Résumés
Abstract
Harun Farocki’s last completed installation film, Parallel I-IV, opens with a collection of video game landscapes grouped together by elements of earth, fire, water, and air, engaging a non-vococentric film essay style to reflect upon material transformations that occur through digital images. Farocki develops a unique curatorial approach to express both the power and the limits of digital image construction and the creative process, and emphasizes sharp historical perspectives. By challenging the dyad of realism and simulation and their associated narrative conventions, whether through film, video games, or art exhibits, Farocki’s brand of essay film provides critical insights into the affective and sociotechnical dimensions of the imaged world.
Résumé
Le dernier film d'installation achevé de Harun Farocki, Parallel I-IV, s'ouvre sur une collection de paysages de jeux vidéo regroupés par des éléments de la terre, du feu, de l'eau et de l'air, engageant un style d'essai cinématographique non vocalocentrique pour réfléchir sur les transformations matérielles qui se produisent à travers images numériques. Farocki développe une approche curatoriale unique pour exprimer à la fois la puissance et les limites de la construction d'images numériques et du processus créatif ; et met l'accent sur des perspectives historiques pointues. En défiant la dyade du réalisme et de la simulation et leurs conventions narratives associées, que ce soit par le biais de films, de jeux vidéo ou d'expositions d'art, la marque de films d'essai de Farocki fournit des aperçus critiques des dimensions affectives et sociotechniques du monde imagé.
Parties annexes
Bibliography
- “2014 LOOP Panels | Harun Farocki in conversation with Mark Nash,” YouTube, 2014.
- Alter, Nora. “The Political Im/perceptible: Farocki’s Images of the World and the Inscription of War.” Harun Farocki. Working on the SightLines, edited by Thomas Elsaesser, Amsterdam University Press, 2004, pp. 211-236.
- And Europe Will Be Stunned. Directed by Yael Bartana, 2011.
- Balsom, Erika. “Moving Bodies: Captured Life in the Late Works of Harun Farocki.” Journal of Visual Culture, vol. 18, no. 3, 2019, pp. 358-377.
- Bazin, André, and Hugh Gray. “The Ontology of the Photographic Image.” Film Quarterly, vol. 13, no. 4, Summer 1960, pp. 4-9.
- Baudry, Jean-Louis, and Alan Williams. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly, vol. 28, no. 2, Winter 1974-1975, pp. 39-47.
- Chun, Wendy. Programmable Visions: Software and Memory. The MIT Press, 2011.
- Corrigan, Timothy. “Essayism and Contemporary Film Narrative.” The Essay Film: Dialogue, Politics, Utopia, edited by Elizabeth A. Papazian and Caroline Eades, Wallflower Press, 2016, pp. 15-28.
- Cowan, Michael. “Rethinking the City Symphony after the Age of Industry: Harun Farocki and the ‘City Film.’” Intermédialités, 2008, pp. 69-86.
- Denson, Shane. Discorrelated Images. Duke University Press, 2020.
- Elsaesser, Thomas. “Media Archaeology as Symptom.” Universitat Oberta de Catalunya, YouTube, 2018.
- Elsaesser, Thomas. Film History as Media Archaeology: Tracking Digital Cinema. Amsterdam University Press, 2016.
- Elsaesser, Thomas. “Harun Farocki: Filmmaker, Artist, Media Theorist.” Harun Farocki. Working on the SightLines, edited by Thomas Elsaesser, Amsterdam University Press, 2004, pp. 11-42.
- Ernst, Wolfgang. Digital Memory and the Archive, edited by Jussi Parrika, University of Minnesota Press, 2012.
- Ernst, Wolfgang. “The Archive as Metaphor: From Archival Space to Archival Time.” Open, no. 7, 2004, pp. 46-52.
- Farocki, Harun, and Thomas Elsaesser. “Making the World Superfluous: An Interview with Harun Farocki.” Harun Farocki. Working on the SightLines, edited by Thomas Elsaesser, Amsterdam University Press, 2004.
- Farocki, Harun. Parallel-IV. Harun Farocki Institut. 2012-2014.
- Farocki, Harun. Serious Games I-IV. Harun Farocki Institut. 2009-2010.
- Farocki, Harun. Workers Leaving the Factory. Harun Farocki Institut. 1995.
- Farocki, Harun, and Kaja Silverman. Speaking About Godard. NYU Press, 1998.
- Foucault, Michel. The Archaeology of Knowledge. Translated by A. M. Sheridan Smith, Routledge, 2002.
- Galloway, Alexander R. The Interface Effect. Polity, 2012.
- Seed, Image, Ground. Directed by Abelardo Gil-Fournier and Jussi Parrika. 2020
- Gil-Fournier, Abelardo, and Jussi Parrika. “Ground Truth to Fake Geographies: Machine Vision and Learning in Visual Practices.” AI & Society, 2020b.
- Gustafsson, Henrik. “Archaeologists of the Off-Screen: Harun Farocki and Trevor Paglen.” Invisibility in Visual and Material Culture, edited by Asbjørn Grønstaf and Øyvind Vågnes, Palgrave Macmillan, 2019, pp. 17-47.
- Harvey, David Oscar. “The Limits of Vococentrism: Chris Marker, Hans Richter and the Essay.”
- SubStance, vol. 41, no. 2, 2012, pp. 6-23.
- Huhtamo, Erkki, and Jussi Parrika. Media Archaeology: Approaches, Applications, and Implications. University of California Press, 2011.
- Manovich, Lev. The Language of New Media. The MIT Press, 2001.
- Mattern, Shannon. Code and Clay, Data and Dirt: Five Thousand Years of Urban Media. University of Minnesota Press, 2017.
- Montaigne, Michel de. The Essays of Montaigne. Translated by Charles Cotton, edited by William Carew Hazlitt, Project Gutenberg, 2006.
- Mosse, Richard. The Enclave. Jack Shainman Gallery, 2012.
- Murray, Soraya. “Horizons Already Here: Video Games and Landscape.” Art Journal, vol. 79, no. 2, 2020, pp. 42-49.
- Nichols, Bill. Introduction to Documentary, 3rd Edition. Indiana University Press, 2017.
- Önen, Naz. “Essay Film as a Dialogical Form.” JOMEC Journal no. 13. SI: “Dialogue and Communication in Film,” 2019, pp. 93-103.
- Parrika, Jussi. Operational Images: From the Visual to the Invisual. University of Minnesota Press, 2023.
- Parrika, Jussi. A Geology of Media. University of Minnesota Press, 2015.
- Patenburg, Volker. “Working Images: Harun Farocki and the Operational Image.” Image Operations: Visual Media and Political Conflict, edited by Jans Elder and Charlotte Klonk, Manchester University Press, 2017, pp. 49-63.
- Peters, John Durham. The Marvelous Clouds: Toward a Philosophy of Elemental Media. The University of Chicago Press, 2015.
- Rascaroli, Laura. The Personal Camera: Subjective Cinema and the Essay Film. Wallflower Press, 2009.
- Richter, Hans. “The Film Essay: A New Type of Documentary Film (1940).” Essays on the Essay Film, edited by Nora M. Alter and Timothy Corrigan, Columbia University Press, 2017, pp. 89-93.
- Russell, Catherine. Archiveology: Walter Benjamin and Archival Film Practices. Duke University Press, 2018.
- Sanchez, David Montero. “Commenting on Images With Images: Dialogic-Visual Critique in the Films of Harun Farocki.” L’Atalante 21, January-June 2016, pp. 191-202.
- Synenko, Joshua. “Settler Sublime: Reparation and Return in Yael Bartana’s Polish Trilogy.” PhiN, no. 13. 2017, pp. 220-244.
- Tomas, David. Vertov, Snow, Farocki: Machine Vision and the Posthuman. Bloomsbury, 2013.
- Verhoeff, Nanna. Mobile Screens: The Visual Regime of Navigation. Amsterdam University Press, 2012.
- Vilar, Gerard. “Does Artistic Research Produce Knowledge? A Five-Fold Distinction.” Estudis Escènics, no. 43, 2018, pp. 1-9.
- Warner, Rick. “Essaying the Forms of Popular Cinema: Godard, Farocki and the Principle of Shot/Countershot.” The Essay Film: Dialogue, Politics, Utopia, edited by Caroline Eades and Elizabeth Papazian, Wallflower, 2016, pp. 28-67.
- Warner, Rick. “The Cinematic Essay as Adaptive Process.” Adaptation, vol. 6, no. 1, 2012, pp. 1-24.