Films 1997

1997

Die Bewerbung

The Interview
In the summer of 1996, we filmed application training courses in which one learns how to apply for a job. School drop-outs, university graduates, people who have been re-trained, the long-term unemployed, recovered drug addicts, and mid-level managers - all of them are supposed to learn how to market and sell themselves, a skill to which the term "self management" is applied. The self is perhaps nothing more than a metaphysical hook from which to hang a social identity. It was Kafka who likened being accepted for a job to entering the Kingdom of Heaven; the paths leading to both are completely uncertain. Today one speaks of getting a job with the greatest obsequiousness, but without any grand expectations. (Harun Farocki)

1997

Die Werbebotschaft

From material produced for Der Auftritt / The Appearance. Contribution to the magazine program Brut (arte). (production statement)

1997

Stilleben
Still Life
According to Harun Farocki, today's photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life - the "still life". The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary "still life": a cheese-board, beer glasses and an expensive watch.

1997

Das Bild der Uhr
From material produced for Stilleben / Still Life. Contribution to the magazine program Brut (arte). (production statement)

1997

Der Ausdruck der Hände
Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work)