Based on one of the Lumière brothers’ historic first films, Harun Farocki has created a montage of scenes from 100 years of film history, all variations on the theme of “workers leaving the factory”. Farocki uses the pictures to reflect on the iconography and economy of a workers’ society, as well as that of cinema itself, which tends to acquire its audience at the gates of the factory and hijack them into the private sphere.

Cinématon est une série cinématographique de portraits filmés montrant une personnalité des arts, de la culture ou du spectacle, en un seul gros plan fixe et muet de 3 minutes et demie, dans lesquels elle est libre de faire ce qu'elle veut.

An austere treatise on the military-industrial complex that produces napalm.

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.

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, its symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

Essay film about Franz Kafka's novel "Amerika".

Interdisciplinary studies put into practice is a plane on which HaF's interests and mine coincide. Ideas of fictional research projects in films emerge very early on, or of film as research device, allowing people from different disciplines to come together and discover something, to pursue a line of thought, or just be adventurous. These ideas correspond to a tendency we both have of accumulating knowledge from different sciences, for example so as to bring exact sciences like medicine together with subjects which aren't directly aimed at application, such as religious studies or anthropology.

Documentary by Helke Sander, in collaboration with Harun Farocki (among others), about the campaign of the West German New Left against the publishing house Springer, particularly its control and manipulation of the news.

This Harun Farocki film shows the creation of a picture on which the artist worked for nine weeks. Sarah Schumann lives in Berlin and is a pioneer of the feminist scene. 1977 together with several other artists she organized the first large exhibition in which only work by women was shown. Sarah Schumann paints figuratively, that is to say she has developed a technique using layers of collage and painting worked on top of and into one another. Regarding a picture becomes an adventure. (harunfarocki.de)