Books in English


Cinematographic Objects.
Things and Operations

ed. Volker Pantenburg
Berlin: August 2015.


Farocki/Godard
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

Lights, Camera, Animation. Herwig Weiser‘s Motion Picture Studies, in: Weiser, hg. von Marcel René Marburger, Köln: edition_ 2018, S. 296-305. (übersetzt von Sonja Engelhardt)

The Cinema of the Emigrants. Günter Peter Straschek‘s Filmemigration aus Nazideutschland (1975), in: in: Günter Peter Straschek. Emigration – Film – Politik, hg. von Julia Friedrich, Köln: Walther König 2018, S. 188-191.

Towards an Alternative History of the Video Essay: Westdeutscher Rundfunk (WDR), Co-logne, Sektion „Audiovisual Essays“, NECsus Autumn 2017

TELEKRITIK: Über Song of Ceylon (dir. Harun Farocki), Sektion „Audiovisual Essays“, NECsus Autumn 2017

TELEKRITIK: Über zwei Filme von Peter Nestler (dir. Rainer Gansera), Sektion „Audiovisual Essays“, NECsus Autumn 2017

Fritz Lang (dir. Werner Dütsch), Sektion „Audiovisual Essays“, NECsus Autumn 2017

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, www.goethe.de, 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]




French

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]




Spanish

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)




Portuguese

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]




Croatian

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)




Italian

»’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].