installation, col., 25 min, 2001. [20] [21] [22]
  • Auge/Maschine II [Eye/Machine II], with Matthias Rajmann, Ingo Kratisch and Kilian Hirt, video installation, col. and b/w, 15 min, 2002. [23] [24]
  • Auge/Maschine III [Eye/Machine III], video installation, col., 25 min, 2003. [25] [26]
  • Erkennen und Verfolgen [War at a Distance], (D, S, P), video, col. and b/w, 58 min, 2003. Torrent, [27].
  • Nicht ohne Risiko [Nothing Ventured], (D, S, P), video, col., 50 min, 2004. Torrent, [28]
  • Drei Montagen [Three Assembles], video installation, col. and b/w, 13 min, 2005. [29]
  • Gegen-Musik [Counter-Music], (D, S), video installation, col. and b/w, 23 min, 2005. [30] [31]
  • Die Hochzeitsfabrik, (P), 2005.
  • Ausweg [A Way], (D, S, P), video installation, 14 min, col. and b/w, 2005, Torrent, [32], [33].
  • Aufstellung [In Formation], (D, S, P), video, col. and b/w, mute, 16 min, 2005. [34]
  • Gespenster [Ghosts], (S), 86 min, 2005. [35]
  • Am Rand der Städte, (P), 2006.
  • Synchronisation [Dubbing], video installation, col., 3 min, 2006. [36]
  • Arbeiter verlassen die Fabrik in elf Jahrzehnten [Workers Leaving the Factory in Eleven Decades], video installation, b/w and col., 36 min, 2006. [37]
  • Zur Bauweise des Films bei Griffith's Film [On Construction of Griffith's Films], b&w, mute, 9 min, 2006. [38]
  • Aufschub, 2007.
  • "Respite", (D), first episode of Memories (Jeonju Digital Project 2007), 2007. [39]
  • Vergleich über ein Drittes [Comparison via a Third], (D, S), video installation, col., 24 min, 2007. [40]
  • Deep Play, (D, S, P), video installation, col., 100 min, 2007. [41]
  • Übertragung [Transmission], (D, S, P), video, col., 43 min, 2007. [42]
  • Zum Vergleich [In Comparison], (D, S), 16mm, col., 61 min, 2009. [43]
  • The Silver and the Cross, video installation, 17 min, 2010. [44]
  • Serious Games I-IV, video installation, 8+8+20+8 min, 2009-10. [45]
  • War Tropes, 5-part video installation, 6+8+5+10+7 min, 2011. [46]
  • Barbara, (S), 105 min, 2012.
  • Ein neues Produkt [A New Product], video, col., 37 min, 2012. [47] [48]
  • Parallel I-IV, video installation, col., 16+9+7+11 min, 2012-14. [49] [50]
  • Sauerbruch Hutton Architekten, 2013.

Exhibitions[edit]

  • Harun Farocki. Programming the Visible, Paco Das Artes, Sao Paulo, 25 Jan - 30 Mar 2016. Curator: Jane de Almeida.
  • Harun Farocki. Empathy, Fundacío Antoni Tapìes, Barcelona, 2 Jun - 16 Oct 2016. Curators: Antje Ehmann, Carles Guerra.
  • Harun Farocki Schreenshot, Galerie Art & Essai - université Rennes 2, 10 Mar - 7 Apr 2017.
  • Harun Farocki: Counter Music, Haus der Kunst, Munich, 10 Mar - 28 May 2017. Curators: Okwui Enwezor, Antje Ehmann.
  • Harun Farocki. Images Contre Elles-Memes, Centre Pompidou, Paris, 23 Nov 2017 - 8 Jan 2018. Curator: Marcella Lista.
  • Empathie - Harun Farocki, Friche la Belle de Mai, Marseille, 25 Nov 2017 - 18 Mar 2018. Curators: Antje Ehmann, Carles Guerra.
  • Harun Farocki: Who Is in Charge?, Instituto Moreira Salles, Rio de Janeiro, 16 Mar - 30 Jun 2019; Instituto Moreira Salles, Sao Paulo, 17 Sep 2019 - 5 Jan 2020. Curators: Antje Ehmann, Heloísa Espada Rodriguez de Lima.
  • Harun Farocki: Über die Entgrenzung der Arbeit, Goethe Institut Bucharest, 4-25 Apr 2019. Curator: Silke Wittig.
  • Harun Farocki. Reality Would Have to Begin, Art Encounters Foundation, Timisoara, 1-31 Oct 2020. Curator: Diana Marincu with Antje Ehmann.

Publications[edit]

Writings[edit]

Silverman, Farocki, Speaking about Godard, 1998, Log.

Books, booklets[edit]

  • with Kaja Silverman, Speaking about Godard, forew. Constance Penley, New York: NYU Press, 1998, 260 pp. Eight dialogues. (English)
    • Von Godard sprechen, intro. Hanns Zischler, trans. Roger M. Buergel, Berlin: Vorwerk 8, 1998, 258 pp; repr., 2002; new ed. as Von Godard sprechen. Schriften, Bd. 2, ed. Doreen Mende, forew. Hanns Zischler, Berlin: Walther König, 2018, 254 pp. [55] (German)
    • Rozmowy o Godardzie, trans. Paulina Kwiatkowska, Warsaw: Fundacja Mammal, 2014, 296 pp. (Polish)
    • A propósito de Godard: conversaciones entre Harun Farocki y Kaja Silverman, forew. David Oubiña, trans. Patricio Orellana, Buenos Aires: Caja Negra, 2016, 316 pp. (Spanish)
  • Nachdruck / Imprint. Texte / Writings, eds. Susanne Gänsheimer and Nicolaus Schafhausen, intro. Volker Pantenburg, trans. Laurent Faasch-Ibrahim, Berlin: Vorwerk 8, and New York: Lukas & Sternberg, 2001, 323 pp, PDF; 2nd ed., 2002. Selected writings. (German)/(English)
  • Reconnaître et poursuivre, ed. & intro. Christa Blümlinger, Courbevoie: Théâtre Typographique, 2002, 128 pp; new ed., 2017, 140 pp. Publisher, Publisher. (French)
  • Films: suivi de Journal de guerre, trans. Monique Rival, Pierre Rusch, Bernard Rival and Bénédicte Vilgrain, Courbevoie: Théâtre Typographique, 2007, 136 pp. TOC. Publisher. (French)
  • Desconfiar de las imágenes, forew. Georges Didi-Huberman, afterw. Antje Ehmann and Kodwo Eshun, eds. Inge Stache and Ezequiel Yanco, trans. Julia Giser, Buenos Aires: Caja Negra, 2013, 320 pp. (Spanish)
  • Harun Farocki: pensare con gli occhi, eds. Luisella Farinotti, Barbara Grespi and Federica Villa, Milan: Mimesis, 2017, 385 pp. Selected writings by and about Farocki. TOC. (Italian)
  • Meine Nächte mit den Linken. Texte 1964-1975. Schriften, Bd. 3, ed. & forew. Volker Pantenburg, Cologne: Walther König, 2018, 277 pp. TOC. Publisher. (German)
  • Ich habe genug! Texte 1976-1985. Schriften, Bd. 4, ed. & afterw. Volker Pantenburg, Cologne: Walther König, and Berlin: N.b.k., 2019, 469 pp. TOC. Publisher. [57] (German)
  • İmajlarla Düşünmek, trans. Erdem Üngür, Istanbul: Yort, 2020, 280 pp. Selected writings. Publisher. Review: Uyar (Altyazi). (Turkish)

Edited books[edit]

  • André Bazin, Was ist Kino? Bausteine zur Theorie des Films, forew. Eric Rohmer, eds. Hartmut Bitomsky, Harun Farocki and Ekkehard Kaemmerling, trans. Barbara Peymann, Cologne: DuMont, 1975. (German)
  • Kino wie noch nie / Cinema Like Never Before, eds. Antje Ehmann and Harun Farocki, Cologne: Walther König, and Vienna: Generali Foundation, 2006, 189 pp. (German)/(English)

Booklets[edit]

  • Bilderschatz, eds. Kunsthochschule für Medien Köln and Vilém Flusser Archiv, Cologne: Walther König, 2001, 32 pp. 3rd International Flusser Lecture, 7 Dec 1999. (German)
  • Was getan werden soll / What Ought to Be Done, Berlin: Harun Farocki Institut (HaFI 002), with Motto Books, 2016; 2nd ed., rev., 2017, 22+22 pp. Incl. Farocki’s text from 1975, a response from Peter Nestler, and a commentary by Tom Holert, Doreen Mende and Volker Pantenburg. Publisher. (German)/(English)
  • Zur Ansicht: Peter Weiss / On Display: Peter Weiss, Berlin: Harun Farocki Institut (HaFI 003), and Motto Books, 2016, 60 pp. The production history of On Display: Peter Weiss (1979). Publisher. (German)/(English)
  • Etwas wird sichtbar / Before Your Eyes – Vietnam, ed. Tom Holert, Berlin: Harun Farocki Institut (HaFI 005), and Motto Books, 2017, 48 pp. Publisher. (German)/(English)
  • with Christa Blümlinger, Ein ABC des Essayfilms / The ABCs of the Essay Film, Berlin: Harun Farocki Institut (HaFI 006), and Motto Books, 2017, 28 pp. Publisher. (German)/(English)
  • Über Ici et Ailleurs / On Ici et ailleurs, trans. Ted Fendt, Berlin: Harun Farocki Institut (HaFI 008), and Motto Books, 2018, 18 pp. Previously unpublished talk given in 1987 at the event Films that Think in Images at the Akademie der Künste, West Berlin. Publisher. (German)/(English)
  • Zur Geschichte der Arbeit / On the History of Labor, ed. Volker Pantenburg, trans. Ted Fendt, Berlin: Harun Farocki Institut (HaFI 013), and Motto Books, 2020, 32+32 pp. Publisher. (German)/(English)

Articles[edit]

  • "Der tägliche Mythos", Spandauer Volkblatt 20:5763, 16 May 1965, p 22. (German)
  • “Filmklassen an Kunsthochschulen", Filmkritik 182, Feb 1972, pp 64-66. (German)
  • "Dead Pigeon...", Filmkritik 195, Mar 1973, pp 104-106. (German)
    • "Dead Pigeon", trans. Bernard Rival and Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 79-81; new ed., 2017, pp 86-88. (French)
  • "Über die Arbeit mit Bildern im Fernsehen", Filmkritik 211, Jul 1974, pp 308-316; repr. in Guten Abend: Hier ist das deutsche Fernsehen, ed. Herbert Hoven, Darmstadt: Luchterhand, 1986, pp 63-76. (German)
  • "Schneeglöckchen blühn im September", Filmkritik 219, Mar 1975, pp 138-140; repr. in Augenzeugen - 100 Texte neuer deutscher Filmemacher, eds. Hans Helmut Prinzler and Eric Rentschler, Frankfurt am Main: Verlag der Autoren, 1988, pp 389-392. (German)
    • in West German Filmmakers on Film, ed. Eric Rentschler, New York: Holmes and Meyer, 1988, pp 234-237. (English)
    • "Snowdrops Bloom in September", trans. Ted Fendt, Grey Room 79, Spring 2020, pp 100-105. (English)
  • "Notwendige Abwechslung und Vielfalt", Filmkritik 224, Aug 1975, pp 360-369; repr., Jungle World 4, 24 Jan 2019. (German)
  • "Ein Zigarettenende, ein Erfolgsarchitekt ohne Namen, der Peugeot 403, der Lohn einer Halbtagskindergärtnerin, Hitlers unerwartete Veröffentlichung, verwertbare Spuren einer kurzen Liebe, der Elsässer, der Nachklang eines PLING!, ein Pferd, das ich sehr liebte, der tausendste Abend im Nepp-Lokal, MIOU-MIOU, eine Batikerin hat eine Frage, Ablagerung, nicht Akkumulation, NO EXIT, Leben ist Aas, der langsame Tod von Menschen, die einfach zu viel sehen, der Edelstein der Bettler, aber so eine Frau spricht man doch nicht an, eine Kugel befreit vom eigenen Rhythmus, wie ich anfange, Mouchette zu lieben", Filmkritik 241, Jan 1977, pp 36-48; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 43-77. (German)
    • "A Cigarette End...", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 42-76. (English)
  • "Zwischen zwei Kriegen - Filmentwurf 1977", in Aufmerksamkeit, ed. Olav Münzberg and Lorenz Wilkens, Frankfurt: Roter Stern, 1979, pp 151-169. (German)
  • "Spanien!", Filmkritik 273, Sep 1979, pp 422-424; repr. in Zeit für Mitteilungen - Peter Nestler, ed. Jutta Pirschtat, Essen: Filmwerkstatt, 1991, pp 96-104. (German)
  • "Was ein Schneideraum ist", Filmkritik 277, Jan 1980, pp 2-5; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 79-85. (German)
    • "What an Editing Room Is", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 78-84. (English)
    • "Qu'est-ce qu'une salle de montage", trans. Pierre Rusch and Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 31-33; new ed., 2017, pp 34-37.
    • "¿Qué es realmente und estudio de edición?", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 11-13. (Spanish)
    • "Qué es un studio de edición", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 79-82. (Spanish)
    • "Che cos’è una sala di montaggio", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 29-34. (Italian)
  • "Vertauschte Frauen", Filmkritik 282, Jun 1980, pp 274-279. (German)
    • "Femmes inverties", trans. Sabine Macher and Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 82-88; new ed., 2017, pp 89-95. (French)
  • "Hund von der Autobahn", Filmkritik 301, Jan 1982, pp 5-32; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 113-171; repr., Die Aktion 206, 2003, pp 67-93. (German)
    • "Dog from the Freeway", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 112-170; repr. in Farocki, Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 109-132. (English)
  • "Bresson, ein Stilist", Filmkritik 327, Mar 1982, pp 62-67; repr. in Hommage an Robert Bresson, ed. Esther Baron, 1994; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 173-185. (German)
    • "Bresson, un estilista", in Harun Farocki, ed. Bruno Fischli, Madrid: Instituto Alemán de Madrid, 1990, pp 27-32. (Spanish)
    • "Bresson, a Stylist", trans. Neil Christian Hertz, in Harun Farocki. A Retrospective, New York: Goethe House, 1991, pp 18-21. (English)
    • "Bresson: a Stylist", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 172-184. (English)
    • "Bresson un styliste", trans. Bernard Rival and Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 73-78; new ed., 2017, pp 79-85. (French)
    • "Bresson, un estilista", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 15-20. (Spanish)
    • "Bresson: un estilista", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 99-106. (Spanish)
  • "Ich habe genug!", Les Choses. Berliner Hefte zur Architektur 1, Berlin: Verlag der Beeken, Oct 1985, pp 62-63. (German)
    • "J'en ai assez", trans. Monique Rival, in Farocki, Reconnaître et poursuivre, new ed., Courbevoie: Théâtre Typographique, 2017, pp 25-27. (French)
  • "Das große Verbindungsrohr", Die Republik 76-78, Salzhausen-Luhmühlen: Die Republik, 1986, pp 1-32. (German)
  • "Wie man sieht",Die Republik 76-78, Salzhausen-Luhmühlen: Die Republik, 1986, pp 33-106. (German)
  • "Die allseits gesuchte andere Stellung zum anderen", Les Choses. Berliner Hefte zur Architektur 2, Jun 1986, pp 38-46. (German)
  • "Essay", taz, 28 Mar 1987, p 26; repr. in Farocki, Blümlinger, Ein ABC des Essayfilms / The ABCs of the Essay Film, Berlin: Harun Farocki Institut, and Motto Books, 2017, pp 22-23. (German)
    • "Essay", trans. Volker Pantenburg, in Farocki, Blümlinger, Ein ABC des Essayfilms / The ABCs of the Essay Film, Berlin: Harun Farocki Institut, and Motto Books, 2017, pp 22-23; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 477-478. (English)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
  • "Über die Technologie des Blicks", taz 15 Oct 1987, pp 12-13; repr. in Farocki, Zur Geschichte der Arbeit / On the History of Labor, Berlin: Harun Farocki Institut, and Motto Books, 2020, pp 18-19. (German)
    • "On the Technology of Vision", trans. Ted Fendt, in Farocki, Zur Geschichte der Arbeit / On the History of Labor, Berlin: Harun Farocki Institut, and Motto Books, 2020, pp 18-19. (English)
  • "Die Wirklichkeit hätte zu beginnen", in Fotovision - Projekt Fotografie nach 150 Jahren, ed. Bernd Busch et al., Hannover: Sprengel Museum, 1988, pp 119-125; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 187-213. (German)
    • "Reality Would Have to Begin", trans. Marek Wieczorek, Thomas Keenan, and Thomas Y. Levin, Documents 1-2, Fall-Winter 1992, pp 136-146; repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam: Amsterdam University Press, 2004, pp 193-202; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 237-247. (English)
    • "Reality Would Have to Begin", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 186-212. (English)
    • "Il serait temps que la réalité commence", trans. Monique Rival, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 34-45; new ed., 2017, pp 38-50. (French)
    • "La realidad tendría que comenzar", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 21-32. (Spanish)
    • "La realidad tendría que comenzar", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 177-192. (Spanish)
    • "Resničnost bi se morala začeti", trans. Anja Naglič, Kino! 19/20, May 2013, pp 7-21. [59] (Slovenian)
    • "La realtà dovrebbe cominciare", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 49-68. (Italian)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
  • "Süßer kann kein Gott sein", Tumult 11, Munich: Klaus Boer, 1988, pp 11-16. [60] (German)
  • "Ein Schnitt oder die Rache der Fernsehleute", taz, 2 Feb 1989, p 13; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 215-217. (German)
  • "Schwierige Fragen", taz, 2 Mar 1989, p 13; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 219-221. (German)
    • "Difficult Questions", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 218-220. (English)
    • "Preguntas difíciles", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 121-124. (Spanish)
  • "Stellen und Themen", taz, 4 Jan 1990, p 17; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 223-225. (German)
    • "Points and Topics", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 222-224. (English)
    • "Temas y fragmentos", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 125-128. (Spanish)
  • "Music rules", taz, 1 Feb 1990, p 17; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 227-229. (German)
    • "Music Rules", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 226-228. (English)
    • "El reinado de la música", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 129-132. (Spanish)
  • "Wenn Leben gespielt wird. Drei Übungen und ein Schlußwort", in Dies schöner Land. 62 Nahaufnahmen, ed. Klaus Blanc, Munich: Kunstmann, 1990, pp 36-39. (German)
  • "Nota biografica", in Harun Farocki, ed. Bruno Fischli, Madrid: Instituto Alemán de Madrid, 1990, p 33. [61] (Spanish)
    • "Biographical Note", in Harun Farocki: A Retrospective, New York: Goethe House, 1991, p 3. (English)
    • "Note biographique", La Revue de la Cinemathèque 15, Feb-Apr 1992, pp 14-15. (French)
  • "Leben BRD", in 20. Internationales Forum des jungen Films, 1990. (German)
    • "How to Live in the FRG", trans. Antje Ehmann and Michael Turnbull, in Harun Farocki: Against What? Against Whom?, London: Raven Row, and London: Koenig Books, 2009, pp 163-165. (English)
  • "Oedenwaldstetten", in Zeit für Mitteilungen - Peter Nestler, ed. Jutta Pirschtat, Essen: Filmwerkstatt, 1991, pp 17-22. (German)
  • "Unregelmässig, nicht regellos", in Schreiben Bilder Sprechen: Texte zum essayistischen Film, eds. Christa Blümlinger and Constantin Wulff, Vienna: Sonderzahl, 1992, pp 144-155. (German)
    • "Sans régularité, pas sans règle", trans. Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 46-53; new ed., 2017, pp 51-60. (French)
  • "Industrialization of Thought", trans. Peter Wilson, Discourse 15:3, Spring 1993, pp 76-77; repr. in Harun Farocki: Another Kind of Empathy, London: Koenig Books, 2016, pp 64-65. [62] (English)
  • "Commentary from Bilder der Welt und Inschrift des Krieges", Discourse 15:3, Spring 1993, pp 78-92. (English)
    • "La guerre, inscrite sur les images du monde", trans. Pierre Rusch, Trafic 11, Autumn 1994, pp 35-46. (French)
    • "Komentarji iz filma Slike sveta in vanje vpisana vojna", trans. Anja Naglič, Kino! 19/20, May 2013, pp 62-75. [63] (Slovenian)
  • "Ich kenn mich in Bukarest nicht aus", in Krieg. 1. Österreichische Triennale zur Fotografie 1993, 17. September - 31. Oktober 1993, Neue Galerie am Landesmuseum Joanneum, Forum Stadtpark, eds. Werner Fenz and Christine Frisinghelli, Graz: Edition Camera Austria, 1993, pp 72-78; repr. in video cult/ures: multimediale Installationen der 90er Jahre, ed. Ursula Frohne, Cologne: DuMont, 1999, pp 144-151. (German)
    • "I Don't Know My Way Around Bucharest", in video cult/ures: multimediale Installationen der 90er Jahre, ed. Ursula Frohne, Cologne: DuMont, 1999, pp 144-151. (English)
    • "Je ne m'y reconnais pas dans Bucarest", trans. Giorgio Pauen and Natalia Tintoré, in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 55-63; new ed., 2017, pp 61-70. (French)
  • "Arbeiter verlassen die Fabrik", Meteor. Texte zum Laufbild 1, Dec 1995, Vienna: PVS, pp 49-55; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 231-247. (German)
    • "D'un pas décidé", Trafic 14, Spring 1995, pp 20-26; repr. as "Ouvriers quittent l'usine", in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 65-72. (French)
    • "Workers Leaving the Factory", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 230-246; repr., Senses of Cinema 21, Jul 2002; repr. in Farocki, Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 237-243; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 261-268. (English)
    • "Trabajadores saliendo de la fábrica", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 33-40. (Spanish)
    • "Operários saem da fábrica", in Histórias do cinema por si próprio, ed. Ricardo Matos Cabo, 2008. (Portuguese)
    • "Trabajadores saliendo de la fábrica", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 193-202. (Spanish)
    • "Delavci zapuščajo tovarno", trans. Samo Krušič, Kino! 19/20, May 2013, pp 22-28. [64] (Slovenian)
    • "Wyjście robotników z fabryki", trans. Julian Kutyła, Krytyka polityczna 35-36, 2013. [65] (Polish)
    • "Trabalhadores salindo da fábrica", in A verdade de cada um, ed. Amir Labaki, São Paulo: Cosac Naify, 2015. (Brazilian Portuguese)
    • "Gli operai lasciano la fabbrica", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 69-80. (Italian)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
  • "Substandard", in Sehsucht. Über die Veränderung der visuellen Wahrnehmung, Steidl: Göttingen, 1995, pp 233-241; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 249-267. (German)
    • "Substandard", trans. Sonja Porree, Documentaire, Autumn 1996, pp 17-26. (French)
    • "Substandard", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 248-266. (English)
    • "Substandard", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 41-49. (Spanish)
  • "Das Grün des Rasens", ed. Rainer Knepperges, in Der Ärger mit den Bildern: die Filme von Harun Farocki, Konstanz: UVK-Medien, 1998, pp 145-154. (German)
    • "The Green of the Grass", trans. Roger Hillman and Timothy Mathieson, in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 77-82. (English)
  • "Wo waren Sie, als das Sparwasser-Tor fiel?", in Wo waren Sie, als das Sparwasser-Tor fiel? ed. Elke Wittlich, Berlin: konkret Literatur, 1998; repr., Jungle World 14, 1 Apr 1998. (German)
  • "Sein Leben einsetzten. Bilder von Holger Meins", Jungle World, 23 Dec 1998; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 269-291. (German)
    • "Une extreme passion", trans. Pierre Rusch, Trafic 30, 1999, pp 17-25; repr. as "Risquer sa vie. Images de Holger Meins", in Farocki, Reconnaître et poursuivre, Courbevoie: Théâtre Typographique, 2002, pp 20-30. (French)
    • "Risking His Life: Images of Holger Meins", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 268-290; repr. as "Staking One's Life: Images of Holger Meins", in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam: Amsterdam University Press, 2004, pp 83-91. (English)
    • "Jugarse la vida: imágenes de Holger Meins", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 51-60. (Spanish)
  • "Kontrollblicke. Notizen zu einem Film über Strafen und Überwachen in den USA", Jungle World 36, 8 Sep 1999; repr. in Bignes? Size does matter. Image/Politik. Städtisches Handeln Kritik der unternehmerischen Stadt, ed. Jochen Becker, Berlin: b_books, 2001, pp 71-81; repr. in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 307-321. (German)
    • "Controlling Observation", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint. Texte / Writings, 2001, pp 306-320; repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam: Amsterdam University Press, 2004, pp 289-295. (English)
    • "Miradas que controlan", trans. Inge Stache, in Farocki, Critica de la mirada, Buenos Aires: Altamira, 2003, pp 67-73. (Spanish)
    • "Olhares de vivilyncia / Controlling Observation", in From Work To Text / Da abra ao texto. Dialogues on Practise and Criticism in Contemporary Art, ed. Jürgen Bock, Lisbon: Fundação Centro Cultural de Belém, 2002, pp 183-195. (Portuguese)/(English)
    • "Miradas que controlan", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 203-212. (Spanish)
    • "Nadzorni pogledi", trans. Samo Krušič, Kino! 19/20, May 2013, pp 29-34. [66] (Slovenian)
    • "Regards-contrôle", trans. Bernard Rival and Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, new ed., Courbevoie: Théâtre Typographique, 2017, pp 71-78. (French)
    • "Sguardi di controllo", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 81-92. (Italian)
  • "Influences transversales", trans. Pierre Rusch, Trafic 43, Sep 2002; repr. in Harun Farocki: One Image Doesn’t Take the Place of the Previous One, Montréal: Galerie Leonard & Bina Ellen Art Gallery, and Kingston: Agnes Etherington Art Centre, 2008, pp 147-153. (French)
    • "Quereinfluss / Weiche Montage", in Politik der Bilder. Visuelle Kompetenz und Kriegsbildrhetorik, eds. Wolfgang Ernst and Anselm Franke, Berlin: Kunst Werke Berlin, 2002, pp 106-110. (German)
    • "Cross Influence / Soft Montage", trans. Cynthia Beatt, in Harun Farocki: One Image Doesn’t Take the Place of the Previous One, Montréal: Galerie Leonard & Bina Ellen Art Gallery, and Kingston: Agnes Etherington Art Centre, 2008, pp 139-144; repr. in Harun Farocki: Against What? Against Whom?, London: Raven Row, and London: Koenig Books, 2009, pp 69-74; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 281-287. (English)
    • "Influenzia cruzada / Montaje blando", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 111-120. (Spanish)
    • "Influsso trasversale / montaggio morbido", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 109-120. (Italian)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
  • "Auge / Maschine", in Politik der Bilder. Visuelle Kompetenz und Kriegsbildrhetorik, eds. Wolfgang Ernst and Anselm Franke, Berlin: Kunst Werke Berlin, 2002, pp 106-110. (German)
  • "Kriegstagebuch", new filmkritik, 29 Mar 2003; "Kriegstagebuch (2)", new filmkritik, 1 Apr 2003 [67]; "Kriegstagebuch (3)", new filmkritik 7 Apr 2003 [68]; "Kriegstagebuch (4)", new filmkritik 14 Apr 2003; "Kriegstagebuch (5)", new filmkritik, 21 Apr 2003 [69]; repr. as "Tagebuch: Kriegstagebuch", in Harun Farocki. Weiche Montagen, Soft Montages, ed. Yilmaz Dziewior, Bregenz: Kunsthaus Bregenz, 2011, pp 62-80. (German)
    • "Diary: War Diary", in Harun Farocki. Weiche Montagen, Soft Montages, ed. Yilmaz Dziewior, Bregenz: Kunsthaus Bregenz, 2011, pp 62-80. (English)
    • "Diario de guerra", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 161-176. (Spanish)
  • "Filmkritik", in Fate of Alien Mode, ed. Secession, Vienna: Secession, 2003, pp 103-105. [70] (German)
    • "Filmkritik (1957-1984)", in Fate of Alien Mode, ed. Secession, Vienna: Secession, 2003, pp 103-105; repr. in Harun Farocki: Another Kind of Empathy, London: Koenig Books, 2016, pp 66-69. [71] (English)
    • "Filmkritik", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 61-64. (Spanish)
  • with Wolfgang Ernst, "Towards an Archive of Visual Concepts", ed. Thomas Elsaesser, trans. Robin Curtis, in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam: Amsterdam University Press, 2004, pp 261-286. Originally published separately as Ernst, "A Visual Archive of Cinematographical Topics", and Farocki, Bilderschatz, given as the Vilém Flusser lecture, 1999. (English)
  • "Le point de vue de la guerre", trans. Pierre Rusch, Trafic 50, Summer 2004, pp 445-455; repr. as "La guerre trouve toujours un moyen", in HF/RG (Harun Farocki/Rodney Graham), Paris: Jeu de Paume/Blackjack, 2009, pp 190-201. Given as a talk on 15 Oct 2003 at HfG Karlsruhe. (French)
    • "Phantom Images", trans. Brian Poole, Public 29, 2004, pp 12-22, PDF. (English)
    • "Der Krieg findet immer einen Ausweg", Cinéma 50, Marburg: Schüren, 2005, pp 21-31. (German)
    • "War Always Finds a Way", trans. Daniel Hendrickson, in HF/RG (Harun Farocki/Rodney Graham), Paris: Jeu de Paume/Blackjack, 2009, pp 102-112; repr., Gagarin 21, 2010, pp 60-72; repr., continent 4:4, 2015, pp 54-60. (English)
    • "La guerra siempre encuentra una salida", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 147-160. (Spanish)
    • "Vojna vedno najde svojo pot", trans. Samo Krušič, Kino! 19/20, May 2013, pp 35-44. [72] (Slovenian)
    • "La guerra trova sempre una soluzione", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 93-108. (Italian)
  • "Contre-Chant", trans. Monique Rival, in La ville qui fait signes, ed. Alain Guiheux, Paris: Le Moniteur 2004, pp 106-118; repr. as Contre-chant, Toulouse: Contrat maint, 2009, 8 pp. Publisher. (French)
  • "La diva aux lunettes", trans. Pierre Rusch, Trafic 55, Autumn 2005, pp 62-69. [73] (French)
  • "Die Bilder sollen gegen sich selbst aussagen", in Auszug aus dem Lager. Zur Überwindung des modernen Raumparadigmas in der politischen Philosophie, ed. Ludger Schwarte, Bielefeld: transcript, 2007, pp 295-312. (German)
    • "The Images Should Testify Against Themselves", trans. Michael Turnbull, in Harun Farocki: Another Kind of Empathy, London: Koenig Books, 2016, pp 86-103. (English)
    • "Le immagini sono chiamate a testimoniare contro se stesse", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 121-142. (Italian)
  • "Einfühlung", in 100 Jahre Hebbel Theater. Angewandtes Theaterlexikon nach Gustav Freytag, ed. Hebbel am Ufer, Berlin: primeline print, 2008, pp 21-22, 2008.
    • "Empathy", trans. Michael Turnbull, in Harun Farocki: Empathy, Barcelona: Fundació Antoni Tàpies, 2016, p 3; repr. in Harun Farocki: Another Kind of Empathy, London: Koenig Books, 2016, pp 104-105. (English)
    • "Empathie", trans. Bernard Rival and Bénédicte Vilgrain, in Farocki, Reconnaître et poursuivre, new ed., Courbevoie: Théâtre Typographique, 2017, pp 21-22. (French)
    • "Empatia", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 143-146. (Italian)
  • "Wie Opfer zeigen?", in VerWertungen von Vergangenheit. Mosse-Lectures 2008 an der Humboldt Universität zu Berlin, ed. Elisabeth Wagner, Berlin: Vorwerk 8, 2009, pp 52-62. (German)
    • "Mostrar a las víctimas", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 133-146. (Spanish)
  • "Written Trailers", trans. Antje Ehmann and Michael Turbull, in Harun Farocki: Against What? Against Whom?, London: Raven Row, and London: Koenig Books, 2009, pp 220-241, PDF; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 185-219. Autobiographical essay. (English)
  • "Lerne das Einfachste!", in Das Erziehungsbild. Zur Visuellen Kultur des Pädagogischen, eds. Tom Holert and Marion von Osten, Vienna: Schlebrügge, 2010, pp 297-313. (German)
    • "Aprender lo elemental", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 39-60. (Spanish)
  • "Tagebuch: Immersion (Arbeitstitel)", in Harun Farocki. Weiche Montagen, Soft Montages, ed. Yilmaz Dziewior, Bregenz: Kunsthaus Bregenz, 2011, pp 48-50. (German)
    • "Immersion (Working Title)", in Harun Farocki. Weiche Montagen, Soft Montages, ed. Yilmaz Dziewior, Bregenz: Kunsthaus Bregenz, 2011, pp 48-50. (English)
    • "Inmersión", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 221-226. (Spanish)
  • "Tagebuch: Häuser - Film und Ausstellung von Bild-Ton-Material", in Harun Farocki. Weiche Montagen, Soft Montages, ed. Yilmaz Dziewior, Bregenz: Kunsthaus Bregenz, 2011, pp 94-97. (German)
    • "Diary: Buildings – Film and Exhibition of Audio-Visual Material", in Harun Farocki. Weiche Montagen, Soft Montages, ed. Yilmaz Dziewior, Bregenz: Kunsthaus Bregenz, 2011, pp 94-97. (English)
    • "Construcción: película y exposición de material audiovisual", trans. Julia Giser, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 227-232. (Spanish)
  • "Über das Dokumentarische", ZMK. Zeitschrift für Medien- und Kulturforschung 6:1, 2015, pp 11-19. (German)
    • "À propos du cinéma documentaire", trans. Pierre Rusch, Trafic 93, Paris: POL, Spring 2015, pp 78-84. (French)
    • "On the Documentary", trans. Michael Turnbull, e-flux journal 56th Venice Biennale, 2015; repr. in Harun Farocki: Another Kind of Empathy, London: Koenig Books, 2016, pp 106-111. (English)
    • "A propositio di documentario", in Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, pp 147-162. (Italian)
  • "Was getan werden soll" [1975], in Farocki, Was getan werden soll / What Ought to Be Done, Berlin: Harun Farocki Institut, with Motto Books, 2016, pp 3-9. Program notes. (German)
    • "What Ought to be Done", trans. Volker Pantenburg and Michael Turnbull, in Farocki, Was getan werden soll / What Ought to Be Done, Berlin: Harun Farocki Institut, with Motto Books, 2016, pp 3-8; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 309-313. (English)
    • "Ce qui devrait être fait", in Farocki, Reconnaître et poursuivre, new ed., Courbevoie: Théâtre Typographique, 2017, pp 23-24. (French)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
    • trans. Erdem Üngür, in Farocki, İmajlarla Düşünmek, Istanbul: Yort, 2020. (Turkish)
  • "Un poisson à Split", trans. Monique Rival, in Farocki, Reconnaître et poursuivre, new ed., Courbevoie: Théâtre Typographique, 2017, pp 28-33. (French)
  • "Interface", in Harun Farocki: programando o visível, São Paulo: USP, 2017, pp 316-335. Subtitles in English of the installation Interface (1995) and narration by Farocki. (English)
    • "Interface", in Harun Farocki: programando o visível, São Paulo: USP, 2017, pp 295-314. (Brazilian Portuguese)
  • "Über Ici et Ailleurs", in Farocki, Über Ici et Ailleurs / On Ici et ailleurs, Berlin: Harun Farocki Institut, and Motto Books, 2018. Previously unpublished talk given in 1987 at the event Films that Think in Images at the Akademie der Künste, West Berlin. (German)
    • "On Ici et ailleurs", trans. Ted Fendt, in Farocki, Über Ici et Ailleurs / On Ici et ailleurs, Berlin: Harun Farocki Institut, and Motto Books, 2018. (English)
    • trans. Erdem Üngür, in Farocki, İmajlarla Düşünmek, Istanbul: Yort, 2020. (Turkish)

For a full list of articles published in Filmkritik (1972-1983) see [74].

Harun Farocki: A Retrospective, 1991, JPG & PDF.

Catalogues[edit]

  • Harun Farocki, ed. Bruno Fischli, Madrid: Instituto Alemán de Madrid, 1990, 33 pp. TOC. (Spanish)
  • Harun Farocki: Nebeneinander, ed. Matthias Michalka, trans. Nicholas Grindell, Cologne: Walther König, 2007, 125 pp. Texts by Helmut Draxler, Matthias Michalka, Elisabeth Büyyner. Exh. held at the Museum of Modern Art (MUMOK), Vienna, 23 Mar - 10 Jun 2007. TOC. (German),(English)
  • Harun Farocki: fussball / Football, ed. Gavin Jantjes, Oslo: Nasjonalmuseet for Kunst, Arkitektur og Design, 2007, 19 pp. Exh. held 13 Oct 2007 - 6 Jan 2008. (Norwegian)/(English)
  • Harun Farocki: One Image Doesn’t Take the Place of the Previous One, ed. Michèle Thériault, Montréal: Galerie Leonard & Bina Ellen Art Gallery, and Kingston: Agnes Etherington Art Centre, 2008, 219 pp. Traveling exh. held first at the Leonard & Bina Ellen Art Gallery, Montréal, 19 Oct - 1 Dec 2007. [76] (English)/(French)
  • Harun Farocki: Against What? Against Whom?, eds. Antje Ehmann and Kodwo Eshun, London: Raven Row, and London: Koenig Books, 2009, 253 pp. Texts by Harun Farocki, Michael Baute, Jammes Benning, Nicole Brenez, Sabeth Buchmann, Alice Creischer, Diederich Diederichsen, George Didi-Hubermann, et al. TOC. (English)
    • Rote Berta Geht Ohne Liebe Wandern, afterw. Barbara Engelbach and Kasper König, Cologne: Strzelecki, 2009, 45 pp. Exh. Harun Farocki – Ausstellung und Filmprogramm held at Ludwig Museum, Cologne, 31 Oct 2009 - 7 Mar 2010. TOC. (German)
  • HF/RG (Harun Farocki/Rodney Graham), ed. Chantal Pontbriand, Paris: Jeu de Paume/Blackjack, 2009, 200 pp. (French),(English)
  • Harun Farocki: Soft Montages, ed. Yilmaz Dziewior, Kunsthaus Bregenz, 2011, 192 pp. Texts by Jan Verwoert, Christa Blümlinger, et al. (English)/(German)
  • Harun Farocki: pierwszy raz w Warszawie, ed. Anna Pękala, Warsaw: Fundacja OKONAKINO, 2012, 104 pp. Exh. held at 12 May - 19 Aug 2012 at CSW Zamek Ujazdowski. (Polish)/(English)
  • Harun Farocki: Another Kind of Empathy, eds. Antje Ehmann and Carles Guerra, Barcelona: Fundacio Antoni Tàpies, and London: Koenig Books, 2016, 216 pp. Essays and references to Farocki's films and installations from 1966-2013. Published on the occasion of the 2016 exhibitions What is at Stake (IVAM, Valencia) and Empathy (Fundacio Antoni Tàpies, Barcelona). TOC. [78] (English)
    • Harun Farocki: lo que está en juego, eds. Antje Ehmann and Carles Guerra, Valencia: Institut Valencià d’Art Modern (IVAM), 2016, 119 pp. (Spanish)
  • Harun Paroki: uri neun mueot euro saneunga? / What Ought to be Done? Work and Life [하룬 파로키: 우리는 무엇으로 사는가?], eds. Antje Ehmann and Eunhee Kim, Seoul: National Museum of Modern and Contemporary Art, 2018, 990 pp. Exh. held 27 Oct 2018 - 4 Jul 2019. Publisher. (Korean)/(English)

Interviews, dialogues, conversations[edit]

Filmed[edit]

  • Modell / Realität – Christoph Hübner im Gespräch mit Harun Farocki, dir. Christoph Hübner and Gabriele Voss, 2004, 60 min. Produced by ARD, WDR, ZDF and 3sat. [79]
  • "Harun Farucki on Materiality", cine-fils.com, 6 min, c2010.
  • "Harun Farocki Interview", Goethe Institut Boston, 24 min, c2013.

Audio[edit]

Farocki, Steyerl, A Magical Imitation of Reality, 2011, PDF, Log.

Printed[edit]

  • with Hartmut Jahn, "Interview mit Harun Farocki", Spuren 2, 1979. (German)
  • "Harun Farocki im Gespräch mit Rosa Mercedes", in Etwas wird sichtbar. Film von Harun Farocki, Berlin: Basis-Film Verleih, 1982; repr. in Harun Farocki: Etwas wird sichtbar / Harun Farocki: Before Your Eyes – Vietnam. Kommentar Dokument Material / Commentary Document Material, Berlin: Harun Farocki Institut, and Motto Books, 2017, p 14. (German)
    • "Harun Farocki in Conversation with Rosa Mercedes", in Farocki, Etwas wird sichtbar / Before Your Eyes – Vietnam, Berlin: Harun Farocki Institut, and Motto Books, 2017, p 13; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 425-426. (English)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
  • "Gespräch mit Peter Weiss", in Peter Weiss, ed. Rainer Gerlach, Frankfurt am Main: Suhrkamp, 1984, pp 119-129; repr. as "Peter Weiss im Gespräch", ed. Rainer Gerlach and Matthias Richter, Frankfurt am Main: Suhrkamp, 1986, pp 252-258. (German)
  • with Christa Blümlinger, "Über das allmähliche Verfertigen der Gedanken beim Filmemachen. Gespräch mit Harun Farocki", Falter 21, 1991, Vienna, pp 26-27. (German)
  • "Mich interessiert die Verarbeitung von Realität. Ein Gespräch mit Harun Farocki über Kulturgrenzen und Film, über Godard und Walt Disney (1981)", in Heiner Müller, Gesammelte Irrtümer. Interviews und Gespräche, Frankfurt am Main: Verlag der Autoren, 1996, pp 61-68. (German)
  • with Rembert Hüser, "9 Minuten im Hof", Jungle World 45 (1 Nov 2000). The interview took place in Berlin on 25 July 1999. (German)
  • "Tim Griffin in conversation with Harun Farocki", Artforum, Nov 2004, pp 162-163. (English)
  • Jens Nicklas, "Etwas wird sichtbar. Filmemacher Harun Farocki im Gespräch", 20er. Die Tiroler Straßenzeitung 5:67 (2005), pp 22-23. (German)
  • Jan Babnik, "Ideje in strategije odpora. Pogovor s Harunom Farockijem", Kino! 23-24, Nov 2014. [81] (Slovenian)
  • with Christa Blümlinger, "The ABCs of the Essay Film", trans. Margit Grieb, in Essays on the Essay Film, eds. Nora M. Alter and Timothy Corrigan, New York: Columbia University Press, 2017, pp 297-313; repr. in Essays on the Essay Film; repr. in Farocki, Blümlinger, Ein ABC des Essayfilms / The ABCs of the Essay Film, Berlin: Harun Farocki Institut, and Motto Books, 2017, pp 3-20; repr. in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018, pp 460-481. (English)
    • "Ein ABC zum Essayfilm", in Farocki, Blümlinger, Ein ABC des Essayfilms / The ABCs of the Essay Film, Berlin: Harun Farocki Institut, and Motto Books, 2017, pp 3-21. (German)
    • trans., in Farocki, What Ought to be Done? Work and Life, Seoul: National Museum of Modern and Contemporary Art, 2018. (Korean)
    • trans. Erdem Üngür, in Farocki, İmajlarla Düşünmek, Istanbul: Yort, 2020. (Turkish)

Literature[edit]

Books[edit]

  • Peter Nau, Zwischen zwei Kriegen. Film von Harun Farocki, Munich: Filmkritik, 1978, 77 pp. (German)
  • Tilman Baumgärtel, Harun Farocki – Vom Guerrillakino zum Essayfilm. Werkmonographie eines Autorenfilmers, Berlin: b_books, 1998; 2nd ed., Berlin: b_books, 2002, 279 pp. Author. (German)
  • Rolf Aurich, Ulrich Kriest (eds.), Der Ärger mit den Bildern: die Filme von Harun Farocki, Konstanz: UVK-Medien, 1998, 429 pp. Review: Deeken (Medienwissenschaft). (German)
  • Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, Bielefeld: transcript, 2006. (German)
  • Benedikt Reichenbach (ed.), Harun Farocki: Diagrams. Images from Ten Films, Cologne: Walther König, 2014, 384 pp. Texts by Thomas Elsaesser, Maren Grimm, Jan Verwoert, Christa Blümlinger, Dietrich Leder, Ute Holl, Benedikt Reichenbach, Matthias Rajmann, Hila Peleg, Anselm Franke. (English)
  • Niels Van Tomme (ed.), Visibility Machines: Harun Farocki and Trevor Paglen, Baltimore, MD: The Center for Art, Design and Visual Culture, 2014, 160 pp. Catalogue with essays by Niels Van Tomme, Jimena Canales, Hilde Van Gelder, Jonathan Kahana, Harun Farocki, and Trevor Paglen. (English)
  • Nina Möntmann (ed.), Brave New Work: A Reader on Harun Farocki's Film "A New Product", Cologne: Walther König, 2014. Texts by Dirk Baecker, Jochen Becker, Diedrich Diederichsen, Mark Fisher, Anthony Iles, Nina Möntmann, Nina Power; interview by Gabriele Fischer. (English)
  • Luisella Farinotti, Barbara Grespi, Federica Villa (eds.), Harun Farocki: pensare con gli occhi, Milan: Mimesis, 2017, 385 pp. Selected writings by and about Farocki. TOC. (Italian)
  • Jane de Almeida, Patrícia Moran, Priscila Arantes (eds.), Harun Farocki: programando o visível, trans. Brian Mier and Helena Prates, São Paulo: Universidade de São Paulo, 2017, 341 pp. Published to accompany the exhibition Harun Farocki: Programming the Visible, which took place at the Paço das Artes in São Paulo from 28 Jan - 28 Mar 2016. (Brazilian Portuguese),(English)
  • Ednei de Genaro, Harun Farocki, Curitiba, PR: CRV, 2018, 308 pp. [82] (Brazilian Portuguese)

Journal issues[edit]

  • Harun Farocki dossier in Trafic 93, Paris: P.O.L, Spring 2015, pp 66ff. [84] (French)

Book chapters, papers and articles[edit]

  • Wolfram Schütte, "Leben Symbole?", Frankfurter Rundschau (6 Sep 1979). (German)
  • Louis Skorecki, "Qui est Farocki?", Cahiers du cinéma 329 (Nov 1981), MOV. [85] (French)
  • Thomas Elsaesser, "Working at the Margins: Two or Three Things not about Harun Farocki", Filmbulletin 597 (Feb 1983), London: BFI, pp 269-273; repr. as "Working at the Margins: Film as a Form of Intelligence", in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 95-107. (English)
  • Thomas Elsaesser, "'It started with these Images' - Some Notes on Political Filmmaking after Brecht in Germany: Helke Sander and Harun Farocki", Discourse 7 (Spring 1985), pp 95-120, [86]; repr. as "Political Filmmaking after Brecht: Harun Farocki, For Example", in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 133-153. (English)
    • "'Mit diesen Bildern hat es angefangen': Anmerkungen zum politischen Film nach Brecht", in Der Ärger mit den Bildern: die Filme von Harun Farocki, Konstanz: UVK-Medien, 1998, pp 111-144. (German)
  • Jörg Becker, trans. Neil Christian Pages, "Images and Thoughts, People and Things, Materials and Methods", in Harun Farocki: A Retrospective, 1991, pp 15-18; repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 55-60. (English)
  • Jonathan Rosenbaum, "A Road Not Taken (The Films by Harun Farocki)", Chicago Reader (14 Feb 1992); repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 157-161. (English)
  • Klaus Kreimeier, "Die Arbeiter verlassen die Fabrik", epd Film 7 (Jul 1995), pp 2-3. (German)
  • Christa Blümlinger, "De la lente elaboration des pensées dans le travail des images", Trafic 13 (1995). (French)
  • Martine Gradoni, "Notes sur "Une vie RFA" de Harun Farocki", Documentaires 12 (Autumn 1996), pp 27-30. (French)
  • Christa Blümlinger, "Harun Farocki, circuits d'image", Trafic 21 (1997), pp 44-49. (French)
  • Thomas Elsaesser, "Introducing Harun Farocki", in Visions and Voices: ASCA Yearbook, eds. Eloe Kingma et al., Amsterdam: ASCA Press, 1997, pp 101-105. (English)
  • Olaf Möller, "Passage entlang der Schattenlinie", in Der Ärger mit den Bildern: die Filme von Harun Farocki, Konstanz: UVK-Medien, 1998, pp 197-206. (German)
    • "Passage along the Shadow-Line", trans. Roger Hillman, in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 69-75. (English)
  • Volker Siebel, "Rettung in Seenot", in Der Ärger mit den Bildern: die Filme von Harun Farocki, Konstanz: UVK-Medien, 1998, pp 95-110. (German)
    • "Painting Pavements", trans. Roger Hillman, in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 43-54. (English)
  • Jonathan Rosenbaum, "Remaking History (on SHULIE)", Chicago Reader (20 Nov 1998). (English)
  • Hanns Zischler, "Travailler avec Harun", trans. Pierre Rusch, Trafic 43 (Sep 2002), pp 25-27. (French)
  • Christa Blümlinger, "Harun Farocki: l’art du possible par", Trafic 43 (Sep 2002). (French)
  • Christa Blümlinger, "Harun Farocki: stratégies critiques", Parachute 111 (2003), pp 112-125. (French)
    • "Harun Farocki: Critical Strategies", trans. Sally Laruelle, Parachute 111 (2003), pp 112-125; repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 315-322. (English)
  • Daniel Bird, "Source: An Exibition of Media Art Installations", Fuse Magazine 26:3 (2003), pp 49-51. (English)
  • Rembert Hüser, "Wo fängt das an, wo hört das auf?", in Peter Weiss Jahrbuch, 2003, pp 21-31. (German)
  • Christina Scherer, "Bilder kommentieren Bilder: Die Analyse von Film im Film. Schnittstellen zwischen Harun Farocki und Jean-Luc Godard", AugenBlick 34 (Dec 2003), pp 73-85. (German)
  • Jörg Becker, "In Film Denken", RAY (Feb 2004), pp 32-34. (German)
  • Adrián Melo, "Acerca de la filmografia de Harun Farocki", Kane 1 (2004), Buenos Aires, pp 16-31. (Spanish)
  • Gerhard Richter, "Miniatures: Harun Farocki and the Cinematic Non-Event", Journal of Visual Culture 3:3 (2004), pp 367-371. (English)
  • Hal Foster, "Vision Quest: The Cinema of Harun Farocki", Artforum (Nov 2004), pp 156-161 and 250. (English)
  • Malin Wahlberg, "Inscription and Re-framing: At the Editing Table of Harun Farocki", Konsthistorisk Tidskrift/Journal of Art History 73:1 (2004), pp 15-26, PDF. (English)
  • Thomas Elsaesser, "Harun Farocki: Film-maker, Artist, Media Theorist", in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 11-40; repr., Afterall 11 (Spring/Summer 2005), pp 53-65. (English)
  • Jan Verwoert, "Production Pattern Association: On the work of Harun Farocki", Afterall 11 (Spring/Summer 2005), pp 65-79. (English)
  • Stephan Pascher, "Images of the World. A Brief Introduction", Merge 16 (2005), pp 12-18. (English)
  • Thibaut de Ruyter, "Tout doit disparaître! Jusqu'à épuisement des stocks disponibles", artpress+ (May 2005, pp 66-69. (French)
  • Christa Blümlinger, "Harun Farocki / Image (Circum)volution; Harun Farocki / (Circun)volución de la imagen", Zehar 59 (2006), pp 20-26. (English)/(Spanish)
  • Matthias Mühling, "Gefängisbilder. Harun Farocki", in 40 Years Video Art.de Digital Heritage, Part 1, Ostfildern, 2006, pp 302-305. (German)
  • Thomas Elsaesser, "The Future of Art and Work in the Age of Vision Machines: Harun Farocki", in After the Avantgarde – Contemporary German and Austrian Experimental Film, eds. R. Halle and R.Steingröver, Rochester: Camden House, 2008, pp 31-49. (English)
  • Antje Ehmann, Kodwo Eshun, "A to Z of HF or: 26 Introductions to HF", in Harun Farocki: Against What? Against Whom?, London: Raven Row, and London: Koenig Books, 2009, PDF. (English)
  • Coco Fusco, "Regarding History", Frieze 127 (Nov-Dec 2009). (English)
  • Thomas Elsaesser, "Sauts temporels et dé-placements: Le souvenir du travail dans les machines de vision de Harun Farocki", Intermedialités 11 (2009), Montreal, pp 35-51. (French)
  • Benedict Seymour, "Eliminating Labour: Aesthetic Economy in Harun Farocki", Mute 2:16 (2010). (English)
  • Niels Van Tomme, "The Image as Machine", in Visibility Machines: Harun Farocki and Trevor Paglen, ed. Van Tomme, 2014, pp 25-35. (English)
  • Jimena Canales, "Operational Art", in Visibility Machines: Harun Farocki and Trevor Paglen, ed. Van Tomme, 2014, pp 37-54. (English)
  • Raymond Bellour, "Pourquoi Harun nous était si précieux", Trafic 93, Paris: POL, Spring 2015, pp 66ff. (French)
  • Diedrich Diederichsen, "Harun Farocki (1944-2014)", Trafic 93, Paris: POL, Spring 2015, pp 74ff. (French)
  • Christa Blümlinger, "Les parallèles de Farocki: ce que le jeu met en jeu", Trafic 93, Paris: POL, Spring 2015, pp 85ff. (French)
  • Ednei de Genaro, "Harun Farocki: Media Operator", Matrizes 10, São Paulo, 2016, pp 115-134. (English)
  • Erika Balsom, "Moving Bodies: Captured Life in the Late Works of Harun Farocki", Journal of Visual Culture 18:3, 2019, pp 358-377. (English)
  • Volker Pantenburg, "The Labor of Authorship: Harun Farocki's Early Writing", Grey Room 79, Spring 2020, pp 78-89. [87] (English)

On individual works[edit]

on Inextinguishable Fire
  • Peter Nau, Zwischen zwei Kriegen. Film von Harun Farocki, Munich: Filmkritik, 1978. (German)
  • Georges Didi-Huberman, "How to Open Your Eyes", in Harun Farocki: Against What? Against Whom?, London: Raven Row, and London: Koenig Books, 2009, pp 38-50. (English)
    • "Ouvrir les temps, armer les yeux: montage, histoire, restitution", in Didi-Huberman, L'Oeil de l'histoire, 2: remontages du temps subi, Paris: Minuit, 2010. [88] (French)
    • "Cómo abrir los ojos", trans. Agostina Marchi, in Farocki, Desconfiar de las imágenes, Buenos Aires: Caja Negra, 2013, pp 13-35. (Spanish)
    • in Didi-Huberman, Juku no jikan no sai-montāju [受苦の時間の再モンタージュ], Tokyo: Arina Shobō, 2017. (Japanese)
    • trans. Luís Lima, in Didi-Huberman, O olho da história, 2: remontagens do tempo sofrido, Lisbon: KKYM, 2019. (Portuguese)
on Between Two Wars
  • Hartmut Jahn, "Anmerkungen zu Harun Farockis neuem Film 'Zwischen zwei Kriegen", Spuren 2 (1979). (German)
on Before Your Eyes-Vietnam
  • Frieda Grafe, "Blutig ernst: Harun Farockis Film 'Etwas wird sichtbar'", Süddeutsche Zeitung, 16 Jul 1982. (German)
  • Claudia Cippitelli, "Etwas wird sichtbar", Arnoldschainer Filmgespräche 2 (1985). (German)
  • Kraft Wetzel, "Was macht eigentlich 'Etwas wird sichtbar' für die meisten zu einem schwierigen Film?", Arnoldschainer Filmgespräche 2 (1985). (German)
on Jean-Marie Straub and Danièle Huillet at work on Franz Kafka's "Amerika"
on As You See
  • Klaus Kreimeier, "Wie man sieht, was man sieht. Über einen Film von Harun Farocki", epd Film 8 (1987), pp 22-25. (German)
  • Dagmar Arnold, "Offensichtlichkeit und 'Art des Sehens'. Harun Farockis Film 'Wie man sieht'", Augenblick 10 (1991), Marburg, pp 76-83. (German)
on Images of the World and the Inscription of War
  • Klaus Kronenborn, Johannes Beringer, "Zu Harun Farockis Film 'Bilder der Welt und Inschrift des Krieges'", Zelluloid 28/29 (1989). (German)
  • James Quandt, "Images of the world: the films of Harun Farocki", Cinematheque Ontario (Fall 1991), pp 11-12. (English)
  • Thomas Keenan, "Light Weapons", Documents 1-2 (Fall-Winter 1992), pp 147-158; repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 203-210. (English)
  • Kaja Silverman, Threshold of the Visible World, New York: Routledge, 1996, pp 136-161. (English)
  • Nora M. Alter, "The Political Im/perceptible in the Essay Film: Farocki's 'Images of the World and the Inscription of War'", New German Critique 68 (Spring-Summer 1996), pp 165-192; repr. in repr. in Alter, Projecting History: German Nonfiction Cinema, 1967-2000, University of Michigan Press, 2002, 77-102; repr. in Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser, Amsterdam University Press, 2004, pp 211-234; repr. in Essays on the Essay Film, eds. Nora M. Alter and Timothy Corrigan, New York: Columbia University Press, 2017, pp 134-160. (English)
  • Christopher Pavsek, "Harun Farocki's Images of the World", Rouge 12 (2008). (English)
on Videograms of a Revolution
on Labour in a Single Shot
on Parallel
  • Adam Jasper, "Game Theory", Artforum, Sep 2017, pp 139-140. (English)

Bibliographies[edit]

Links[edit]