Anyone interested in how the technological, and now the electronic media have transformed civil society, could find no better chronicler of their histories, no more intelligent observer of their unexpected connections, no more incisive critic and yet interested party to the media’s epoch-making significance than the German filmmaker, installation artist and media theorist Harun Farocki. As a filmmaker, Farocki not only adds images to their stock in the world; he comments on the world made by these images, and he does so with and through images.
Contents
Introduction
Image In(ter)ventions
Painting Pavements
Volker Siebel
Images and Thoughts, People and Things, Materials and Methods
Jörg Becker
Incisive Divides and Revolving Images: On the Installation Schnittstelle
Christa Blümlinger
Filming as Writing, Writing as Filming, Staking One's Life
Passage along the Shadow-Line: Feeling One’s Way Towards the Filmkritik-Style
Olaf Möller
The Green of the Grass: Harun Farocki in Filmkritik
edited by Rainer Knepperges
Staking One's Life: Images of Holger Meins
Harun Farocki
Between Wars, Between Images
Working at the Margins: Film as a Form of Intelligence
Thomas Elsaesser
Dog from the Freeway
Harun Farocki
Political Filmmaking after Brecht: Farocki, for Example
Thomas Elsaesser
Documenting the Life of Ideas? – Farocki and the 'Essay Film'
The Road Not Taken: Films by Harun Farocki
Jonathan Rosenbaum
Slowly Forming a Thought While Working on Images
Christa Blümlinger
Making the World Superfluous: An Interview with Harun Farocki
Thomas Elsaesser
Images of the World and the Inscription of War
Reality Would Have to Begin
Harun Farocki
Light Weapons
Tom Keenan
The Political Im/perceptible: Images of the World…
Nora Alter
Film: Media: Work: Archive
Workers Leaving the Factory
Harun Farocki
On Media and Democratic Politics: Videograms of a Revolution
Benjamin Young
Towards an Archive for Visual Concepts
Wolfgang Ernst and Harun Farocki
From the Surveillance Society to the Control Society