Appropriation cinema at the dawn of the digital age: reflections from Harun Farocki’s work

Authors

DOI:

https://doi.org/10.26439/contratexto2020.n034.4865

Keywords:

documentary, film essay, cinema, media studies, found footage

Abstract

Harun Farocki's work (1944-2014) has spanned for more than five decades, and has dealt primarily with the image, its meanings, its relationship with the mass ideology, and the possibilities and limits of its automation and mechanization in the digital age. Through the found footage technique, Farocki has established throughout his career different analytical strategies that have allowed him, through his film works, to propose an exhaustive review and criticism of the image and its implications. This essay seeks to propose reflections, based on Farocki's work, about the politics of the image, the relationship with the author / producer and its role in ideological, political and social spheres.

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Author Biography

  • Camila Flores Fernández, Pontificia Universidad Católica del Perú
    Bachiller en Lingüística y Literatura por la Pontificia Universidad Católica del Perú.

References

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Pantenburg, V. (2015). Le film qui pense. Image, theory, practice. En Farocki/Godard. Film as Theory (pp. 33-72). Amsterdam University Press. https://doi.org/10.5117/9789089648914

Steetskamp, J. (2008). Found footage, performance, reenactment: A case for repetition. En J. Kooijman, P. Pisters & W. Strauven, Mind the Screen (pp. 333-344). Amsterdam University Press.

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Published

2020-11-26

Issue

No. 034 (2020): Reinventions and new poetics of cinema in the post-internet era

Section

Dossier

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