Research in progress by Joanna Callaghan for the fourth long format film in the series ‘Ontological Narratives’ which will take Jacques Derrida‘s epistolary novel The Post Card as starting point.
In this research film, the possibility of a deconstructive film is discussed with world leading experts on Derrida using a range of clips as counterpoints.
Ontological Narratives is an Arts and Humanities Research Council funded project led by Callaghan in collaboration with Martin McQuillan. [Also see ‘The Post Card – Adaptation‘; for more on this project see here and here]. See also Callaghan and McQuillan’s important film on the current convulsive state of UK Higher Education, “I melt the glass with my forehead“.
We can therefore turn this [film theory/film practice divide] debate into an explicitly philosophical issue, by not presupposing that knowing that and knowing how simply overlap; they are two different types of knowledge whose relationship needs to be thought through. It is the theorization of the link/overlap between the two types of knowledge that seems to be missing. [Warren Buckland, Film-Philosophy Discussion List, January 31, 2012]
[The debate about film theory and practice] has a history which, in the UK at least, goes back to the 1970s, when the art colleges taught experimental film making, and the then polytechnics and a few new universities began to include film-making in their undergraduate film courses. Film theory as such was still taking shape, and video was in its earliest stages. In an atmosphere charged with radical intellectual fervour, the theoretical input led to much experimentation in colleges of creative practice—the watchword of the time was deconstruction. The paradigm for the infusion of theory into practice could be found in the work, for example, of Laura Mulvey and Peter Wollen, who established themselves on screen and on page, together and separately, as leading denizens of both. Some of the people emerging from this habitus made the break and went on to successful careers in the mainstream, but independent film-making informed by theoretical critique remained in the margins. [Michael Chanan, ‘Revisiting the Theory/Practice Debate’, Putney Debater, February 15, 2012 (hyperlinks added)]
Audiovisual works, it may be argued – films, videos or some other form – are already discursively articulated, they not only incorporate language (as dialogue, voice-over, intertitle, and so on) but are quasi-linguistic in their very form. The analogy between language and cinema, for example, has been explored with particular rigour in structuralist film theory, not least in the work of Christian Metz. It might be argued that if audiovisual forms are inherently discursive, then an intellectual argument can equally well be presented in the form of a film or video as in a more conventional written form. [Victor Burgin, ‘Thoughts on ‘research’ degrees in visual arts departments’, Journal of Media Practice, Vol. 7, No. 2, 2006] (hyperlink added)]
The misgivings about the legitimacy of practice-based research degrees in the creative and performing arts arise mainly because people have trouble taking research seriously which is designed, articulated and documented with both discursive and artistic means. The difficulty lurks in the presumed impossibility of arriving at a more or less objective assessment of the quality of the research – as if a specialised art forum did not already exist alongside the academic one, and as if academic or scientific objectivity itself were an unproblematic notion. In a certain sense, a discussion is repeating itself here that has already taken place (and still continues) with respect to the emancipation of the social sciences: the prerogative of the old guard that thinks it holds the standard of quality against the rights of the newcomers who, by introducing their own field of research, actually alter the current understanding of what scholarship and objectivity are. [Henk Borgdorff, ‘The debate on research in the arts’, The Sensuous Knowledge Project, 2006]
And so begins a mini-series of posts here at Film Studies For Free on the practical possibilities for, and the critical debates about, audiovisual film studies research and ‘publication’.
Below, in this first instalment, FSFF links to freely-accessible, online resources relating to the notion of film practice as a form of film/video theorising, in other words, as a reflexive and/or affective meditation on the ontological qualities of film or video (a ‘felt framing‘, in Julian Klein‘s great phrase to describe artistic research). It’s certainly a good excuse to showcase some of the burgeoning, open access work (and open access publications, or free publishers’ samples) in the very healthy field of Moving Image Practice as Research (aka ‘Research by Practice’ or ‘Practice-Led research).
Some studies of Practice-Led Research
- Desmond Bell, ‘Is there a doctor in the house? A riposte to Victor Burgin on practice-based arts and audiovisual research’, Journal of Media Practice, 9.2, 2008
- Michael A.R. Biggs, “The Role of ‘the Work’ in Research” (Paper presented at the PARIP 2003 Conference, 11-14 September 2003.) Bristol, UK
- Christin Bolewski, ‘Practice as Research: Philosophy and Aesthetics of Chinese Landscape Painting Applied to Contemporary Western Film and Digital Visualisation Practice’, The Art of Research Processes, Results and Contributions, Conference at the University of Art and Design Helsinki, 24 – 25 November 2009
- Henk Borgdorff, ‘The debate on research in the arts’, The Sensuous Knowledge Project, 2, 2006
- Henk Borgdorff, ‘The Conflict of the Faculties On Theory, Practice and Research in Professional Arts Academies’, Revised Version of ‘The Conflict of the Faculties: on Sense and Nonsense in Art Research) in the arts, culture and policy journal’, Boekman (58/59, Spring 2004, p. 191-96
- Victor Burgin, ‘Thoughts on ‘research’ degrees in visual arts departments’, Journal of Media Practice, Vol. 7, No. 2, 2006
- Michael Chanan, ‘Revisiting the Theory/Practice Debate’, Putney Debater, February 15, 2012
- Charlotte Crofts, ‘Bluebell, Short Film and Feminist Film Practice As Research: Strategies for Dissemination and Peer Review’, a pre-print of an article in Journal of Media Practice, 2007 (See an excerpt from this work here)
- Steve Dixon, ‘Digits, Discourse, and Documentation: Performance Research and Hypermedia’, The Drama Review 43, 1 (T161), Spring 1999
- Julian Klein, ‘The Other Side of the Frame, Artistic Experience as Felt Framing: Fundamental principles of an artistic theory of relativity’, originally in: S. Flach and J. Söffner, (eds.), Habitus in Habitat II – Other Sides of Cognition (Bern: Peter Lang, 2010)
- Friederike Krishnabhakdi-Vasilakis, ‘Transforming the Rhetoric: Making Images as Practice-Led Research’, ACUADS 2009 CONFERENCE: Interventions in the Public Domain
- Nicholas Rowe and Susan Carter, ‘Ways of Knowing: PhDs with creative practice’, MAI Review, 2011, 2, Te Kokonga
- Deborah Smith-Shank and Karen Keifer-Boyd, ‘Editorial: AutoEthnography and Arts-Based Research’, Visual Culture and Gender, Vol. 2, 2007
- Lindsay Vickery, ‘The Problem of Objectivity and the Artistic Conception of the Participant Observer: thoughts on using Lacan’s psychological model of representation in the documentation of creative arts practice as research’, Creative Connections Symposium @ BEAP2004
- Helen L. Yeates, ‘Embedded engagements: the challenge of creative practice research to the humanities’, The International Journal of the Humanities, 7(1), 2009. pp. 139-147
Two Open Access journals for AV/media practice work:
- The Journal of Media practice: SCREENWORKS (Vol. 1 and Vol. 2 [on AVPhD practice work])
- The Journal for Artistic Research
Two free publishers journal samples:
- Sar Maty Ba and Will Higbee, ‘Free Content Re-presenting diasporas in cinema and new (digital) media: Introduction’
- Hamid Naficy, ‘Free Content Multiplicity and multiplexing in today’s cinemas: Diasporic cinema, art cinema, and mainstream cinema’
- John Akomfrah, ‘Free Content Digitopia and the spectres of diaspora’
- Rajinder Dudrah, ‘Free Content Haptic urban ethnoscapes: Representation, diasporic media and urban cultural landscapes’
- Edward George and Anna Piva, ‘Free Content Astro Dub Morphologies’
- Roshini Kempadoo, ‘Free Content Interpolating screen bytes: Critical commentary in multimedia artworks’
- Coco Fusco, ‘Free Content Operation Atropos’
- Erika Balsom, ‘Brackhage’s Sour Grapes’ on the place of experimental cinema in the contemporary museum
- David E. James, ‘Letter to Paul Arthur’ on the relationship between ‘hipster’ cinema and private sponsorship.
- Sean Cubitt, Daniel Palmer and Les Walkling, ‘Reflections on Medium Specificity Occasioned by the Symposium “Digital Light: Technique, Technology, Creation”, Melbourne, 2011′.
- Maeve Connolly, ‘Apperception, Duration and Temporalities of Reception: The Repetition Festival Show’ on the Dublin show.
- Nick Fitch and Anne-Sophie Dinant, ‘The emergence of Video Art in Brazil in the 1970s’.
- Maria Walsh, ‘Re- enacting Cinema at the Crossroads: Nicky Coutt’s Passing Place‘
- Round Table Discussion on ‘The affects of the abstract image in film and video art’ chaired by Maxa Zoller with contributions from Bridget Crone, Nina Danino, Jaspar Joseph-Lester, RUBEDO (Vesna Petresin Robert and Laurent-Paul Robert).
- Eu Jin Chua, ‘The Film-work Recomposed into Nature: From Art to Noise in Four Minutes and Thirty-Three Seconds’ on recent work by Manon de Boer.
- JJ Charlesworth on ‘Doug Fishbone: Elmina’ at Tate Britain.
- Pryle Behrman on ‘David Claerbout: The Time that Remains’ at Wiels Contemporary Art, Brussels.
- Catherine Elwes on ‘Peter Campus: Opticks’ at BFI Southbank Gallery, London.
- Claire Flannery on ‘Miroslaw Balka: Between Honey and Ashes’ at Douglas Hyde Gallery, Dublin.
- Honor Beddard on Hilary Lloyd at Raven Row, London.
- Colin Perry on ‘Modern Women: Single Channel’ at MOMA PS1, New York.
- Adam Kossoff on ‘William Raban: About Now MMX’, Tate Modern and touring.
- Michael Szpakowski review of ‘One Minute Volumes 1-4′, DVD series touring internationally.
- Alice Haylett Bryan, book review of ‘Hiroshima After Iraq: Three Studies in Art and War’ by Rosalyn Deutsche (Columbia University Press).
Film Studies For Free took a little break to meet a few deadlines in the last two weeks. Normal service resumes this week, thankfully.
Today, though, FSFF posts links to some recently uploaded audio files which very valuably record great interviews with the contributors to an important workshop conference that took place last March at Oxford University.
The event explored the topic of Remix Cinema: the collaborative making, deconstruction and distribution of digital artefacts, and was part of a wider project exploring the role of audio-visual remix practices in contemporary digital culture.
Thanks to everyone taking part for making these excellent resources available to everyone working in the field.
|Melonie Diaz, Jack Black, and Mos Def in Be Kind, Rewind (Michel Gondry, 2008 – See FSFF‘s post on Gondry for some reading on this film)|
Film Studies For Free is thrilled to be able to pass on news of the launch of MEDIA FIELDS JOURNAL: Critical Explorations in Media and Space, a new graduate online journal based in the University of California, Santa Barbara’s Department of Film and Media Studies.
Neves and Scheible introduce their special issue as follows:
This new online journal represents the latest development in a research initiative launched in UCSB’s Department of Film and Media Studies in 2007. The goal of Media Fields is to provide a forum focused on the critical study of media and space, where we can dynamically present and openly debate the latest work from established and emerging scholars and practitioners. Each issue will have a theme—whether it is a topic of contemporary relevance; an exploration of a particular concept, media form, genre, or practice; or, as in this issue, a specific media space: the video rental store.
We were compelled to focus on the space of the video store in this issue because it is a “media field” that at once allows for the kind of tangible, site-specific fieldwork that is at the heart of Media Fields and, at the same time, is a site where a range of important issues intersect: “new” media’s consequences for “old” media; uses, developments, and failures of media technologies; the cultivation of knowledge about cinema and television; global media distribution; piracy and the law; the circulation of pornography; configurations of cultural communities; relations between public and private space; and contemporary media reception. [read more]
- “Video Stores: Introduction” by Jeff Scheible and Joshua Neves
- “Home, Home (Video) on the Range: Reflections on Small-Town Video
- Stores in 2010″ by Daniel Herbert
- “Things and Movies: DVD Store Culture in Fiji” by Nicole Starosielski
- “Exchange and Circulation: An Anthropological Perspective on Video
- Stores in Kinshasa” by Katrien Pype
- “A Business without a Future? The Parisian Vidéo-Club, Past and Present” by Brian R. Jacobson and Joshua Neves
- “The Death and Life of the Back Room” by Peter Alilunas
- “Mapping Hardcore Space” by J. Steven Witkowski
- “Riviera Adult Superstore” by Constance Penley
- “Pedagogical Spaces, or, What We’ve Lost in the Post-Video-Store Era” by Roger Beebe
- “Browsing for Dissonance: Paratexts, Box-Art Iconography, and Genre” by Kevin M. Flanagan
- “EVERYTHING IS TERRIBLE! An Interview with Future Schlock” by Jeff Scheible
- “Video Stores, Media Technologies, and Memory” by Rowan Wilken
- “Video Rental Store: An Interview with Suzanne Carte-Blanchenot and Su-Ying Lee” by Mél Hogan
- “The Long Tail of the Video Store” by Frederick Wasser
- “Free Lifetime Membership” by Matt Kaelin
My paintings are done by a filmmaker, sculpture by a musician, films by a painter, music by a filmmaker, paintings by a sculptor, sculpture by a filmmaker, films by a musician, music by a sculptor … sometimes they all work together. (Michael Snow)
[N]o other artist has done so much to destabilise our approximation of the visible than Michael Snow. By threatening the very tools we rely on to process what we perceive, the artist creates unnerving yet frequently poetic works. His avant-garde film-making is less about a way of understanding the camera as a device for recording than as an instrument whose structural, material properties can form the main focus of the work. (Tim Clarke)
Today, Film Studies For Free brings you another video gem from the Tate Channel in which the highly distinguished Canadian artist Michael Snow, one of the most influential experimental filmmakers (including of such masterworks as Wavelength [1967)], La Région Centrale , and *Corpus Callosum ) discusses his work. Snow, who will reach the grand old age of 80 this December, gave this illustrated talk at the Tate Modern in London on October 26, 2001, on the occasion of a major retrospective of his work that year at the Arnolfini Gallery in Bristol. The talk, a very detailed and insightful revisiting of the entirety of his work to that point, lasts just under two hours.
Here also, as is FSFF‘s wont, are links to further wonderful, freely accessible, online, scholarly Michael Snow resources. Below the list are two other embedded videos: the first, a ten minute overview of Snow’s work; the second, a video version of Snow’s 1967 experimental film Wavelength (please read the comments on this post for a discussion of the ethics of reproducing this very poor copy of the film):
- The Michael Snow Dossier, Offscreen Journal, November 2002 (Michael Snow: A Brief Introduction by Peter Rist;La Région Centrale by Peter Rist; Wavelength Revisitedby Donato Totaro; Master Lessons With Michael Snowby Louis Goyette;Weathering the Creative Storm: An Interview With Michael Snow by Donato Totaro and André Habib;Transcending the Fragmentation of Experience: The acousmêtre on the air in the films of Michael Snow by Randolph Jordan)
- Adèle Flannery and Maia Lussier-Seguin, ‘Snow at Concordia: An Interview with Michael Snow’, Offcreen Journal, Vol. 13, Issue 3, March 2009
- Maximilian Le Cain, ‘Snow Drift: The 2007 Lucca Film Festival 28 September – 6 October 2007′, Senses of Cinema, Issue 46, 2008
- Brett Kashmere, ‘Underground Film, Into the Light: Two Sides of the Projected Image in American Art, 1945-1975’, Synoptique 8, March 2005
- Tila Landon Kellman, Figuring redemption: resighting my self in the art of Michael Snow – (Waterloo, Ontario: Wilfrid Laurier University Press, 2002 -Google Books)
- Michael Snow, with Louise Dompierre, The collected writings of Michael Snow (Waterloo, Ontario: Wilfrid Laurier University press, 1994 – Google Books)
- Michael Snow and Bruce Elder, ‘In conversation’, Ciné-Tracts 5, No. 1, (17), Summer/Fall, 1982) scroll down in pdf
- Michael Snow and Jesse Stewart, ‘In Conversation: Toronto, November 2005’, Critical Studies in Improvisation / Études critiques en improvisation, Vol 3, No 1 (2007)
FSFF also came across an even more detailed interview with Mackay about his work with Jarman here at the 400blows website. You can also find interviews there with the following people about their work and friendships with this filmmaker: Jenny Runacre; Simon Fisher Turner; Tilda Swinton; Peter Tatchell; Christopher Hobbs; Tony Peake; Tariq Ali; Ron Peck; and Gaye Temple;
FSFF has only just begun to explore the riches and the capabilities of the new Tate channel; it gleefully urges you to do the same. But it closes, today, happily in a Derek Jarman frame of mind with a sublime Jarman artifact, from his 1987 short Aria, starring Tilda Swinton, music by Gustave Charpentier from his opera Louise with its aria ‘Depuis le jour’, sung here by Leontyne Price:
Film Studies For Free (always a fan of substantial freebie content in otherwise non-Open Access publications) thought some of its readers might be especially interested to know that they can currently preview for free the first 28 pages, or so, of the book embedded above (published by Intellect Books).
While Aesthetic Journalism doesn’t touch at all on mainstream filmmaking, it does seem to be a strikingly novel study of ‘the journalistic turn in the contemporary visual arts’, one that may prove especially useful to those considering issues of ‘documentary’ and ‘fiction’ in relation to artists’ film and video (FSFF is thinking of some of the work of such visual artists and filmmakers as Harun Farocki, Hito Steyerl, Clio Barnard, Adam Chodzco, and Alia Syed, to name but a few).
Here’s the publishers’ blurb to whet your appetite some more:
As the art world eagerly embraces a journalistic approach, Aesthetic Journalism explores why contemporary art exhibitions often consist of interviews, documentaries and reportage. This new mode of journalism is grasping more and more space in modern culture and Cramerotti probes the current merge of art with the sphere of investigative journalism. The attempt to map this field, here defined as ‘Aesthetic Journalism’, challenges, with clear language, the definitions of both art and journalism, and addresses a new mode of information from the point of view of the reader and viewer. The book explores how the production of truth has shifted from the domain of the news media to that of art and aestheticism. With examples and theories from within the contemporary art and journalistic-scape, the book questions the very foundations of journalism. Aesthetic Journalism suggests future developments of this new relationship between art and documentary journalism, offering itself as a useful tool to audiences, scholars, producers and critics alike.
The author Alfredo Cramerotti (1967) is a writer, curator and artist based in the UK. Among his recent research and curatorial activity: co-curator, Manifesta 8 European biennial of contemporary art (2009-2011); curator, QUAD Derby (2008-present), co-curator, CPS Chamber of Public Secrets (2004-present) and AGM Annual General Meeting (2003-present).
‘Lindsay Seers tells seductively tall tales.’
Laura McLean-Ferris, guardian.co.uk, February 27, 2009
Lindsay Seers’s Extramission 6 (Black Maria) [is] one of the real finds of [the Altermodern: Tate Triennal exhibition, 2009]. Seers shows a semi-autobiographical, quasi-documentary film about her life, screened in a mock-up shed whose design is a copy of Thomas Edison’s Black Maria, his New Jersey film studio. The story is implausible, troubling, and beautifully told by different narrators.
As a child, Seers is so overwhelmed by visual stimulus that she cannot speak. As soon as she sees a photograph, she decides she wants to be a camera. She uses her mouth as the camera, and goes about with a black bag over her head. As she grows up, Seers stops being a camera, and wants instead to be a projector. She wears a model of Edison’s studio on her head, projecting the movies in her mind. She struggles to illuminate the world.
The whole story is both dreamlike and moving. How much of it is true? There are interviews with Seers’s mother and with a psychologist. Are they really who we think they are? As I staggered out, someone muttered “What is she on?” Adrian Searle, guardian.co.uk, February 3, 2009
Film Studies For Free is very happy to add its congratulations to the many being deservedly delivered today to Lindsay Seers following the award to her yesterday of this year’s Jarman prize for artists working with the moving image. Seers, whose hypnotic work as an artist includes film practice-based research produced as a lecturer in arts practice at London’s Goldsmiths College, receives a cash prize, but also a very valuable broadcast commission – to make four artworks for Channel 4’s acclaimed Three Minute Wonder slot (3MW). FSFF looks forward to watching those.
The Jarman Award was inspired by British avant-garde film-maker Derek Jarman, one of the most innovative, esteemed and visionary artists of the last century. Interviews and features on this year’s award shortlist and Jarman’s legacy can be found at Engine, an online forum from Animate Projects.
- David Berridge, ‘Lindsay Seers: It has to be this way, More Milk Yvette: A Journal of the Broken Screen, February 9, 2009
- Chris Fite-Wassilak, ‘Lindsay Seers’, Frieze Magazine, Issue 122, April 2009
- Rebecca Geldard, ‘Lindsay Seers: It Has to Be This Way’, ArtReview magazine, 21 April 21, 2009
- Tom Morton, ‘Remember Me [monograph on Lindsay Seers]’, Frieze Magazine, Issue 124, June-August 2009
- Jennifer Poole, ‘Lindsay Seers: Eyes of Others…’, Circa Arts Magazine, 2005
- Lindsay Seers at the Event Horizon exhibition (2008) webpage at the Royal Academy
- Lindsay Seers’ webpages at Smart Project Space
- Lindsay Seers, ‘Artist’s Text’, Arts Council England website, 2003
‘In the summer of 1996, we filmed application training courses in which one learns how to apply for a Job. School drop-outs, university graduates, people who have been retrained, the long-term unemployed, recovered drug addicts, and mid-level managers – all of them are supposed to learn how to market and sell themselves, a skill to which the term “self management” is applied. The self is perhaps nothing more than a metaphysical hook from which to hang a social identity. It was Kafka who Iikened being accepted for a job to entering the Kingdom of Heaven; the paths leading to both are completely uncertain. Today one speaks of getting a job with the greatest obsequiousness, but without any grand expectations.’ (Harun Farocki on The Interview)
Film Studies For Free can testify that there is no better written introduction to the fascinating work of Berlin-based, visual artist and writer Harun Farocki‘s films and video installation work than a 2002 essay that Thomas Elsaesser (also editor of the 2004 collection Harun Farocki: Working on the Sight Lines – see HERE) wrote for Senses of Cinema. Here are a few insights from the conclusion to this piece in which Elsaesser sets out the reach of Farocki’s artwork:
[…] Farocki has also noticed for us how prisons and supermarkets, video-games and theatres of war have become ‘work-places’ – of subjects as much as of commodities. They are spaces that are converging, once one appreciates how they all fall under the new pragmatics of the time-space logic of optimising access, flow, control. These sites a filmmaker has to take cognisance of and recognise him/herself implicated in, but so has the spectator, whose role has changed so much.
As one walks through Farocki’s works, which have become our worlds, one realises that he may be one of the few filmmakers today capable of understanding the logic of this convergence, contesting its inevitability and yet feeling confident enough to continue to believe in the wit, wisdom and the poetry of images. This certainly makes Harun Farocki an important filmmaker: probably Germany’s best-known important filmmaker.
Inspired by Farocki’s films — which seem more and more relevant to our daily lives — as well as by Elsaesser’s many perceptive words about them, Film Studies For Free wanted to publicize the ongoing exhibition “Harun Farocki, 3 Early Films” at the Cubitt Gallery, London (17 January – 22 February 2009), as well as the surrounding events to be held at the Goethe-Institut and Cubitt Gallery (31 January-20 February).
For those of you in search of more information about, or analyses of Farocki’s work, FSFF decided to produce as extensive a list of live links as it could to some relevant online resources of note:
- Harun Farocki Dossier at Senses of Cinema, Issue 21, July 2002, compiled by Thomas Elsaesser, including:
- ‘Introduction: Harun Farocki’, by Thomas Elsaesser
- Painting Pavements by Volker Siebel
- Passage along the Shadow-Line: Farocki and others – approaching a certain Filmkritik-style by Olaf Möller
- The Green of the Grass: Harun Farocki in Filmkritik by Rainer Knepperges
- Image(circum)volution: On the Installation Schnittstelle (Interface) by Christa Blümlinger
- Nine Minutes in the Yard: A conversation with Harun Farocki by Rembert Hüser
- Workers Leaving the Factory by Harun Farocki (Translation by Laurent Faasch-Ibrahim)
- Harun Farocki – biography, filmography, exhibitions and Retrospectives by Farocki-Filmproduktion
- ‘Harun Farocki’s Images of the World‘, Rouge 12, 2008, by Christopher Pavsek
- ‘A Road Not Taken: Films by Harun Farocki‘ by Jonathan Rosenbaum
- ‘Remaking History [on SHULIE]‘ by Jonathan Rosenbaum
- ‘Welcome to Google Earth’ by Anna Munster
- ‘Contemplative Cinema: Harun Farocki (1)‘ by Zach Campbell at Elusive Lucidity, January 11, 2007
- ‘Molecular Processes of Becoming’ by Patricia Pisters, 1999
- ‘Harun Farocki’s challenging documentaries take an unorthodox look at European life’ by Steven A. Erickson
- ‘The Revolution Was Televised: Harun Farocki and Andrei Ujica’s Videograms of a Revolution’, Central Europe Review, Vol 1, No 1718, October 1999, by Ray Privett
- ‘Harun Farocki and the Politics of Found Footage with William Burroughs on Cut-Ups‘, in The Recycled Cinema weblog, January 4, 2008, by Eli Horwatt
- Harun Farocki’s Ein Bild / an image (1983, c. 25 Min., D), at the transport weblog, by Jessie Emkic added Feb 3
- ‘Towards an Archive of Visual Concepts’ by Wolfgang Ernst and Harun Farocki
- ‘Notes on the New German Cinema’, Vertigo Magazine, Vol.4 No.1 – Autumn / Winter 2008, by Ekkehard Knörer
- ‘Dziga Vertov – a media artist? On the contemporary relevance of the Russian avant-garde filmmaker’, DOCUMENTA MAGAZINE, by Christa Blümlinger
- ‘How Real is the Reality in Documentary Film’, Jill Godmilow, in Conversation with Ann-Louise Shapiro, 1997
- ‘The Cinema of Identification Gets on my Nerves: An Interview with Christian Petzold’, Cineaste, Vol. 33 No.3 (Summer 2008).
- ‘Film Excursions / films about, besides and despite the lost moment‘ (scroll down to: ‘Monday, June 25, 2007 Zwischen zwei Kriegen (Between two wars) by Harun Farocki Germany, 1978′)’, in The Lost Moment weblog, 12 June 2007, by Tobias Hering
- ‘Introduction’ to Projecting History: German Nonfiction Cinema, 1967-2000 (University of Michigan Press, 2002) by Nora M. Alter
- ‘Farocki’s images of the world: the inscription of subjectivity in the essay film’, (abstract only) by Laura Rascaroli
- Harun Farocki Official Website
- ‘I don’t think I was the right seminar leader’, by Harun Farocki, in Tilman Baumgärtel (ed.), Kino-Sine: Philippine-German Cinema Relations (Goethe-Institut, Manila/Anvil Publishing Inc., 2007), PDF pp. 22-24
- Harun Farocki page at the Internet Movie Database
- Video Data Bank: Harun Farocki
- Farocki resources at Cinefiles (detailed filmographic information, clippings, press kits, etc. from Pacific Film Archive database)
- Harun Farocki material at YouTube
- Harun Farocki: Working on the Sight-lines at Google Books
- ‘Harun Farocki: Working on the Sight-Lines, edited by Thomas Elsaesser’, Review, by Acquarello, at Strictly Film School, May 2005
- Other Harun Farocki material at Google Books
- Harun Farocki material at Strictly Film School, by Acquarello
- Some text (in German) from Speaking About Godard (New York University Press, New York and London 1998) on Jean-Luc Godard‘s Le mépris, Passion and Weekend, by Kaja Silverman and Harun Farocki (via Cinema=Godard=Cinema by Glen W. Norton)
- ‘More Histoire(s) du Cinema?’ Review of Speaking About Godard, Film-Philosophy Vol. 4, 2000, by Paul Sutton