Sieć festiwali filmowych

Publikacja została sfinansowana ze środków Narodowego Programu Rozwoju Humanistyki w ramach projektu nr 12H 11 0004 8

Sauts temporels et dé-placements : Le souvenir du travail dans les machines de vision de Farocki

Cet essai soutient que les films de Harun Farocki ont toujours oscillé entre les contraintes institutionnelles, d’une part, et les failles du cinéma indépendant (financé par l’État et la télévision) et des galeries d’art (commanditées), d’autre part. Cela dit, l’autorité morale et la crédibilité esthétique de ses films et de ses installations découlent d’une « critique » à double tranchant : ses oeuvres sont critiques parce que leur portée réflexive atteint même le réalisateur, et que la boucle de rétroaction (feedback) engage également l’artiste. Quiconque explore son travail/art découvre que Farocki est vraisemblablement l’un des rares réalisateurs contemporains à pouvoir contrecarrer le monde comme oeil machinique, en redonnant à l’oeil et la main, par moment, une puissance d’implication de soi et de solidarité. Conséquemment, toute l’actualité et l’urgence de l’oeuvre de Farocki tiennent dans un effort pour sauvegarder le cinéma de sa propre dialectique de mémoire et d’oubli, d’une évocation nostalgique d’une plénitude perdue et d’une auto-réflexivité moderne, en réinventant le « travail » comme « art », et l’« art » comme « travail ».The essay argues that Harun Farocki’s films have always been poised between the institutional constraints and aesthetic faultlines of (state and television-funded) independent cinema and (commissioned) gallery art. But his films’ and installations’ moral authority and aesthetic credibility come from the fact that their “critique” cuts both ways: they are critical in the sense that their gestures of reflexivity are directed also at the director himself, and that the feedback loops implicate the artist as well. As one walks through his art/works, one realizes that he may be one of the few filmmakers today capable of countering the self-surveillance of the world as machine eye, with moments that re-instate the eye and the hand as instances of self-implication and solidarity. The true topicality and urgency of Farocki’s work may thus be nothing less than an effort to rescue the cinema from its own dialectic of memory and forgetting, of nostalgic evocation of a lost plenitude and modernist self-reflexivity, by reinventing “work” as “art”, and “art” as “work”

General introduction media archaeology : Foucault’s legacy

Diffusé avec l’accord des Éditions Amsterdam University Press, détentrices des droits d’auteur sur ce texte

European cinema: face to face with Hollywood

In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of "world cinema" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition

Between knowing and believing : the cinematic dispositive after cinema

Diffusé avec l’accord des Éditions Amsterdam University Press, détentrices des droits d’auteur sur ce texte

Media archaeology as the poetics of obsolescence

Diffusé avec l'accord de Forum, détenteur des droits d'auteur sur ce texte

Media archaeology as the poetics of obsolescence

Diffusé avec l'accord de Forum, détenteur des droits d'auteur sur ce texte

Fassbinder's Germany: history, identity, subject

Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism

Fassbinder's Germany

Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism