Books in English

Cinematographic Objects.
Things and Operations

ed. Volker Pantenburg
Berlin: August 2015.

Film as Theory

trans. Michael Turnbull
Amsterdam: Amsterdam University Press 2015

(Publisher | Review)

Screen Dynamics
Mapping the Borders of Cinema

Vienna: Filmmuseum/Synema 2012 (co-edited with Gertrud Koch and Simon Rothöhler)

(Publisher | Contents)

Harun Farocki: Nachdruck / Imprint
Texte / Writings

Eds. Susanne Gaensheimer, Westfälischer Kunstverein, and Nikolaus Schafhausen, Frankfurter Kunstverein, Berlin: Vorwerk 8 2001. (Selection of texts, preface and editorial assistance)

Articles in English

Situations, Infrastructures, Temporalities. Emanuel Licha’s Hotel Machine, in: Emanuel Licha: Now Have A Look At This Machine, Montréal: Musée d’Art Contemporain 2017, S. 57-73.

Working Images. Harun Farocki and the Operational Image, in: Jens Eder / Charlotte Klonk (Hg.).: Image Operations. Visual Media and Political Conflict, Manchester: Manchester University Press 2017, pp. 49-62.

Studies in Blurring. Matthias Müller: While You Were Out, in: Camera Austria 136/2016, pp. 33-40.

The Third Avantgarde. Laura Mulvey, Peter Wollen, and the Theory-Film, in: Beyond the Scorched Earth of Counter-Cinema. The Films of Laura Mulvey and Peter Wollen, ed. by Oliver Fuke, New York: texte und töne 2016, pp. 32-41.

Producing Building Blocks. The Working Paper »What Ought to Be Done«, in: Harun Farocki: What Ought to Be Done, Berlin: Harun Farocki Institut 2016, pp. 9-18. (with Tom Holert and Doreen Mende)

Videographic Film Studies and the Analysis of Camera Movement, in: NECSUS. European Journal of Media Studies, Spring 2016 (link)

‘Now that’s Brecht at last!’ Harun Farocki’s Observational Films, in: Erika Balsom / Hila Peleg (Hg.): Documentary across Disciplines, Berlin/Cambridge, MA: MIT Press/Haus der Kulturen der Welt 2016, pp. 142-162.

The Cinematographic State of Things, in: Cinematographic Objects. Things and Operations, ed. Volker Pantenburg, Berlin: August 2015, pp. 9-21.

Preface to the English Edition, in: Farocki/Godard. Film as Theory, trans. Michael Turnbull, Amsterdam: Amsterdam UP 2015, pp. 7-13. (pdf)

Remains to be seen (and heard). Explorations of History in Maya Schweizer’s work, in: Maya Schweizer: Lieux de Mémoire and Desire, Berlin: Archive Books 2015, n. pag.

Between Expansion and Contraction. Transatlantic Discontents of Expanded Cinema, in: Cinéma Exposé / Exhibited Cinema, hg. von François Bovier / Adeena Mey, Lausanne, Dijon, ECAL, Les presses du réel 2015, pp. 107-121.

Migrational Aesthetics. On Experience in Cinema and the Museum, in: MIRAJ, Moving Image Review & Art Journal, Volume 3, Number 1, pp. 27-37.

Attention, please. Negotiating Concentration and Distraction around 1970, in: Aniki. Portuguese Journal of the Moving Image, Issue 2 (2014). (link)

Temporal Economy. Distraction and Attention in Experimental Cinema and Contemporary Art, in: Millenium Film Journal 59 (Spring 2014), pp. 44-51.

The Business Year 1978, in: Living Archive. Archivarbeit als künstlerische und kuratorische Praxis der Gegenwart, Berlin: b_books 2013 (mit Michael Baute und Stefan Pethke), S. 82-95. (PDF of the English version)

Such Strong Shadows. Hannes Böck's »Fünf Skulpturen«, in: Hannes Böck, ed. by Secession/Wien, Berlin: Revolver 2013, pp. 19-25.

Panoramique. Panning over Landscapes, in: Christophe Girot / Fred Truniger (Hg.): Landscape, Vision, Motion, Berlin: jovis 2012, pp. 121-137.

Between Loudspeaker and Flag. Yael Bartana: From Documentation to Conjuration, in: afterall 30 (summer 2012), pp. 48-61.

(Not Quite) The End, in: Sonja Gangl: Captured, ed. by Rolf Sachsse, Berlin: Revolver 2012, pp. 56-57.

Which Story? Yvonne Rainer’s Filmic Research of the Narrative, in: Yvonne Rainer. Raum, Körper, Sprache, hg. von Yilmaz Dziewior und Barbara Engelbach, Köln: Walther König 2012, pp. 219-231.

1970 and Beyond. Experimental Cinema and Installation Art, in: Gertrud Koch / Volker Pantenburg / Simon Rothöhler (eds.): Screen Dynamics. Mapping the Borders of Cinema, Wien: Synema/Filmmuseum 2012, pp. 78-92.

Medium Promiscuity. Notes on Gerard Byrne’s Film and Video Works, in: Gerard Byrne. Images or Shadows, ed. by Pablo Lafuente, Dublin: IMMA 2011, pp. 157-166.

Cogito ergo video. Jean-Luc Godard's Media History of Cinema, in: That's the way we do it. Techniques and Aesthetics of Appropriation from Ei Arakawa to Andy Warhol, ed. by Yilmaz Dziewior, Köln: Walther König 2011, pp. 121-125.

Eye/Machine I-III, in: Harun Farocki. Weiche Montagen/Soft Montages, ed. by Yilmaz Dziewior, Köln: Walther König 2011, S. 51-61.

Money, Landscape, Poetry, in: Film Mutations. Festival for Invisible Cinema 04, ed. by Tanja Vrvilo, Zagreb 2010, S. 53-56.

The »Berlin School«. A Collage (updated version), in: Senses of Cinema 55 (summer 2010), [co-author] (link)

Realism, not Reality. Pedro Costa’s Digital Testimonies, in: afterall 24, summer 2010, pp. 53-61.

Whatever Happens to Someone, Happens to Everyone. Film Mutations: Third Festival of Invisible Cinema, in: Senses of Cinema 54/2010 (link)

»Clinch« by John Cook, in: Forum des Internationalen Films 2009, Berlin: Berlinale 2009.

Manual. Harun Farocki's Instructional Work, in: Harun Farocki: Against What? Against Whom?, ed. by Antje Ehmann and Kodwo Eshun, London: Koenig Books 2009, pp. 93-100.

Post-Cinema? Movies, Museums, Mutations, in: SITE 24/2008, pp. 4-5. (Text as PDF-file)

Cinema’s Past in the Museum’s Present. Harun Farockis installation works, in: Harun Farocki: One Image doesn’t take the Place of the Previous One, ed. by Michèle Thériault, Montréal: Leonard & Bina Ellen Art Gallery / Agnes Etherington Art Centre 2008, pp. 49-67.

Off Location / On Location, in: Andreas Hirsch: China Triplet, Köln 2008, pp. 59-60. [Translation: Allison Plath-Moseley] (link)

Filmmaking in West-Germany, 1968, Dossier »1968«, Goethe-Institut Online,, Februar 2008; [Translation: Heather Moss] (link)

About AND With Ursula Döbereiner and Elsewhere, in: Ursula Döbereiner: frauen/hier/musik/paranoia/poster/spaces/UND/zuhause, Berlin: Maas Media 2008, pp. 47-49. [Translation: Allison Plath-Moseley] (PDF file)

Encyclopedia Americana. James Benning: Times, Places, Perceptions, in: Barbara Pichler/Claudia Slanar (eds.): James Benning, Wien: Synema/Filmmuseum 2007, pp. 181-192. [Translation: Eve Heller]

The »Berlin School«. A Collage, in: A German Cinema. Indie Lisboa 2007:4th International Independent Film Festival, ed. by Olaf Möller und Nuno Sena, pp. 12-21. [Translation: Catherine Davies]

Connect, Cut, in: Harun Farocki / Antje Ehmann (eds.): Cinema like never before, Köln: Walther König 2006.

We only dream of places. Matthias Müller’s Spaces, in: Stefanie Schulte Strathaus (ed.): The Memo Book. Filme, Videos, Installationen von Matthias Müller, Berlin: Vorwerk 8 2005, pp. 140-167. [Translation: Allison Plath-Moseley]

Architecture as an ›illustrating process‹, in: Werk 04. Bildhauersymposion Heidenheim 2004, ed. by Bildhauersymposion Heidenheim e.V., Heidenheim: Verlag des Kunstmuseums 2004, pp. 23-30. [Translation: John Mace]

Visibilities. Harun Farocki between Image and Text, in: Harun Farocki: Nachdruck / Imprint. Texte / Writings, ed. Susanne Gaensheimer, Westfälischer Kunstverein, and Nikolaus Schafhausen, Frankfurter Kunstverein, Berlin: Vorwerk 8, 2001, pp. 12-40. [Translation: Allison Plath-Moseley]


Situations, infrastructures, temporalités, in: Emanuel Licha: Et maintenant regardez cette machine, Montréal: Musée d’Art Contemporain 2017, S. 43-56.

La déviation comme norme. Quelques limites au concept »d’essai filmique«, in: Jeux se?rieux. Cine?ma et art contemporains transforment l’essai, hg. von Bertrand Bacqué, Cyril Neyrat, Clara Schulmann und Véronique Terrier Herrmann, Genf: mamco/HEAD 2015, S. 75-92.

Le passé du cinema dans le présent du musée. L’Œuvre installatif d’Harun Farocki, in: Michèle Thériault (ed.): Harun Farocki: One Image doesn’t take the Place of the Previous One, Montréal: Leonard & Bina Ellen Art Gallery / Agnes Etherington Art Centre 2008, S. 69-83. [Traduit par Lucie Chevalier]

Visibilités. Harun Farocki entre image et texte, in: Clare Manchester (ed.): 10e Biennale de l’Image en Mouvement / 10th Biennial of Moving Images, du 7 au 15 novembre 2003, Centre pour l'image contemporaine Saint-Gervais Genève, Genf 2003, S. 15-18. [Traduit par Solange Schnall]


Lo que Farocki enseña, in: Cahiers du Cinéma (Spain), April 2010, pp. XXII-XXIII.

Visibilidades. Harun Farocki, Entre Imagen y Texto, Goethe-Institut Buenos Aires, Rubrik »Seminarios online« [spanish Translation by Inge Stache]. (texto en PDF)


Sobre o passado do cinema no presente da arte. Instalações de Harun Farocki, in: Harun Farocki. Por uma Politização do Olhar, hg. von Maria Dora G. Mourão, Cristian Borges, Patrícia Mourão, São Paulo: Cinemateca Brasileira, 2010, S. 162-187.(texto en PDF)

A »Escola de Berlim«. Uma Colagem, in : A German Cinema. Indie Lisboa 2007: 4th International Independent Film Festival, hg. von Olaf Möller und Nuno Sena, S. 12-21. [portuguese Translation]


Novak, Krajolik, Poezija, in: Film Mutations. Festival for Invisible Cinema 04, hg. von Tanja Vrvilo, Zagreb 2010, S. 50-52. (translated into Croatian by Marina Miladinow).

Rez - Meduigra u sobi za montazu, Croatian Translation of a Book Chapter from »Film als Theorie«, in: filmske mutacije: treci festival nevidljivog filma, 12-18/12/09, Zagreb 2009, S. 121-135. (PDF file)


»’Look at the Way He Rides With his Legs Stretched Up!’ Lavorare con fotogrammi, lavora-re con inquadrature, lavorare con sequenze«, in: Critofilm. Cinema che pensa il Cinema, hg. von Adriano Aprà, Pesaro: Nuovo Cinema 2017, S. 294-332.

„Ecco Brecht, finalmente!“ I film d’osservazione di Harun Farocki, in: Luisella Farinotti, Bar-bara Grespi, Federica Villa (Hg.): Harun Farocki. Pensare con gli occhi, Mailand: Mimesis 2017, S. 213–230.

Other languages

Film als Theorie. Harun Farocki im Schneideraum, Corean Translation of a Book Chapter from »Film als Theorie«, in: Harun Farocki [Publikation des JIFF Filmfestival, Korea 2007].