Knokke, Belgium. A small mundane coastal town, home to the beau-monde. To compete with Venice and Cannes, the posh casino hosts the second ‘World Festival of Film and the Arts’ in 1949, organised in part by the Royal Cinematheque of Belgium. To celebrate cinema’s 50 year existence, they put together a side program showcasing the medium in all its shapes and forms: surrealist film, absolute film, dadaist films, abstract film,… The side program would soon become a festival in its own right: ‘EXPRMNTL’, dedicated to experimental cinema, and would become a mythical gathering of the avant-garde…
At the end of the 1960s the post-war generation began to revolt against their parents. This was a generation disillusioned by anti-communist capitalism and a state apparatus in which they believed they saw fascist tendencies. This generation included journalist Ulrike Meinhof, lawyer Horst Mahler, filmmaker Holger Meins as well as students Gudrun Ensslin and Andreas Baader.
An homage to Harun Farocki, who left us too soon. I hope this memory of a wonderful summer night in Berlin testifies to his openness and generosity.
Only the chosen few know this woman who started working as a secretary for the German Film and Television Academy (DFFB) on 13 February, 1966. The path of Helen’s career is paved with famous names – including that of Wolfgang Petersen, Holger Meins (who later became a member of the Red Army Faction) as well as directors Wolfgang Becker, Detlev Buck and Christian Petzold. All have fond memories of forgetting their troubles after having poured their hearts out over a cup of coffee in Helene’s office – for Helene was both friend and advisor to countless film students.
Twenty-five years after the death of Holger Meins, filmmaker and former student friend of the deceased, Gerd Conradt takes an in-depth look at the helmsman of the Baader-Meinhof gang. Who was Holger Meins? What led him into the underground? What circumstances resulted in his death, a death which made him the declared symbol of the radical opposition in Germany? What remains of his legacy?
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.
The revolution is as good as over, but the captain wants to send his crew into one last battle. Before this can happen, however, he is murdered. The crew is finally free. Meanwhile, the revolutionary Snow White has hidden on the ship, but she is discovered.
Portrait of Georg Glaser, who is a writer in the mornings and a blacksmith in the afternoons.
Harun Farocki was a German filmmaker, author, and lecturer in film. He made over 90 films, the vast majority of them short experimental documentaries.
By browsing this website, you accept our cookies policy.