Films 1988
1988
- Georg K. Glaser - Schriftsteller und Schmied
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- Georg K. Glaser is a worker and writer. Quite literally. He spends the morning at his desk, from midday on he can be found at his workshop in the Parisian quarter Marais. There he produces bowls, lamps, vases, jugs and other metal work. He is proficient in metalworking techniques hardly anyone else can perform these days. Born 1910 near Worms, Glaser ran away from home at an early age and went traveling; he was placed in reform institutions and joined the Communists. In 1933 he went underground and escaped via Saarland to France. There he became a naturalized citizen, worked for the national railroads, was conscripted in 1939 and soon found himself in German captivity. For years he had to pretend to be a Frenchman who could speak good German. After an escape and detention camp he returned to Paris and went to work for Renault. He found the work on the conveyor belt unbearable and inhuman. So almost 40 years ago now, Glaser started work as an artisan craftsman, expressing his criticism in thought and practice. He combines craftsmanship with writing and points to the French word for craftsman View More »
- director, scriptwriter, commen-
- tary, interview: Harun Farocki with
- quotations from Jenseits der Grenzen
- by Georg K. Glaser cinemato-
- grapher: Ingo Kratisch editor: Rosa
- Mercedes, Klaus Klingler negative
- cut: Elke Granke sound: Klaus Klingler
- mixing: Gerhard Jensen-Nelson
- narrator: Harun Farocki (comment-
- ary), Georg K. Glaser (texts)
- production: Harun Farocki Film-
- produktion, Berlin-West, for SWF,
- Baden-Baden producer: Harun Farocki
- TV-producer: Ebbo Demant length:
- 44 min format:
16mm, Eastmancolor,
- col., 1:1,37 first broadcast:
- 20.09.1988, SWF 3
1988
- Bilder der Welt und Inschrift des Krieges
- Images of the World and
the Inscription of War
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- The vanishing point of is the conceptual image of the 'blind spot' of the evaluators of aerial footage of the IG Farben industrial plant taken by the Americans in 1944. Commentaries and notes on the photographs show that it was only decades later that the CIA noticed what the Allies hadn't wanted to see: that the Auschwitz concentration camp is depicted next to the industrial bombing target. (At one point during this later investigation, the image of an experimental wave pool - already visible at the beginning of the film - flashes across the screen, recognizably referring to the biding of the gaze: for one's gaze and thoughts are not free when machines, in league with science and the military, dictate what is to be investigated. Farocki thereby puts his finger on the essence of media violence, a "terrorist aesthetic" (Paul Virilio) of optic stimulation, which today appears on control panels as well as on television, with its admitted goal of making the observer into either an accomplice or a potential victim, as in times of war. (Christa Blümlinger)
One must be just as wary of pictures as of words. There is no literature without linguistic criticism, without the author being critical of the existing language. It's just the same with film. One need not look for new, as yet unseen images, but one must work with existing ones in such a way that they become new. (Jörg Becker, TAZ, 30.01.1989)
- director, scriptwriter: Harun Farocki
- assistant director, researcher:
- Michael Trabitzsch cinematographer:
- Ingo Kratisch animation camera:
- Irina Hoppe editor: Rosa Mercedes
- negative cut: Elke Granke sound:
- Klaus Klingler mixing: Gerhard
- Jensen-Nelson narrator: Ulrike Grote
- production : Harun Farocki Film-
- production, Berlin-West, with financial
- support from kulturellen Filmförderung
- NRW producer: Harun Farocki length:
- 75 min. format: 16mm, col., b/w,
- 1:1,37 first screening: 10.11.1988,
- Duisburg (Duisburger Filmwoche)
1988
- Kinostadt Paris
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- Everything about this film is simple. It shows well-known and marginal facets of Paris as city of cinema and images - from the Cinémathèque Francaise to the erotic VDT work flourishing at the time (no picture reading room like in the Vidéotèque, but dialogs at the Minitel-screen here as well). A stock-taking in the late eighties, restricted by location. [...] In the studio discussion concerning four attempts to film a Baudelaire short story, Farocki , whose contribution is "Brunner ist dran" (1973), lets it slip that the story is of course one of Baudelaire's minor works. Referring to the film's co-director Farocki, this could also be said to be true of "Kinostadt Paris". Nevertheless, the film is one of the simplest and thus most pleasing, in short one of the most cineastic of his works. (Rolf Aurich)
- director, scriptwriter, commentary: Manfred Blank, Harun Farocki
- drawing on a quotation from Ein Ethnologe in der Metro by Marc Augé
- interviews: Manfred Blank cinematographer: Helmut Handschel
- editor: Edith Perlaky sound: Thomas Schwadorf researcher:
- Ursula Langmann narrator: Corinna Belz, Helmut Grieser
- production: WDR, Köln production manager: Friedhelm Maye
- TV-producer: Werner Dütsch length: 60 min. format: video -BetaSp,
- col., 1:1,37 first broadcast: 05.03.1990, West 3
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