Headroom Screening Series proudly presents a two-day program to honor the late Harun Farocki. Farocki, a German filmmaker with over 90 films that pushed the boundaries of experimental documentary, remains an inspiration to innumerable artists, filmmakers, students and scholars.
We are enormously proud to present these works and offer an opportunity to create a forum for conversation. Thanks to the University of Iowa Libraries, Department of Cinematic Arts and the Digital Studio for Public Arts and Humanities for your support.
In honor of filmmaker Harun Farocki (1944 – 2014).
All screenings free and open to the public.
Location: 105 Adler Journalism Building, University of Iowa
Friday, February 13
Sauerbruch Hutton Architects, 73’, 2013
“Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb.” — Harun Farocki
Inextinguishable Fire, 1969, 22’
Resolutely, Farocki names names: the manufacturer is Dow Chemical, based in Midland, Michigan in the United States. Against backdrops suggesting the laboratories and offices of this corporation, the film proceeds to educate us with an austerity reminiscent of Jean Marie Straub.
His point of departure is the following: “When napalm is burning, it is too late to extinguish it. You have to fight napalm where it is produced: in the factories.” — Video Data Bank
Saturday, February 14 – Two screenings
2pm screening: An Image + Images of the World and Inscriptions of War
An Image, 1983, 25’
“Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. … This film, An Image, is part of a series I’ve been working on since 1979. The television station that commissioned it assumes in these cases that I’m making a film that is critical of its subject matter, and the owner or manager of the thing that’s being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both.” — Harun Farocki, Zelluloid, no. 27, Fall 1988
Images of the World and Inscriptions of War, 1988, 73’
“One must be just as wary of pictures as of words. There is no literature without linguistic criticism, without the author being critical of the existing language. It’s just the same with film. One need not look for new, as yet unseen images, but one must work with existing ones in such a way that they become new.” — Jörg Becker, TAZ, 1989
4pm screening: Eye/Machine I, II, III
Eye Machine I, II, III, 2001-2003, 65’
Harun Farocki utilizes a vast collection of image sequences from laboratories, archives and production facilities to explore modern weapons technology. This trilogy examines “intelligent” image processing techniques such as electronic surveillance, mapping and object recognition, in order to take a closer look at the relationship between man, machine, and modern warfare. — Video Data Bank
Programmed by Mike Gibisser, Jason Livingston and Jesse McLean.