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 VDB 30
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 (2000-01). In 1973-84 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)

  • 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. Version with ES,RU subs. [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]

Publications[edit]

(in German unless noted)

Writings[edit]

Books[edit]

  • Nachdruck / Imprint – Texte / Writings, eds. Susanne Gänsheimer and Nicolaus Schafhausen, intro. Volker Pantenburg, New York: Lukas & Sternberg, and Berlin: Vorwerk 8, 2001, 323 pp; 2nd ed., 2002. (German)/(English)
  • Reconnaître et poursuivre, ed. & intro. Christa Blümlinger, Courbevoie: Théâtre Typographique, 2002, 128 pp. (French) [52]
  • Crítica de la mirada. Textos de Harun Farocki, ed. & trans. Inge Stache, intro. Luciano Monteagudo, Buenos Aires: Altamira, 2003, 96 pp. (Spanish)
  • Films, trans. Monique Rival, Pierre Rusch, Bernard Rival and Bénédicte Vilgrain, Courbevoie: Théâtre Typographique, 2007, 136 pp. (French) [53]
  • Desconfiar de las imágenes, eds. Inge Stache and Ezequiel Yanco, trans. Julia Giser, Buenos Aires: Caja Negra, 2013, 320 pp. (Spanish)
  • What Ought to Be Done / Was getan werden soll, Berlin: Harun Farocki Institut, 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. [54] (English)/(German)

Edited books[edit]

  • with Hartmut Bitomsky and Ekkehard Kaemmerling, 'Was ist das Kino': Andre Bazin, Cologne: DuMont, 1975.

Articles[edit]

  • "Zwischen zwei Kriegen - Filmentwurf 1977", in Aufmerksamkeit, ed. Olav Münzberg and Lorenz Wilkens, Frankfurt: Roter Stern, 1979, pp 151-169. (German)
  • "Hund von der Autobahn", Filmkritik 301 (Jan 1982), pp 5-32. (German)
    • "Dog from the Freeway", trans. Laurent Faasch-Ibrahim, in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 2004, pp 109-132. (English)
  • "Bresson, ein Stilist", Filmkritik 3-4 (1982); repr. in Farocki, Nachdruck / Imprint – Texte / Writings, 2001, pp 173-185. (German)
    • "Bresson: a Stylist", in Farocki, Nachdruck / Imprint – Texte / Writings, 2001, pp 172-184. (English)
  • "Über die Arbeit mit Bildern im Fernsehen", in Guten Abend: Hier ist das deutsche Fernsehen, ed. Herbert Hoven, Darmstadt: Luchterhand, 1986, pp 36-42. (German)
  • "Das grosse Verbindungsrohr", Die Republik 76/78 (1986), pp 1-32. (German)
  • "Wie man sieht", Die Republik 76/78 (1986), pp 33-106. (German)
  • "Die allseits gesuchte andere Stellung zum anderen", Les Choses 2 (1986), pp 38-46. (German)
  • "Schneegloeckchen blühn im September", 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)
  • "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; 2002, pp 186-213, ARG 2-up. (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 Farocki, Nachdruck / Imprint – Texte / Writings, 2001; 2002, pp 186-213, ARG 2-up; repr. in Harun Farocki: Working the Sightlines, ed. Elsaesser, 2004, pp 193-202. (English)
  • "Süsser kann kein Gott sein", Tumult (1988), pp 11-16. (German)
  • "Wenn Leben gespielt wird", in Dies schoener Land, ed. Klaus Blanc, Munich: Kunstmann, 1990, pp 36-40. (German)
  • "Spanien!", in Zeit für Mitteilungen - Peter Nestler, ed. Jutta Pirschtat, Essen: Filmwerkstatt, 1991, pp 96-104. (German)
  • "How to Live in the FRG", trans. Antje Ehmann and Michael Turnbull, in Harun Farocki, eds. Ehmann and Eshun, 2010, pp 163-165. Written for the 20th International Forum of the Berlinale Film Festival in 1990. (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)
  • "Arbeiter verlassen die Fabrik", Meteor 1 (Dec 1995), Vienna, pp 49-55. (German)
    • "Workers Leaving the Factory", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint – Texte / Writings, 2001; repr. in Senses of Cinema 21 (July 2002); repr. in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 2004, pp 237-243. (English)
  • "Das Grün des Rasens", ed. Rainer Knepperges, in Harun Farocki: Der Ärger mit den Bildern, eds. Aurich and Kriest, 1998, pp 145-154. (German)
    • "The Green of the Grass", trans. Roger Hillman and Timothy Mathieson, in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 2004, pp 77-82. (English)
  • "Sein Leben einsetzten: Holger Meins", Jungle World (Dec 1998). (German)
    • "Risquer sa vie. Images de Holger Meins", trans. Pierre Rusch, in Farocki, Reconnaître et poursuivre, ed. Blümlinger, 2002. (French)
    • "Staking One's Life: Images of Holger Meins", trans. Laurent Faasch-Ibrahim, in Harun Farocki: Working the Sightlines, ed. Elsaesser, 2004, pp 83-91. (English)
  • "Amerikanische Einstellung. Notizen zum einen Film über Malls", Jungle World 37 (8 Sep 1999); repr. in Farocki, Nachdruck / Imprint – Texte / Writings, 2001, pp 293-305. (German)
  • "Kontrollblicke", Jungle World 37 (8 Sep 1999); repr. in Farocki, Nachdruck / Imprint – Texte / Writings, 2001, pp 307-121.
    • "Controlling Observation", trans. Laurent Faasch-Ibrahim, in Farocki, Nachdruck / Imprint – Texte / Writings, 2001, pp 306-320; repr. in Harun Farocki: Working the Sightlines, ed. Elsaesser, 2004, pp 289-295. (English)
  • "Difficult Questions", in Farocki, Nachdruck / Imprint – Texte / Writings, 2001, pp 218-219. (English)
  • "What An Editing Room Is", in Farocki, Nachdruck / Imprint – Texte / Writings, 2001. (English)
  • "Influences transversales", trans. Pierre Rusch, Trafic 43 (Sep 2002). (French)
  • "Le point de vue de la guerre", trans. Pierre Rusch, Trafic 50 (2004), pp 445-455. (French)
  • with Wolfgang Ernst, "Towards an Archive of Visual Concepts", ed. Thomas Elsaesser, trans. Robin Curtis, in Harun Farocki: Working the Sightlines, ed. Elsaesser, 2004, pp 261-286. Originally published separately as Ernst, "A Visual Archive of Cinematographical Topics", and Farocki, "Bilderschatz", given as the Vilém Flusser lecture, 2002 in Duisburg. (English)
  • "Phantom Images", trans. Brian Poole, PUBLIC 29 (2004), pp 12-22, PDF. Based on a talk delivered at ZKM, Karlsruhe. (English)
  • "La diva aux lunettes", trans. Pierre Rusch, Trafic 55 (Autumn 2005), pp 62-69. [55] (French)
  • "Der Krieg findet immer einen Ausweg", Cinéma 50, 2005, pp 21-31. (German)
    • "War Always Finds a Way", in HF/RG, ed. Chantal Pontbriand, Paris: Jeu de Paume/Blackjack Editions, 2009, pp 102-112. (English)
  • "I don't think I was the right seminar leader", in Kino-Sine: Philippine-German Cinema Relations, ed. Tilman Baumgärtel, Manila: Goethe-Institut and Anvil, 2007, pp 42-47. (English)
  • "Written Trailers", trans. Antje Ehmann and Michael Turbull, in Harun Farocki: Against What? Against Whom?, 2009, pp 220-241. Autobiographical essay. (English)
  • "À propos du cinéma documentaire", trans. Pierre Rusch, Trafic 93, Paris: POL, Spring 2015. (French)
    • "On the Documentary", trans. Michael Turnbull, e-flux journal 56th Venice Biennale, 2015. (English)

For full list of articles published in Filmkritik (1972-83) see [56].

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

Catalogues[edit]

  • Harun Farocki: A Retrospective, New York: Goethe House, 1991, 23 pp. (English)
  • Harun Farocki: Nebeneinander, Cologne: Walther König, 2007, 125 pp. Texts by Helmut Draxler, Matthias Michalka, Elisabeth Büyyner. For the exhibition at Museum of Modern Art, Vienna. (German)
  • Harun Farocki. One Image Doesn’t Take the Place of the Previous One, ed. Michéle Theriault, Montreal: Leonard & Bina Ellen Art Gallery, Concordia University, 2008, 224 pp. [57] (English)/(French)
  • Rote Berta Geht Ohne Liebe Wandern, Cologne: Strzelecki, 2009. From the exhibition Harun Farocki – Ausstellung und Filmprogramm in Ludwig Museum. (German)
  • HF/RG (Harun Farocki/Rodney Graham), ed. Chantal Pontbriand, Paris: Jeu de Paume/Blackjack, 2009, 200 pp. (French),(English)
  • Harun Farocki: por uma politizacao do olhar, São Paulo: Cinemateca Brasileira, 2010, Scribd. (Brazilian Portuguese)
  • Harun Farocki: Soft Montages, ed. Yilmaz Dziewior, Kunsthaus Bregenz, 2011, 192 pp. Texts by Jan Verwoert, Christa Blümlinger, et al. (English)/(German)
  • Harun Farocki: Visión. Producción. Opresión / Vision. Production. Oppression, ed. Ekaterina Álvarez Romero, México, D.F.: Museo Universitario Arte Contemporáneo (MUAC), 2014, 63 pp. [58] (Spanish)/(English)
  • Another Kind of Empathy, eds. Antje Ehmann and Carles Guerra, 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 and Empathy. [59] (English)

Interviews, Dialogues[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. [60]
  • "Harun Farucki on Materiality", cine-fils.com, 6 min, c2010.
  • "Harun Farocki Interview", Goethe Institut Boston, 24 min, c2013.

Audio[edit]

Silverman, Farocki, Speaking about Godard, 1998, Log.
Farocki, Steyerl, A Magical Imitation of Reality, 2011, PDF, Log.

Printed[edit]

Literature[edit]

Books[edit]

  • Peter Nau, Zwischen zwei Kriegen - Film von Harun Farocki, Munich: Filmkritik, 1978.
  • Tilman Baumgärtel, Harun Farocki – Vom Guerrillakino zum Essayfilm. Werkmonographie eines Autorenfilmers, Berlin: b_books, 1998; 2nd ed., Berlin: b_books, 2002, 279 pp.
  • Rolf Aurich, Ulrich Kriest (eds.), Harun Farocki: Der Ärger mit den Bildern, Konstanz: UVK-Medien, Close Up, 1998.
  • Thomas Elsaesser (ed.), Harun Farocki: Working the Sightlines, Amsterdam University Press, 2004, 379 pp, Log, ARG. (English)
  • Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, Bielefeld: transcript, 2006.
  • Antje Ehmann, Kodwo Eshun (eds.), Harun Farocki: Against What? Against Whom?, London: Raven Row, and Cologne: Walther König, 2009, 256 pp. Texts by Harun Farocki, Michael Baute, Jammes Benning, Nicole Brenez, Sabeth Buchmann, Alice Creischer, Diederich Diederichsen, George Didi-Hubermann, et al. (English)
  • David Tomas, Vertov, Snow, Farocki: Machine Vision and the Posthuman, Bloomsbury, 2013. (English)
  • 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)

Journal issues[edit]

  • "Harun Farocki Dossier", Senses of Cinema, ed. Thomas Elsaesser, Senses of Cinema 21 (July 2002). (English)
  • e-flux 59: "Harun Farocki", eds. Julieta Aranda, Brian Kuan Wood and Anton Vidokle, Nov 2014. (English)
  • Harun Farocki dossier in Trafic 93, Spring 2015, Paris: P.O.L, pp 66ff. [61] (French)

Book chapters, papers and articles[edit]

  • Wolfram Schütte, "Leben Symbole?", Frankfurter Rundschau (6 Sep 1979).
  • Louis Skorecki, "Qui est Farocki?", Cahiers du cinéma 329 (Nov 1981), MOV. (French) [62]
  • 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. Elsaesser, 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, [63]; repr. as "Political Filmmaking after Brecht: Harun Farocki, For Example", in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 2004, pp 133-153. (English)
    • "'Mit diesen Bildern hat es angefangen': Anmerkungen zum politischen Film nach Brecht", in Harun Farocki: Der Ärger mit den Bildern, eds. Aurich and Kriest, 1998, pp 111-144.
  • 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. Elsaesser, 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. Elsaesser, 2004, pp 157-161. (English)
  • Klaus Kreimeier, "Die Arbeiter verlassen die Fabrik", epd Film 7 (Jul 1995), pp 2-3.
  • Christa Blümlinger, "De la lente elaboration des pensées dans le travail des images", Trafic 13 (1995). (French)
    • "Slowly Forming A Thought While Working on Images", trans. Robin Curtis, in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 2004, pp 163-175. (English)
  • 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 Harun Farocki: Der Ärger mit den Bildern, eds. Aurich and Kriest, 1998, pp 197-206.
    • "Passage along the Shadow-Line", trans. Roger Hillman, in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 2004, pp 69-75. (English)
  • Volker Siebel, "Rettung in Seenot", in Harun Farocki: Der Ärger mit den Bildern, eds. Aurich and Kriest, 1998, pp 95-110.
    • "Painting Pavements", trans. Roger Hillman, in Harun Farocki: Working on the Sightlines, ed. Elsaesser, 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. Elsaesser, 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.
  • 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.
  • Jörg Becker, "In Film Denken", RAY (Feb 2004), pp 32-34.
  • 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. Elsaesser, 2004, pp 11-40; repr. in 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.
  • 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?, eds. Ehmann and Eshun, 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.
  • 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)

On individual films[edit]

on Inextinguishable Fire
  • Peter Nau, Zwischen zwei Kriegen - Film von Harun Farocki, 1978.
  • Georges Didi-Huberman, "How to Open Your Eyes", in Harun Farocki: Against What? Against Whom?, eds. Ehmann and Eshun, 2009, pp 38-50. (English)
on Between Two Wars
  • Hartmut Jahn, "Anmerkungen zu Harun Farockis neuem Film 'Zwischen zwei Kriegen", Spuren 2 (1979).
on Before Your Eyes-Vietnam
  • Frieda Grafe, "Blutig ernst: Harun Farockis Film 'Etwas wird sichtbar'", Süddeutsche Zeitung, 16 Jul 1982.
  • Claudia Cippitelli, "Etwas wird sichtbar", Arnoldschainer Filmgespräche 2 (1985).
  • Kraft Wetzel, "Was macht eigentlich 'Etwas wird sichtbar' für die meisten zu einem schwierigen Film?", Arnoldschainer Filmgespräche 2 (1985).
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.
  • Dagmar Arnold, "Offensichtlichkeit und 'Art des Sehens'. Harun Farockis Film 'Wie man sieht'", Augenblick 10 (1991), Marburg, pp 76-83.
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).
  • 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. Elsaesser, 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. Elsaesser, 2004, pp 211-234. (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

Bibliographies[edit]

Theses[edit]

  • Ilse Müller, "Film als Zitat: Annäherung an einen Film, 'Zwischen zwei Kriegen' von Harun Farocki", Universität Osnabrück, 1981.

Links[edit]