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Wie man sieht (As You See) – In memory of filmmaker Harun Farocki

Wie man sieht (As You See) – In memory of filmmaker Harun Farocki

Gefängnisbilder (Prison Images)

The Goethe-Institut Los Angeles and Los Angeles Filmforum present

Wie man sieht (As You See) ­–

In memory of filmmaker Harun Farocki

Wednesday February 25, 2015, 7:00 pm

Screening 7: Arbeiter verlassen die Fabrik (Workers Leaving The Factory) and Gefängnisbilder (Prison Images)

Film Series
Wednesdays, January 14th through March 4th 2015
Goethe-Institut Los Angeles, 5750 Wilshire Blvd. Suite 100, Los Angeles, CA 90036
German with English subtitles
Free admission, but RSVP needed, by email to rsvp@losangeles.goethe.org or the 323.525.3388

Harun Farocki – the director whose perspicacious cinematic essays analyzed the new media world – died in July 2014.  With his radical way of looking at things Farocki strove to endow images with their own form of self-will, to expose their political and cultural coding.

Farocki lived and worked in Berlin as a filmmaker, artist and writer. His essay and observational films question the production and perception of images, decoding film as a medium and examining how audiovisual culture is related to history, politics, technology and war.
His projects have been shown in festivals and solo, group and retrospective exhibitions worldwide at important events and international institutions, including the 2010 São Paulo Biennial, Documenta X and XXII in Kassel, Tate Modern in London, MACBA in Barcelona, Museum Ludwig in Cologne and the Jeu de Paume in Paris.

All films in this series are in German with English Subtitles, unless otherwise noted.

For more event information: info@losangeles.goethe.org, or +1 323 5253388

Tickets: Free, but please RSVP due to limited seating, by email to rsvp@losangeles.goethe.org or the 323.525.3388

$1 validated parking (for events only) on weekdays after 6:00 pm and all day on weekends in the Wilshire Courtyard West underground garage-P1.

Special Thanks to Daniel Chaffey of the Goethe-Institut Los Angeles and Lucas Quigley for organizing this series.

arbeiter

Arbeiter verlassen die Fabrik (Workers Leaving The Factory)

Arbeiter verlassen die Fabrik (Workers Leaving The Factory)

Arbeiter verlassen die Fabrik (Workers Leaving The Factory)

1995, 36 min., color and b/w, German with English subtitles. Digital.

Workers Leaving the Factory - such was the title of the first cinema film ever shown in public. For 45 seconds, this stillexistant sequence depicts workers at the photographic products factory in Lyon owned by the brothers Louis and Auguste Lumière hurrying, closely packed, out of the shadows of the factory gates and into the afternoon sun. Only here, in departing, are the workers visible as a social group. But where are they going? To a meeting? To the barricades? Or simply home?These questions have preoccupied generations of documentary filmmakers. For the space before the factory gates has always been the scene of social conflicts. And furthermore, this sequence has become an icon of the narrative medium in the history of the cinema. In his documentary essay of the same title, Harun Farocki explores this scene right through the history of film. The result of this effort is a fascinating cinematographic analysis in the medium of cinematography itself, ranging in scope from Chaplin's Modern Times to Fritz Lang's Metropolis to Pier Paolo Pasolini's Accattone!. Farocki's film shows that the Lumière brothers' sequence already carries within itself the germ of a foreseeable social development: the eventual disappearance of this form of industrial labor. (Klaus Gronenborn, Hildesheimer Allgemeine Zeitung, November 21, 1995) The first film ever projected is listed under the title The Workers Leaving the Factory. Chaplin played a worker, and Marilyn Monroe once exited the gate of a fish factory... but the workers' film has not become a main genre in film history. The space in front of the gate is far from being a preferred cinematic location. Most films begin when the work is over. I have collected images from several countries and many decades expressing the idea "exiting the factory", both staged and documentary - as if the the time has come to collect film-sequences, in the way words are brought together in a dictionary. (Ulrich Kriest)

Prison Images

Gefängnisbilder (Prison Images)

Gefängnisbilder (Prison Images)

2000, 60 min., color and b/w, German with English subtitles. Digital.

A film composed of images from prisons. Quotes from fiction films and documentaries as well as footage from surveillance cameras. A look at the new control technologies, at personal identification devices, electronic ankle bracelets, electronic tracking devices. The cinema has always been attracted to prisons. Today's prisons are full of video surveillance cameras. These images are unedited and monotonous; as neither time nor space is compressed, they are particularly well-suited to conveying the state of inactivity into which prisoners are placed as a punitive measure. The surveillance cameras show the norm and reckon with deviations from it. Clips from films by Genet and Bresson. Here the prison appears as a site of sexual infraction, a site where human beings must create themselves as people and as a workers. In Un Chant d'amour by Jean Genet, the guard looks in on inmates in their cells and sees them masturbating. The inmates are aware that they are being watched and thus become performers in a peep show. The protagonist in Bresson's Un condamné à mort s’est échappé ou Le vent soufflé où il veut (A Man Escaped, 1956)  turns the objects of imprisonment into the tools of his escape. These topoi appear in many prison films. In newer prisons, in contrast, contemporary video surveillance technology aims at demystification. (Harun Farocki)