Using one of the Lumière Brothers' first films of workers leaving the Factory as his starting point, Farocki provides an insight to changes in industrial production, workers' strikes and motion pictures-- via images of workers leaving factories throughout the years.
工人离开工厂
Germany
Germany
All of that is to begin to tell you what I think the cinema really does well, what it has as its ultimate function, and in the first place that isn't artistic or aesthetic. For me, the primary function of cinema is to make us feel that something isn't right. There is no difference between documentary and fiction here. The cinema, the first time it was seen and filmed, was for showing something that wasn't right. The first film showed a factory, the people who were leaving the factory. It's similar to photography, which is also something quite close to our world. It's like when we take a photo in order to have proof of something that we see, which…
1st Harun Farocki
A really fascinating and rich piece of work, conveying a detailed historico-political argument in only twenty minutes. Farocki is careful with his choice of footage, often deliberately repeating the same shot to bring out extra layers in his argument, constantly asking us to look again and re-evaluate what a shot could mean. By doing so, he excavates a history of the working poor, transient individuals caught between the jailhouse and the workhouse; two places that Farocki suggests are more often than not exactly the same. It never browbeats the audience with this line of thought, instead choosing to lay the cards on the table in a quietly logical manner. The Lumière short from which it takes its…
Förra gången jag såg den här var jag så jävla sur på filmvetenskapen. Man måste se sånt här på egen hand annars känns det bara som tortyr. Jag skulle ha läst Romeo och Julia tills idag för skolan men fuck det.
Igår var jag på Xiu Xius konsert i slaktkyrkan, med David, riktigt najs. Mycket bättre live än inspelat. Fick så jävla ont i ländryggen, kände mig som en riktig gubbe.
Farocki's academics are not dissimilar to James Joyce's, at the very least in the generic reception to their work: "difficult!," "dry," "boring" are terms thrown around without weight or consideration and yet both Farocki and Joyce play with humor in almost unparalleled fashion. O, form of my form?
I am really taken with these later works of Farocki's. His genuinely radical idea that human history as a collectively graspable concept only really began with the invention of film leads him down some fascinating film-analytical rabbit holes; and when it's paired, as it is here, with sly Marxist social critique, it becomes all the more engrossing. Work under capitalism is a prison we can't wait to escape at the end of the day, but the longer history – and cinema – march on, the less inclined we are to resist.
" The American film has transferred the fight for bread and better pay from the factory to the bank lobbies. Although Westerns also frequently deal with social struggles, like those between farmers and ranchers, these are seldom fought in the pastures or fields, and more often in the village streets or in the saloon. But even in the real world, social conflict seldom takes place in front of a factory. When the Nazis crushed the labour movement in Germany, they did so in apartments and neighbourhoods, in prisons and camps, but hardly ever in or in front of factories. Although many of the worst acts of violence this century – civil wars, world wars, re-education and extermination camps – have…
Gå inte på filmvetenskap om du vill fortsätta gilla filmer
Farocki takes the tendency in film scholarship to look for the seed of all cinema in famous early films as a kind of imaginative challenge.
Why do the workers seem to be running from something? Why do we never see what goes on inside the factory?
Among Farocki's many virtues, his sense of humor is largely underrated: here, his carefully timed editing and faux-naïve descriptions turn a century of film (and labor) history into a kind of extended slapstick routine, albeit a slapstick routine whose flipside is a parade of human horrors.
o bixo é bravo d+
i don’t have much to say about this, yet i love how scale is depicted in film especially in a large scale setting such as a factory or work force setting
