Harun Farocki on DER RIESE (1983)

riese

DER RIESE, Michael Klier, 1983. Video still.

I was pleased to lend Ekrem Serdar a hand in revising a rather clunky translation of film notes written by Harun Farocki for a screening of Michael Klier’s Der Riese / The Giant (1983). Der Riese is an 80-minute compilation film of video footage taken from FRG surveillance cameras. Experimental Response Cinema screened the film earlier this spring.

Farocki was deeply inspired by Der Riese. It anticipates his sustained interest in posthuman vision.

In “Written Trailers,” translated in the 2010 exhibition catalogue, Harun Farocki: Against What? Against Whom? (Antje Ehmann and Kodwo Eshun, eds.), Farocki explains, “I begrudged Michael Klier his idea of making a film entirely out of surveillance-camera imagery.” (227)

In the same catalogue, Volker Pantenburg suggests that Der Riese (The Giant, 1982), “is an obvious model for Farocki’s Counter-Music.” (98)

Pantenburg continues,

When Farocki wrote about Klier’s video in 1983, he sensed that there was something genuinely new in these types of images. Something that made him think of how photographs must have appeared to the first people to behold a still image: ‘The first photographs – and this can appear over and over again – demonstrated that unimportant people, objects or events can also become the subject of images. Being images in the same way as intended and planned images, they raise the question of what hierarchy, meaning or sense are supposed to be.’ (Farocki, “Kamera in Aufsicht,” Filmkritik 9/1983, p. 416) (98)

Our revised translation of Farocki’s film notes on Der Riese can be found here, on ERCATX’s website.

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Harun Farocki, 1944-2014

Gif from "Images of the World and the Inscription of War" (Harun Farocki, 1988). Accessed at http://filmigrana.com/2014/06/09/reflexion-sobre-bilder-der-welt-und-inschrift-des-krieges-1989-de-harun-farocki/

GIF from “Images of the World and the Inscription of War” (Harun Farocki, 1988). Accessed at http://filmigrana.com/2014/06/09/reflexion-sobre-bilder-der-welt-und-inschrift-des-krieges-1989-de-harun-farocki/

What a loss for militant filmmaking, for art and for critical thought that Harun Farocki has died.

His fluency in working across so many different kinds of artistic media–in the art gallery and on the silver screen–was inspirational. His devotion to understanding the histories and the ideologies behind scientific and technological development was equally laudable. His insistence that sight lines and their documentation from any era must always be examined as vectors of power was unwavering.

He was a crucially important twentieth-century figure whose work consistently sought to teach its audience without pedantry. His films braid together historical materialism and media archeology without wasteful political rancor or snobby exclusivity. The cold comfort in his death is simply the numerous contemporary artists and theorists whose lives and ideas his touched.

Last night’s Farocki screening thoughtfully organized by the Experimental Response Cinema was a wonderful way to bid farewell; it contrasted the absurd humor and the mercilessness of An Image (1983) with the dense, intricate logic of Images of the World and the Inscription of War (1988).

Re-viewing Images of the World, I thought of Nora M. Alter’s explication of the “political anamorphosis” Harocki performs only very fleetingly at the very end of the film. He draws an explicit but easily-missed parallel between the Allied failure to bombard the railways leading to Auschwitz in the 1940s and the need to protest nuclear power as well as nuclear stockpiling in Germany in the 1980s.

Alter suggests that the repeated use of footage taken from within a wave machine in Hannover is a further example of political anamorphosis, alluding to the potential of green energy as an alternative to nuclear energy. How easy it is (and how self-defeating) to view these sequences as representing instead the inexorable, amoral, dialectic translation of measurement to image and image to measurement over the centuries. Knowing Farocki, he clearly intended both meanings.

Here’s hoping that a pair of scholars compile a series of warm and genial conversations on Farocki’s films in the same manner that Farocki and Kaja Silverman did on Godard’s films. That would be a really fitting goodbye.