Harun Farocki: Working on the Sight Lines
Thomas Elsaesser, Harun Farocki: Working on the Sightlines (Amsterdam University Press, 2004) 379 pp.
Anyone interested in how the technological, and now the electronic media have transformed civil society, could find no better chronicler of their histories, no more intelligent observer of their unexpected connections, no more incisive critic and yet interested party to the media’s epoch-making significance than the German filmmaker, installation artist and media theorist Harun Farocki. As a filmmaker, Farocki not only adds images to their stock in the world; he comments on the world made by these images, and he does so with and through images.
Thomas Elsaesser, European Cinema: Face to Face with Hollywood (Amsterdam: Amsterdam University Press, 2005) 566 pp.
In most countries of Western Europe, and especially in Britain, France, Germany, Denmark, Spain and Italy, the 1990s have seen a lively debate about the future of national cinema traditions. No longer can one assume the existence of distinct national styles, as they were once confidently identified with Italian neo-realism, with France's nouvelle vague, the New German Cinema, or with internationally famous art-cinema directors like Antonioni, Bergman, Losey, Fassbinder and Greenaway.