HaFI 004: Gerhard Benedikt Friedl: An Approach by Helmut Färber

Helmut Färber, born in 1937, has been dedicating his life to film since the late 1950s: as a film critic (Filmkritik, Süddeutsche Zeitung, Trafic), teacher (HFF München and dffb Berlin), film historian and publisher of unique books (on Mizoguchi, Griffith, Renoir, amongst others), as well as occasional author and director of TV programs (for Westdeutscher Rundfunk/WDR). The impression he left on generations of filmmakers and artists, writers and thinkers is seldom acknowledged but can hardly be overestimated.

In “An Approach by Helmut Färber,” an unpublished text written in 2007, documentary filmmaker Gerhard Friedl (Knittelfeld. A Town without a History, Wolff von Amerongen. Did He Commit Bankruptcy Offences?) describes his experience of Färber’s courses at film school – a method of scrupulous, close analysis at the editing table that also played a crucial role in Harun Farocki’s teaching. Farocki got to know Färber in the 1970s and remained deeply indebted to his thoughts and methods throughout his career.

HaFI 004, translated by Ted Fendt, is published at the occasion of Helmut Färber’s 80th birthday and at a moment when Gerhard Friedl, who died in 2009, would have turned 50.

Available at Motto Books for 4 Euro here.

The PDF is also available here.

May 10th, 2017, Projects / Publication
Interface

On the occasion of the film festival “Reconstructing Realities,” the Broadway Cinematheque in Hong Kong will show the film “How to live in FRG” (1990) from Harun Farocki.
The screening will take place on Saturday, July 11, 2:30 pm (local time) at the Goethe Institut Hong Kong.

Reconstructing Realities – A Film Programme to Celebrate the 50th Anniversary of the Berlinale Forum

The screening will be followed with a talk with Doreen Mende from the Harun Farocki Institut.
The talk will be public via Zoom. A link will follow shortly.

https://www.goethe.de/ins/cn/de/sta/hon/ver.cfm?fuseaction=events.detail&event_id=21884136&

July 8th, 2020, HaFI

Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies:  “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”

July 7th, 2020, Tom

Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”

June 28th, 2020, Tom
moreless news