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PRINT November 2004

VISION QUEST: THE CINEMA OF HARUN FAROCKI

Born in 1944 to an Indian father and a German mother, Harun Farocki studied at the German Film and Television Academy in Berlin from 1966 to 1968. This places him in the ambit of the most famous figures of New German Cinema (Fassbinder, Herzog, and Wenders), but his practice is closer to the more engaged filmmaking of Jean-Marie Straub, Alexander Kluge, and Helke Sander. Politicized by the struggles around the Vietnam War in the ’60s and the Red Army Faction in the ’70s, Farocki has, like these peers, developed a critical cinema—one focused on the image as “a means of technical control”—and it isn’t as well known as it deserves to be.1

The criticality of his work is one reason for its delayed reception; another is its sheer diversity: ninety-two films and videos, many made for TV; numerous radio pieces; a long list of articles, reviews, and interviews; and, lately, several image installations

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