'Nicht löschbares Feuer' and 'Gefängnisbilder' this Thursday at the retrospective cycle of Harun Farocki

The films included in the the cycle ‘Convertirse en imagen’, co-organized with the Goethe-Institut and the Festival Internacional de Cine de Gijón, will be hold alternatively in Paraninfo de Ciudad de la Cultura

Published: May 06, 2015
'Nicht löschbares Feuer' and 'Gefängnisbilder' this Thursday  at the retrospective cycle of Harun Farocki

Still of Nicht löschbares Feuer

The Paraninfo de Laboral Ciudad de la Cultura will host tomorrow, starting at seven p.m., 'Nicht löschbares Feuer' and 'Gefängnisbilder' in a new season of the cycle Convertir(se) en imagen. Una retrospectiva el cineasta alemán Harun Farocki, organized by LABoral Centro de Arte, the Goethe Institut-Madrid and the Festival Internacional de Cine de Gijón.

The programe, that started las April, includes six sessions that go through the filmography of the German director since its inception in the sixties, to his last films. All of them will be screened until 18 June, at two sessions per month, in the Paraninfo de Laboral Ciudad de la Cultura and the hall of the Centro de Cultura Antiguo Instituto. This activity has the support of the Fundación Municipal de Cultura, Educación y Universidad Popular del Ayuntamiento de Gijón and LABoral Ciudad de la Cultura.

Recognized as one of the original members of the New German Cinema movement, the work of Harun Farocki (Czechoslovakia, 1944), it is composed of more than one hundred titles, always maintained a political reflection and questioned the influence of visual media in human thought. Essential in his first films in the style of the nouvelle vague, his filmography evolved gradually toward a "guerrilla theater" very committed. Farocki knew how to transport the criticism on images to a mutant place, similar, but different, from Godard films, which come together in essay form fiction and documentary.

Harun Farocki (Czechoslovakia, 1944 - Germany, 2014) studied at the Berliner Deutsche Film und Fernsehakademie (German Academy of Film and Television). Between 1974 and 1984 he edited the magazine Filmkritik of Munich. Later he was a visiting professor at the University of California, Berkeley, and the University of Florida in Gainesville. In 2004 he started to work as a visiting professor at the Akademie der Bildenden Kuenste (Academy of Fine Arts) in Vienna where between 2006 and 2011 he was a professor.

Since 1966 he has created over a hundred productions for television or cinema, including programs for children, documentaries, essay films and feature films. His work has been exhibited in retrospectives in the United States, Canada, Mexico, Argentina, Uruguay, Israel, India, Singapore, Indonesia and throughout Europe. Since 1996 he has exhibited in countless solo and group exhibitions in museums and galleries around the world, having garnered numerous awards.

PROGRAMME
07.05.2015
Fuego inextinguible, 1969 + Imágenes de prisión, 2000
Hour: 7 p.m.
Place: Paraninfo Ciudad de la Cultura
Duration of the Session: 105’

Nicht löschbares Feuer. 25’. B/W
The first film by Harun Farocki out of the film academy links the didactic and political propaganda with the aridity of the film genre. Farocki responds with an instructive exposure to dominant voyeurism in the reports of the Vietnam War: A exemplary reconstruction of the production of Napalm followed by a playful call to resistance.
Direction: Harun Farocki
Screenplay: Harun Farocki
Camera: Gerd Conradt
Editing: Harun Farocki
Sound: Ulrich Knaudt
Main Characters: Harun Farocki, Eckart Kammer, Hanspeter Krüger, Caroline Gremm, Gerd Volker Bussäus, Ingrid Oppermann

Gefängnisbilder. 60’. Colour and B/W.
How jail has been portrayed in 100 years of film history? What images produced jail itself in security cameras and videos of training for security personnel? Prison appears in the films of Farocki as an anthropological laboratory in which life and death are studied through the eyes of the camera.
Direction: Harun Farocki
Screenplay: Harun Farocki
Camera: C. Lee Crane, Ingo Kratisch
Editing: Max Reimann
Sound: Louis van Rooky


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