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- This documentary uses news footage and amateur video to paint a vivid picture of Romania's 1989 revolution and the fall of dictator Nicolae Ceausescu.
- In Comparison revisits issues explored in the director's 2007 two channel installation Comparison Via a Third. Spanning continents and cultures, the film focuses on the brick in its many contexts, from the collective efforts of a community building a clinic in Burkina Faso, through semi industrialized moldings in India, to industrial production lines in Germany, France, Austria and Switzerland. Through its notable structure and its captivating rhythms, In Comparison presents various methods of labor production, allowing for an assessment that changes with every layer and goes well beyond a simple binary divide.
- Documentary examines the 'blind spot' of the evaluators of aerial footage of the IG Farben industrial plant taken by the Americans in 1944.
- A look at production and destruction and the relation between them.
- An oddity: a mock-documentary, satirizing West German life, from the perspective of a leftwing East German filmmaker.
- A hundred years of scenes in which workers are seen leaving their factory spaces are used to deconstruct the ideology behind representations of such workers in both fiction and non fiction films.
- This experimental documentary on women's work focuses on the labor involved in creating a nude photograph of a woman for a slick Playboy type pornographic magazine.
- Are today's advertising photographers continuing in the tradition of 17th century Flemish painters? This is one theory director Harun Farocki poses in his documentary STILL LIFE. According to Harun Farocki, today's photographers also depict objects from everyday life - the "still life". The filmmaker illustrates this intriguing hypothesis with three documentary sequences showing photographers at work creating a contemporary STILL LIFE: a cheese-board, beer glasses and an expensive watch.
- This documentary about "immigrant" police officers, comes from a German-Turk Berliner herself. She follows police actions in the heavily Turkish (dominant among many immigrant groups) districts of Kreuzberg and Neukölln. These are both home to now-third generation German Turks, Yugoslavs and others. But these "foreigners" started to inhabit this area of the former West Berlin over 40 years ago, and have in fact made it their home. In the 5th brigade, there two policemen of Turkish origin in addition to three other "of foreign origin." Here, in these two districts, at once the most crime ridden and also the most immigrant inhabited, the "foreign" officers not only face the obvious challenges, but must also balance the many cultural and ethnic conflicts. The film shows that their usual police duties may be easier than the constant battle they face against being a "foreigner" and a "traitor" to some, and the local, neighborhood law enforcers to others.
- A documentary about the actor Peter Lorre.
- An advertising firm has a business meeting with a client.
- Farocki gives us a short behind the scenes look at Straub and Huillet as they work on a film , based on America by Kafka.
- A quick inside look at the prison system in California.
- In this second of a four part series, media artist Harun Farocki explores the interplay between modern warfare and electronic media using computer simulation and documentary footage. Originally presented as a simultaneous four-screen gallery video installation, the separate films are available exclusively on realeyz.tv. Director's notes to Part II "In Twentynine Palms, we filmed an exercise with around 300 extras playing both Afghan and Iraqi civilian populations. A few dozen Marines stood guard and went on patrol. The maneuver town lay on a piece of land that rose slightly above the desert; its buildings were assembled out of containers. The scene looked like something modeled on the reality of a computer simulation." (Harun Farocki)
- A small company consults and designs work spaces for larger companies in this portrait of corporate culture and its jargon.
- Filmmakers Harun Farocki und Andrei Ujica discuss footage from their documentary Videograms of a Revolution (1992) about the revolution in Romania 1989 with scientists.
- Documentary on the German anti Fascist worker-writer.
- In the documentary INTERFACE media artist and director Harun Farocki examines his own media work and explores what it means to work with existing imagery rather than producing one's own, new images. Harun Farocki was commissioned by the Lille Museum of Modern Art in France to produce a video "about his work". His creation was an installation for two screens that was presented within the scope for the 1995 exhibition "The World of Photography". The film INTERFACE developed out of that installation. The German title of the film is SCHNITTSTELLE and it plays on the double meaning of "Schnitt" (cut), referring both to Farocki's workplace, the editing table, as well as the "human-machine interface", where a person operates a computer using a keyboard and a mouse. (3sat, September 1995)
- Homo sapiens, pride of creation, ruler of disaster, destroyer, and self-destructor. The main question: why does homo sapiens destroy its living conditions? This question is not directly answered, but it will remain in the minds of the viewers as they watch the faceless images and sounds. Following the tracks of man-made destruction, they encounter visible and invisible signs of desecration, contamination, destruction, and predict self-destruction: Homo sapiens has gone mad.