Harun Farocki Filmproduktion

Using one of the Lumière Brothers' first films of workers leaving the Factory as his starting point, Farocki provides an insight to changes in industrial production, workers' strikes and motion pictures-- via images of workers leaving factories throughout the years.

An issue of the magazine Kino 81, designed for the film department of WDR by staff of FILMKRITIK

Farocki’s intriguing and troubling film explores the processes of visual perception and how they affect our understanding of history and society. In a work reminiscent of the writings of Paul Virilio and Michel Foucault, Farocki examines a range of phenomena including aerial reconnaissance photos of the Auschwitz concentration camp.

Peter Lorre achieved international fame for his performance in the myth-making role in M. This character has held a peculiar fascination for generations of cinephiles. However, at the time, whilst such success meant recognition, it also weighed on the Hungarian actor as a constrictive burden. Using photographs and film extracts, Das doppelte Gesicht reconstructs the ups and downs of Lorre's career, taking into consideration the economic imperatives and workings of the film industry at the time. (Arnold Hohmann, 1984)

Documentary about the german police force.

Single is not a theoretical treatise; it just uses clips to show how a single is produced. The song is Time to Love, the singers call themselves Witchcraft. Also involved are the composer, arranger, producer, the studio musicians and later on the strings. At the beginning the off camera narrator points out a scandalous discrepancy. The film crew spent two days in the recording studio observing a three minute piece of music being produced. The film itself condenses the duration of production: 15 minutes into the film, the narrator announces that the producers are satisfied with the basic backing-track, after a four hour test. After 24 minutes we learn that the crew has left the studio after nine hours filming, whilst work on the guitar tracks continued for some hours.

A documentation during four days of the creation of a Playboy magazine centerfold photograph from start to finish.

A look at how mall producers design malls in order to maximise traffic and sales.

Respite consists of silent black-and-white film shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.' In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer. “By exhuming the scattered fragments and traces of the phantom film (intertitle cards, ideas for the scenario, graphic elements), Harun Farocki inscribes the Dutch footage within the genre of the corporate film.

An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.

Farocki revisits the executive trainer from his earlier "Die Schulung" (Indoctrination, 1987), this time holding a seminar with ex-GDR employees of a West German construction company.

"If there is a relationship between production and destruction, between the development of productive and destructive forces, then the atom bomb is the ultimate weapon of the post-industrial age. Greatest tonnage, highest mortality, maximum devastation. But what comes next, what are the weapons of the post-industrial age?" - Harun Farocki

A minute-by-minute chronology of the Romanian revolution in December 1989 in Bucharest. This cinematic montage of live footage from the state television company TVR and video taken by numerous amateurs becomes a new media-based form of historiography.

An exploration of how the U.S. military employs video game technology to train troops for war. Filmed at the United States Marine Corps Air Ground Combat Center, Watson is Down pairs footage of soldiers at computers engaging in combat-simulation training with scenes from the video games.

This film is at once a self-portrait and an homage to Jean-Marie Straub, Farocki's role model and former teacher at the Film Academy.

What venture capital or VC for short actually means is explained in the film itself. Banks only lend money against collateral. Those who have none have to turn to VC companies and pay interest of 40%.

An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.

Harun Farocki was commissioned by the Lille Museum of Modern Art 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 work Schnittstelle developed out of that installation. Reflecting on Farocki's own documentary work, it examines the question of what it means to work with existing images rather than producing one's own, new images. The title plays on the double meaning of 'Schnitt', 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.

An advertising agency has to pitch a marketing concept to an optician's consortium, represented by the manager who is the first to see the campaign. The logo submitted is examined from every angle: it must simultaneously express both the company's dynamism and its reliability. A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.

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.