Harun Farocki was born in 1944 in German-annexed Czechoslovakia. From 1966 to 1968 he attended the Deutsche Film- und Fernsehakademie Berlin (DFFB). In addition to teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich and Stuttgart, he has been a visiting professor at the University of California, Berkeley.
Farocki has made close to 90 films, including three feature films, essay films and documentaries. He has worked in collaboration with other filmmakers as a scriptwriter, actor and producer. In 1976 he staged Heiner Müller’s plays The Battle and Tractor together with Hanns Zischler in Basel, Switzerland.
Since 1966 he has written for numerous publications, and from 1974 to 1984 he was editor and author of the magazine Filmkritik (München). His work has shown in many national and international exhibitions and installations in galleries and museums.
Thanks to Dirk K., who sent the following news and citation. I will have so much more to say, when it is time… Dirk writes:
Harun Farocki died yesterday.
He certainly understood a thing or two about Marker, the modus operandi of Sans Soleil, and its effects:
SANS SOLEIL … has an extraordinary text — a text that emanates from a lifetime’s preoccupation with cinema, as you just sketched it. This text can also be reproduced without the film, by which I do not at all imply that the images in the film are somehow worthless. Rather, the text has had such a strong effect that in some places nobody paid much attention to the images. To give a small example: there is a scene in SANS SOLEIL where the camera accompanies two people visiting a grave. It rushes ahead of them and waits for them at the graveside, just like a television crew would do it, if it had the time and a chance to stage things. Why does the camera rush ahead? — this sort of question has not generated any critical energy. I probably write, or rather: occupy myself with writing, in order to determine the difference between film and text. I want to make films that are not that far removed from texts, and that are nonetheless very distinct.
Harun Farocki: Working on the Sightlines, ed. Thomas Elsaesser. Feb 2014, 180
OK, me again. Here are some preliminary reflections from Germany, France and the US.
Obits & Appreciations
Zum Tode Harun Farockis: Einzelkämpfer gegen die Macht der Bilder
Harun Farocki, Celebrated Filmmaker, Dead at 70
Harun Farocki n’expérimentera plus
Harun Farocki: Der ungeschminkte Blick auf die Realität
Der Filmemacher Harun Farocki ist gestorben
Regisseur Harun Farocki tot
Watch Harun Farocki Explain His Final Solo Show
I will be posting further articles on Farocki as they appear to my Google + page. I will also brush up a dusty article I wrote on Images of the World and the Inscription of War, potentially Farocki’s most prominent essay film.
If you have not read Farocki’s printed essays, a good manual to have is his (regrettably out of print to my knowledge) book Nachdruck/Imprint Texte/Writings, ed. Susanne Gaensheimer, Nicolaus Schafhausen, trans. Laurent Faasch-Ibrahim, assistant ed. Volker Pantenburg, New York: Lukas & Sternberg, 2001. Most recently, Farocki published Harun Farocki: Diagrams: Images from Ten Films, along with Thomas Elsaesser and Maren Grimm, with Benedikt Reichenbach as editor. He is also co-author with Paul Virilio of the hyper-contemporary Serious Games: War-Media-Art, like Nachdruck/Imprint bi-lingual in English and German.