[Frameworks] Wie man sieht (As You See): In memory of filmmaker Harun Farocki film series starting Wed Jan 14th!

Tue Jan 13 21:05:45 UTC 2015

Sorrym too late for Flicker...

Filmforum joins with the Goethe-Institut Los Angeles to present an
eight-evening tribute series to the late filmmaker Harun Farocki, starting
tomorrow, Wednesday January 14, 2015, at 7:00 pm!

The Goethe-Institut Los Angeles and Los Angeles Filmforum present
Wie man sieht (As You See)
In memory of filmmaker Harun Farocki
Screening 1: Leben: BRD (How to Live in the FRG), Wed Jan 14, 7:00 pm

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 at losangeles.goethe.org
<mailto:rsvp at 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. 

Remembering Harun Farocki: https://www.goethe.de/en/kul/flm/20440394.html

All films in this series are in German with English Subtitles, unless
otherwise noted.
For more event information: info at losangeles.goethe.org
<mailto:info at losangeles.goethe.org> , or +1 323 5253388

Tickets: Free, but please RSVP due to limited seating, by email to
rsvp at losangeles.goethe.org <mailto:rsvp at 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.

Screening on Wednesday, January 14th 2015, 7:00 pm
Leben: BRD (How to Live in the FRG)
1990, 88 min. color, German with English subtitles. Digital.

The author assembles a genre picture of the contemporary FRG with shots of
scenes where life is rehearsed, ability/durability is tested. Wherever one
looks, people appear as actors playing themselves; they take on roles. A
play in the theater of life made up of training courses, fitness tests for
things and people. Be it in birth preparation classes for expectant parents
or in practice runs for sales talks, on the military training ground or
during role-plays for educational purposes. Everywhere the incessant effort
to be prepared for the emergency of "reality" can be felt. How To Live In
The FRG assembles out of a wealth of details a picture of a society in which
childbearing and dying, crying and taking care of people, crossing streets
and killing are taught and learned in state or private institutions, indeed
have to be learned. The real mechanical ballet is not danced by machines but
by people, who move to a music that feeds on bombastic phrases from the
realms of social work, bureaucracy and therapy. All together, the collected
scenes appear to support the view that a mentality of insurance and
providing for the future prevails in the FRG, a country in which happiness
as well as misery are supposed to be disciplined by means of social
techniques and freed from any measure of unpredictability. And yet How To
Live In The FRG goes beyond such an interpretation. The participants in the
games, tests, and therapy sessions are not degraded into pieces of evidence
for some theory or other. They retain, to varying degrees, something of
their dignity. This is a result of Farocki's working method: he has edited
the scenes in such a way that even the most nonsensical occurrences as it
were explain themselves.
(D. Leder)  - http://farocki-film.de/flash/index.html
<http://farocki-film.de/flash/index.html>

The rest of the series (save the dates!):

Wednesday, January 21st 2015, 7:00 pm
Erkennen und Verfolgen (War at a Distance)
2003, 58 min. color and b/w. German with English subtitles, Digital.
In 1991, when images of the Gulf War flooded the international media, it was
virtually impossible to distinguish between real pictures and those
generated on computer. This loss of bearings was to change forever our way
of deciphering what we see. The image is no longer used only as testimony,
but also as an indispensable link in a process of production and
destruction. This is the central premise of "War at a Distance", which
continues the deconstruction of claims to visual objectivity Harun Farocki
developed in his earlier work. With the help of archival and original
material, Farocki sets out in effect to define the relationship between
military strategy and industrial production and sheds light on how the
technology of war finds applications in everyday life. (Antje Ehmann)
Nicht löschbares Feuer (Inextinguishable Fire)
1969, 25 min., B/W, German with English subtitles, Digital.
"When we show you pictures of napalm victims, you'll shut your eyes. You'll
close your eyes to the pictures. Then you'll close them to the memory. And
then you'll close your eyes to the facts." These words are spoken at the
beginning of an agitprop film that can be viewed as a unique and remarkable
development. Farocki refrains from making any sort of emotional appeal. His
point of departure is the following: "When napalm is burning, it is too late
to extinguish it. You have to fight napalm where it is produced: in the
factories." Resolutely, Farocki names names: the manufacturer is Dow
Chemical, based in Midland, Michigan in the United States. Against backdrops
suggesting the laboratories and offices of this corporation, the film then
proceeds to educate us with an austerity reminiscent of Jean Marie Straub.
Farocki's development unfolds: "(1) A major corporation is like a
construction set. It can be used to put together the whole world. (2)
Because of the growing division of labor, many people no longer recognize
the role they play in producing mass destruction. (3) That which is
manufactured in the end is the product of the workers, students, and
engineers." This last thesis is illustrated with an alarmingly clear image.
The same actor, each time at a washroom sink, introduces himself as a
worker, a student, an engineer. As an engineer, carrying a vacuum cleaner in
one hand and a machine gun in the other, he says, "I am an engineer and I
work for an electrical corporation. The workers think we produce vacuum
cleaners. The students think we make machine guns. This vacuum cleaner can
be a valuable weapon. This machine gun can be a useful household appliance.
What we produce is the product of the workers, students, and engineers."
(Hans Stempel, Frankfurter Rundschau, June 14, 1969)

Wednesday, January 28th 2015, 7:00 pm
Videogramme einer Revolution
<http://www.goethe.de/ins/us/los/ver/en13790602v.htm> (Videograms of a
Revolution) 
Dir. Harun Farocki & Andrei Ujica, 1992, 106 min. color and b/w.Romanian,
English and German with English subtitles, Digital.

Wednesday, February 4th 2015, 7:00 pm
Stilleben <http://www.goethe.de/ins/us/los/ver/en13790645v.htm>  (Still
Life) 
1997, 58 min., color and b/w, German with English subtitles. Digital.

Ein Bild (An Image)
1983, 25 min., color, German with English subtitles, Digital.

Wednesday, February 11th 2015, 7:00 pm
Wie man sieht  <http://www.goethe.de/ins/us/los/ver/en13796040v.htm> (As You
See) 
1986, 72 min., color and b/w, German with English subtitles. Digital.

Wednesday, February 18th 2015, 7:00 pm
Bilder der Welt und Inschrift des Krieges
<http://www.goethe.de/ins/us/los/ver/en13808953v.htm>  (Images of the world
and the Inscription War)
1988, 75 min., color and b/w, German with English subtitles. Digital.

Wednesday, February 25th 2015, 7:00 pm
Arbeiter verlassen die Fabrik & Gefängnisbilder
<http://www.goethe.de/ins/us/los/ver/en13808999v.htm> (Workers Leaving The
Factory) 
1995, 36 min., color and b/w, German with English subtitles. Digital.

Gefängnisbilder (Prison Images)
2000, 60 min., color and b/w, German with English subtitles. Digital.

Wednesday, March 4th 2015, 7:00 pm
Schnittstelle <http://www.goethe.de/ins/us/los/ver/en13808975v.htm>
(Section/Interface)
1995, 23 min., color and b/w, German with English subtitles. Digital.

Zum Vergleich (In Comparison)
2009, 61 min., color, no dialogue with English intertitles. Digital.

---------------
This program is supported by the Los Angeles County Board of Supervisors
through the Los Angeles County Arts Commission; the Department of Cultural
Affairs, City of Los Angeles; and the Mike Kelley Foundation for the Arts.
Additional support generously provided by American Cinematheque. We also
depend on our members, ticket buyers, and individual donors.

Los Angeles Filmforum is the city's longest-running organization screening
experimental and avant-garde film and video art, documentaries, and
experimental animation.  2015 is our 40th year!

The Goethe-Institut is the cultural institute of the Federal Republic of
Germany with a global reach. We promote knowledge of the German language
abroad and foster international cultural cooperation. The Goethe-Institut
Los Angeles operates on a partnership basis.

For individual projects, as for longer-term joint ventures, we connect with
stakeholders in the cultural scene  institutions, organizations, companies,
people in and from Southern California and Arizona, Germany, and other
countries (in particular our European neighbors).
Often a project involves several partners working together. The
Goethe-Institut organizes its programs proactively, on a long-term,
sustainable basis. http://www.goethe.de/ins/us/los/enindex.htm

Coming Soon to Los Angeles Filmforum:
Sun Jan 18  Bella Vista, by Vera Brunner-Sung
Wed Jan 21  Wie man sieht (As You See), In memory of filmmaker Harun
Farocki, Screening 2
Thurs Jan 22  Mush! To the Movies, Polar Film Series at the Velaslavasay
Panorama, Screening 1
Sun Jan 25  Forest of Bliss: A Tribute to Robert Gardner
Wed Jan 28 - Wie man sieht (As You See), In memory of filmmaker Harun
Farocki, Screening 3
Sun Feb 1 - Joe Gibbons: Confessions of a Sociopath

Memberships available, $70 single, $115 dual, or $50 single student
Contact us at lafilmforum at yahoo.com.
Find us online at http://lafilmforum.org.
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