HaFI 004: Gerhard Benedikt Friedl: Ein Herangehen von Helmut Färber

Helmut Färber, 1937 geboren, arbeitet seit den späten 1950er Jahren in vielfältiger Weise zum Film: als Filmkritiker (u.a. Filmkritik, Süddeutsche Zeitung, Trafic), Lehrer (HFF München, dffb Berlin), Filmhistoriker und Produzent einzigartiger Bücher (zu Mizoguchi, Griffith, Renoir u.a.) sowie gelegentlicher Autor von Fernsehsendungen (für den Westdeutschen Rundfunk).Der Eindruck, den er auf Generationen von Filmemachern und Künstlerinnen, Schriftstellern und Denkerinnen gemacht hat, wird selten erwähnt, aber kann kaum überschätzt werden.

In „Ein Herangehen von Helmut Färber“, einem 2007 verfassten und unveröffentlicht gebliebenen Text, beschreibt der Dokumentarfilmer Gerhard Friedl (Knittelfeld. Stadt ohne Geschichte, Hat Wolff von Amerongen Konkursdelikte begangen?) die Methode von Färbers Filmseminaren – eine bedachte, detaillierte Analyse am Schneidetisch, die auch für Harun Farockis Lehre eine wichtige Rolle spielte. Farocki hatte Färber in den 1970er Jahren kennengelernt und fühlte sich seinem Denken Zeit seines Lebens verbunden.

HaFI 004 erscheint aus Anlass von Helmut Färbers 80. Geburtstag und zu einem Zeitpunkt, an dem Gerhard Friedl, der 2009 starb, 50 Jahre alt geworden wäre.

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Das PDF ist auch hier verfügbar.

10.05.2017, Projekte / Publikation
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David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): „We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?“

07.09.2020, Tom

T.J. Demos on why cultural practitioners should never surrender, via tranzit.sk:  „For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.“

21.08.2020, Tom

Bernard Stiegler, quoted from The Neganthropocene (trans. Daniel Ross): „Does anyone really believe that it is possible to ‘solve’ the problems of climate change, habitat destruction and cultural destruction without addressing the consumerist basis of the present macro-economic system, or vice versa, or without addressing the way in which this system depletes the psychic energy required to find the collective will, belief, hope and reason to address this planetary challenge? Can this consumerism really survive the coming wave of automation that threatens to decimate its customer base and undermine the ‘consumer confidence’ that is fundamental to its perpetual growth requirements, themselves antithetical, once again, to the problems of biospherical preservation?“

14.08.2020, Tom
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