Recomposing media: Harun Farocki's visual thinking
Using a diversity of materials, German filmmaker Harun Farocki made a series of vigorous investigations about technical images and their effects on human life. We can place his thoughts among leading 20th-century media and technique philosophers such as Friedrich Kittler and Jonathan Crary, and cont...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Intexto (Porto Alegre) |
| Idioma: | portugués |
| OAI Identifier: | oai:seer.ufrgs.br:article/93140 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/intexto/article/view/93140 |
| Access Level: | acceso abierto |
| Palabra clave: | Farocki. Montagem. Mídias. Cinema. Técnica. Farocki. Montage. Media. Cinema. Technics. |
| Sumario: | Using a diversity of materials, German filmmaker Harun Farocki made a series of vigorous investigations about technical images and their effects on human life. We can place his thoughts among leading 20th-century media and technique philosophers such as Friedrich Kittler and Jonathan Crary, and control technologies philosophers such as Michel Foucault. Focusing on the normative effects and intersections of media technologies, the artist creates unique films in which specific cultural elements or contexts connect through montage to the wider circuits that surround them. In fact, such a process of cinematic thinking allows him to continually compose and recompose images and the media in order to achieve a broader understanding of their mechanisms. This article analyzes the films Workers exiting the factory (1995) and Videograms of a revolution (1992) in order to understand better Farocki’s visual thinking. |
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