German Cinema Research Articles

Schattenexistenz: Jüdische U-Boote in Wien 1938–1945 by Brigitte Ungar-Klein

Reviewed by: Schattenexistenz: Jüdische U-Boote in Wien 1938–1945 by Brigitte Ungar-Klein Joseph W. Moser Brigitte Ungar-Klein, Schattenexistenz: Jüdische U-Boote in Wien 1938–1945. Vienna: Picus Verlag, 2019. 376 pp. Surviving the Holocaust by hiding or being hidden by non-Jews is one of the least examined aspects of Holocaust history, even though the Diary of Anne Frank—arguably the most widely read text on the Holocaust—is a narrative of hiding during the Holocaust and being betrayed. The recent German film Die Unsichtbaren (dir. Claus Räfle, 2017) examines the experiences of several Jews who hid in Berlin during the Holocaust and the challenges that they faced as "U-Boote," the term used for Jews illegally remaining in Nazi Germany to escape deportations. But what about Vienna? As Ungar-Klein points out, apart from C. Gwyn Moser's 1985 article "Jewish U-Boote in Austria 1938–1945," which provided a statistical overview of 619 Jews surviving the Holocaust in hiding in Vienna, very little has been published on this topic, given the size of Vienna's Jewish population before 1938 and the significance of the city overall within Nazi Germany and within the context of European antisemitism. By both providing a detailed historical context of the Holocaust in Vienna and examining several individual cases of U-Boote in Vienna, Brigitte Ungar-Klein's Schattenexistenz: Jüdische U-Boote in Wien 1938–1945 finally sheds light [End Page 167] on this fascinating topic, from the perspective both of Jews trying to survive the three critical years between 1942 and 1945 and of non-Jews who provided live-saving shelter to Jews at the risk of themselves being persecuted by the Nazis. Ungar-Klein provides numerous excerpts of original testimonies that chronicle individual cases of Jews being hidden in wartime Vienna. While every case is unique, there are common fears of how to get food without access to food rationing cards. Many apartments in Vienna still only had water and sanitary facilities located in the common hallways of apartment buildings—a significant problem for the people hiding in those kinds of apartments. And the constant fear of exposure and denunciation by nosy neighbors made it difficult to live through these three years. The need to go into hiding in Vienna in order to survive started in spring 1942, when all Jews were being deported to be killed in Nazi-occupied Eastern Europe, and the threat remained real until April 1945, when the Red Army liberated Vienna. Any contact that non-Jews had with Jews, let alone hiding Jews, was punishable during that time. The many Gestapo agents roaming the city, supported by regular civilians denouncing people, demonstrates the extent to which average Austrians became complicit in the Holocaust. But of course it is not that simple: Ungar-Klein shows the example of neighbors in the fift h district who wanted to denounce Jews being hidden in a cellar but then backed off after witnessing the brutality of Nazis rounding up Jews for deportation. This book shows how the motivations for hiding Jews varied greatly for non-Jews, but generally there was not much time to prepare and, in several cases, this was a spontaneous decision, in which people did not initially realize the extent to which they would be involved. Some U-Boote had to change places where they were hiding, and some were homeless for extended periods of time, hiding in cemeteries and Schrebergärten, which was an additional challenge in winter. While some braved entering air raid shelters during Allied air raids amidst the chaos and confusion that the general public experienced during these attacks, others remained hidden in apartments during air raids; in such cases it is certain they would not have survived a direct hit. Generally speaking, it was easier for women to survive as U-Boote than for men, as Ungar-Klein points out. After the war, Jews surviving the Holocaust in hiding were not treated well by the Austrian authorities. As they were penniless, they needed public assistance. Younger survivors needed to make up lost years of education, but they did not fit into the narrow categories prescribed by...

Camden House German Film Classics Series ed. by Gerd Gemünden and Johannes von Moltke

Camden House German Film Classics Series ed. by Gerd Gemünden and Johannes von Moltke

Disgrace, Weakness, Rubbish? Material Culture of the GDR in Selected German Films After 1990

The article focuses on the material culture of the German Democratic Republic (GDR) as portrayed in selected German films made after 1990 and set in the GDR. The objects that are used in the films serve as a special kind of artefacts, symbolizing the reality of the GDR and defining it as imperfect, below expectations, and inefficient in meeting consumer demand. An important point of reference in the article is the context of post-communist nostalgia, which is a source of interesting symbolic redefinitions.

“Um vácuo construído sobre um vazio”

O presente artigo, a partir da perspectiva metodológica do cinema comparado, reúne e analisa as relações entre pais, filhos e Segunda Guerra Mundial, representadas em dois diferentes filmes produzidos na Alemanha Oriental, em 1968 e 1971. Die Russen Kommen e Karriere possuem enquanto principal escopo o imediato pós guerra na Alemanha. Nas duas obras, enfatizamos passagens nas quais evidenciam-se o tensionamento geracional e familiar a respeito do passado. Esta abordagem possibilitou perceber a relação dos filmes com seu contexto específico de produção e, concomitantemente, a compreensão parcial da forma como o passado, colaboração ao regime nazista e relações familiares foram interpretadas pelo cinema da Alemanha Oriental.

Narracje historyczne w niemieckim dyskursie publicznym – wybrane problemy i implikacje dla Polski

The main purpose of the research was to analyze selected elements of the German discourse on historical narratives present in public space and to determine the implications for Poland thereof. German- and Polish-language monographs and studies related to the issues of historical narratives and Polish-German relations were used and the content of selected German press materials was analyzed. The author used the method of analyzing history discourse, and the source analysis of selected German-language documents was made. The autor defined the concept of historical narratives and analyzed terminology used in German historical discourse. The author pointed out the role of The Federation of Expellees (BdV) and political organizations in public discourse. The role of anniversaries and historical of the World War II in German cinema were identified. Such analysis was the basis for describing importance of this proces for Poland. The main reference point in German narratives about World War II that are present in public space is the memory of the Holocaust. At the same time, the process of consistent promotion of the memory of German victims of war continues in Germany, taking place simultaneously on many levels. In parallel, the memory of the crimes committed during World War II by the Nazi regime on Poles is in the background, which is still a serious gap in German narratives of that period and also requires the Polish side to take further action to change this situation. Germany’s important instrument for promoting a positive narrative about the latest history of Germany is promoting the memory of the fall of the Berlin Wall and therefore further strengthening the image of Germany on the international stage.

‘Time and space in the depiction of workers’ leisure in Mother Krause’s Journey to Happiness, People on Sunday and Kuhle Wampe’

ABSTRACT This article comparatively assesses the representation of workers’ leisure in Berlin in three significant examples of experimental German cinema from the late Weimar Republic: Mutter Krausens Fahrt ins Glück (Mother Krause’s Journey to Happiness, dir. Piel Jutzi, 1929), Menschen am Sonntag (People on Sunday, dir. Robert Siodmak, Edgar G. Ulmer, 1930), and Kuhle Wampe oder Wem gehört die Welt? (Kuhle Wampe or Who Owns the World?, dir. Slatan Dudow, 1932). There are distinct thematic and formal parallels between this set of nearly contemporaneous, generically hybrid films, and the article assesses the inter-related functions of time and space in the films’ depiction of leisure experiences in Berlin. Focal points include the depiction of urban space, especially the tenement block and the ‘semi-public’ space of the courtyard; the Freibad or lakeside bathing resort; the worker sports movement; and the comparative relevance of the work of the Berlin artist Heinrich Zille. The article approaches the films in the historical context of the workers’ movement and working-class culture, and is further informed by insights into urban space developed within the sociological discipline of leisure studies.

The Berlin International Film Festival: A powerful springboard and gatekeeping mechanism for domestic filmmaking

Abstract Film festivals have become key agents in the movie business, with major competitive festivals enjoying outstanding importance. Based on this assumption, this paper focuses on the example of Germany and asks to what extent the Berlin International Film Festival offers a venue for domestic films, and which types of filmmakers, in particular, benefit from this springboard and gatekeeping mechanism. More precisely, given the diverging interests confronting the Berlinale as a platform for the film community, a quantitative program analysis was conducted of the festival’s most significant sections (Competition, Panorama, Forum, Generation, Perspective German Cinema, Lola@Berlinale) from 1980 to 2016. The findings demonstrate that even good-faith efforts to strengthen domestic filmmaking in regard to weight and diversity have hardly changed the power structures that underlie the curatorial decision-making process. Respectively, the share of national film productions has been stagnating for many years. Moreover, female and young filmmakers are still broadly underrepresented.

On the Wannseeheim Youth Center

Abstract Presented here for the first time in English translation is one of Harun Farocki’s earliest publications in the journal Filmkritik, of which he later became editor. Composed largely of quotations, Farocki’s text reports on film courses at the Wannseeheim Youth Center, a form of adult and alternative education in Berlin West. The introduction to Farocki’s text connects with the New German Cinema and themes that remained central throughout his own work: collaboration and quotation, Bertolt Brecht’s concept of “learning plays,” using nonfiction to explore both social relations and the cinematic apparatus, and seeing film as a form of “productive thinking.” It represents a kernel of Farocki’s wish to put the tools of filmmaking into the hands of ordinary people, thus revealing both theoretical aspects of the cinematic apparatus itself and the interweaving of visual images with social relations. With a deadpan, whimsical tone, Farocki argues that all this is, or should be, film criticism—in German, Filmkritik.

A Certain Tendency in German Film Criticism of the Postwall Era

Abstract The often bemoaned crisis of West German cinema in the 1980s coincided with a dramatic changing of the nation’s film critical guard. The symptomatic impetus that had figured so strongly during the postwar era gave way to the so-called new subjectivism of young critics like Michael Althen, Claudius Seidl, and Andreas Kilb. They looked askance at the formal complexity and political activism of most art house fare and above all found themselves smitten by mainstream American features. Taking their cue from Susan Sontag and her essay “Against Interpretation,” these postmodern existentialists cultivated a highly personalized, indeed rarefied form of poetic empiricism. This study analyzes their sensibility and rhetoric, their emphases and oversights. It focuses on Dominik Graf’s essay film, Was heißt hier Ende? (Then Is It the End?, 2015), a tribute to Althen and the cohort of young critics with whom he worked and interacted.

The Ends of (German) Film Criticism: On Recurring Doomsday Scenarios and the New Algorithmic Culture

Abstract A prominent strain of discourse sees digital-age German film criticism in a terminal trajectory of commercialization and dumbing down. This article demonstrates that this rhetoric is not unique: neither to German-speaking countries nor to the digital age. Complaints about slipping benchmarks and declining quality, the fragmentation of the filmgoing public into niche markets, and above all the anxiety about the authority of the critic to definitively speak for and interpret culture to a receptive audience have animated international film criticism since its origins. The article proceeds to examine the supposed new threat to critics: algorithmic recommender systems for video-on-demand platforms such as Netflix. Based on the author’s mixed-method empirical audience study, it concludes that the need and desire for human cultural mediators has not decreased despite the digital-age explosion of content and computational tools.

Governments and Formal Institutions Shaping the Networks of Co‐Production in the Chinese and German Film Industries

AbstractStudies in economic geography on the film industry often focus on the impact of social relationships and informal institutions, like habits, norms and conventions. However, the role of formal institutions has so far received only little attention. To exemplify the role of governments and formal institutions shaping the film production networks a social network analysis is carried out. The results essentially show three patterns of interventions: Firstly, governments are active players within the networks through state‐owned or public film production companies. Secondly, (especially in the case of China) governments act as regulators through formal institutions by restricting market access for international films and at the same time enabling the rapid market growth of the Chinese film market through opening policies after 2002. Thirdly, they act as promoters through direct financial means (e.g. public film subsidies in Germany) or through support measures by the cultural and creative industries in general.

The art of teaching against the grain: a tribute to Thomas Elsaesser’s media-archaeological methods

ABSTRACT This essay offers insights to late German film historian Thomas Elsaesser’s pioneering teaching methods in the field of media archaeology at the beginning of the 21st century. It looks into Elsaesser’s original approach of teaching cinema history at the University of Amsterdam and discusses some of his key conceptual and educational tools such as the epistemic 1900–2000 juxtaposition, the hermeneutics of astonishment, and the S/M dispositifs of non-theatrical cinema. Different from the materialist-machinic method proposed by new media scholars, Elsaesser’s media-archaeological approach takes its cue from early cinema studies that serve as a concrete example of going ‘against the grain’ of traditional film historiography, dismantling its various tales of progress, or false teleologies. Later in his career, Elsaesser would think of media archaeology as a symptom of the various crises in the field of film studies with respect to the notions of progress, narration, and representation. The essay also discusses some of Elsaesser’s more experimental and playful teaching projects, involving locative media, GPS technology, and HyperCard interface design. The overall aim is to pay tribute to Elsaesser’s important role in establishing media archaeology as an academic discipline.

Lancastrians, Tudors, and World War II: British and German Historical Films as Propaganda, 1933–1945

In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in 1945, most commonly documentaries, historical films, and after 1939, fictional films about the ongoing conflict. Curiously, the historical films included several about fifteenth and sixteenth century England. In The Private Life of Henry VIII (1933), director Alexander Korda—an admirer of Winston Churchill and opponent of appeasement—emphasizes the need for a strong navy to defend Tudor England against the ‘German’ Charles V. The same theme appears with Philip II of Spain as an analog for Hitler in Arthur B. Wood’s Drake of England (1935), William Howard’s Fire Over England (1937), parts of which reappear in the propaganda film The Lion Has Wings (1939), and the pro-British American film The Sea Hawk (1940). Meanwhile, two German films little known to present-day English language viewers turned the tables with English villains. In Gustav Ucicky’s Das Mädchen Johanna (Joan of Arc, 1935), Joan is the female embodiment of Hitler and wages heroic warfare against the English. In Carl Froelich’s Das Herz der Königin (The Heart of a Queen, 1940), Elizabeth I is an analog for an imperialistic Churchill and Mary, Queen of Scots an avatar of German virtues. Finally, to boost British morale on D-Day at Churchill’s behest, Laurence Olivier directed a masterly film version of William Shakespeare’s Henry V (1944), edited to emphasize the king’s virtues and courage, as in the St. Crispin’s Day speech with its “We few, we proud, we band of brothers”. This essay examines the aesthetic appeal, the historical accuracy, and the presentist propaganda in such films.

KRONIK FILMEDIA’S RECEPTION TOWARDS FLORIAN GALLENBERGER’S COLONIA

This paper analyzes the audience’s reception of Colonia, a 2016 film by Florian Gallenberger. As a popular work, Colonia is a docudrama film that presents historical events happened in Chile during the coup of General Augusto Pinochet in 1973. The problems analyzed in this article are the reception process of respondents and the quality of Colonia as popular films. The film is chosen for the study as it received five nominations from German Film Awards 2016 and won Bavarian Film Awards 2016 for Best Production category, but it only has a rating of 26% from 47 reviews by Rotten Tomatoes. The respondents involved in this study are members of Kronik Filmedia of Diponegoro University. Kronik Filmedia is the university film club that focuses on producing short films and appreciating films by conducting film discussions. The purpose of the study is to describe the reception processes of respondents who are affected by their horizon of expectations and to prove that not all of popular works are low literature. The theory used in this paper is the Aesthetic of Reception theory by Hans Robert Jauss. The main concept of this theory is horizon of expectations. Horizon of expectations is a reader’s preferences from the previous experiences or readings. For the methodology, this paper uses qualitative research and focus group discussion as the data collecting method. Focus group discussion is a gathering data method by means of interviewing respondents in a forum consisted of five to eight people. Focus group discussion is an effective method to observe a social phenomenon or a case study. The data obtained is then analyzed as texts to draw a conclusion. The research involves eight members of Kronik Filmedia as respondents. The results of the research show the reception of Kronik Filmedia as Colonia can satisfy and even surpass seven out of eight respondents’ horizon of expectations as the film goes to be more ‘interesting’ and ‘thrilling’. All respondents also view that Colonia is worth to be studied and discussed as those of high literature.

Halbstarkeand Rowdys: Consumerism, Youth Rebellion, and Gender in the Postwar Cinema of the Two Germanys

ABSTRACTIn the second half of the 1950s, American films about “delinquent youth” took West Germany by storm. Although these films were not screened in East Germany, the still open border between the FRG and GDR allowed young people in both states to see these films. Many adopted American clothing styles and music in both Germanys. Two films, the West German productionDie Halbstarken(1956) and the East German productionBerlin–Ecke Schönhauser(1957) addressed “delinquent youth” in the German context and became quite popular. The article compares the competing images of femininity in both films, which linked the problem of “delinquent youth” to consumerism, pop culture, and “weak parents,” but portrayed young women very differently. While consumerism in the West German film was in a gender-specific way linked to femininity, the East German film linked consumerism to a class society and displaced it to the West. Contemporary film reviews and press treatment of main actresses reflected these differing attitudes toward gender and consumption.

The Face of Germany, 1918–1945: Ufa Personnel, Censorship, and Propaganda

The Face of Germany, 1918–1945: Ufa Personnel, Censorship, and Propaganda Heather Oriana Petrocelli Toward the end of World War I (WWI), with the Allied powers’ anti-German propaganda at its zenith, Generalquartiermeister Erich Friedrich Wilhelm Ludendorff considered the German propaganda efforts to be too fragmented to be effective and felt the need to create a film production company that would be controlled directly by the German armed forces.1 Thus, at the end of 1916, Bild-und Filmamt (Bufa) was created as an umbrella organization for all government and military film, as well as press agencies, to promote the German war effort.2 Bufa mainly produced short educational, propaganda, and entertainment films for both the front line and the reserve forces.3 Still, General Ludendorff, wanting to move beyond the mechanism of Bufa, wrote a letter to the Imperial Ministry of War on July 4, 1917, that would lay the foundation for the consolidation of the German film industry and the formation of a larger film conglomerate, Universum Film Aktiengesellschaft (Ufa): The war has demonstrated the exceptional power of photography and film as a means of educating and influencing. Unfortunately, our enemies have thoroughly exploited their lead in this area, causing us severe damage. In the further course of the war, film will retain its momentous significance as a political and military means of influence. For this reason, it is essential for the positive outcome of the war that film exert the strongest influence in all places where German influence is still possible. Thus, we must examine 1. how this influence can be achieved and 2. what means are to be used. On 1. In film, the bolstering of German propaganda efforts must extend a. to the influencing of the film supply in neutral third countries and b. to the unification of the German film industry, setting broad, uniform targets for the systematic, energetic influencing of the masses in the interest of the state.4 [End Page 54] Heeding General Ludendorffs call, the government officially formed Ufa on December 18, 1917.5 Through this deliberate process of consolidation and mergers, Ufa became Germany’s first vertically integrated film conglomerate—controlling production, distribution, and exhibition—as well as the largest German film studio and eventually the largest studio in Europe (second only to Hollywood). A “cultural production company of historically unprecedented magnitude,”6 Ufa produced a renowned canon—including films such as The Golem (1920), The Last Laugh (1924), Metropolis (1927), and Triumph of the Will (1935). Click for larger view View full resolution Erich Ludendorff and Adolph Hitler, 1924 Moreover, in spite of dramatic regime changes from 1918–1945, during three distinct German political periods—from the Kaiserreich (a monarchy), to the Weimar Republic (a parliamentary democratic republic), to the Third Reich (a totalitarian dictatorship)—Ufa maintained an extraordinary degree of continuity in its personnel, its censorship regulations, and, most notably, its propaganda efforts (from its escapist films to its overtly nationalistic material). Given the pervasiveness of film, the force of which Ludendorff had accurately assessed, Ufa was perhaps the most consistent cultural representation of Germany for 27 years. Ufa was both a cultural institution and a modem industry, constantly surrounded by the “force field made up of capital, politics, film, and the public.”7 If its policies and products often reflected the uneasiness of these politically transitional eras occurring in just a quarter of a century, the studio nonetheless adapted quickly and energetically to the shifting political pressures (producing almost all of its filmic corpus during the Weimar and Nazi eras). Germany’s social and political landscapes fundamentally changed at the end of WWI. The nation had been unified for less than fifty years when the end of WWI brought about the abolishment of the Kaiserreich monarchy, due to the abdication and subsequent flight of Kaiser Wilhelm II. Germany’s defeat at the end of WWI shocked the German public because the nationalistic propaganda, from sources including Bufa films, had led the vast majority of the German public to believe that Germany was winning the war.8 In addition to the shock of defeat, the Treaty of Versailles caused widespread humiliation among Germans, which spurred a palpable...

‘Short Film of the Year–A Nazi Rite of Passage’: Gösta Werner and the making of The Sacrifice (1945)

This article reconsiders the Swedish filmmaker Gösta Werner’s experimental short film The Sacrifice (Midvinterblot, 1945) and places its production history in an ideological context. In this case study, the article shows that The Sacrifice, which depicts gruesome old Norse pagan rituals of sacrifice, threw light on the director’s collaboration with the Nazi controlled German film company Universum Film AG (UFA) in the production of propaganda newsreels and that the film evoked a debate on the representation of violence in the aftermath of World War II. While some critics accused The Sacrifice of being influenced by ‘Blut und Boden’ and other elements of Nazi ideology others praised the film for its formal innovations and it was named the Swedish short film of the year. Tracing how these practices affected the authorial discourse surrounding Werner during and after the war, the article raises questions not only concerning how other media practitioners handled this chapter of his life, but also how he himself treated the war years in the construction of his own biographical legend.

Dyskursy postpamięci we współczesnym transnarodowym filmie niemieckim

Discourses of Post-memory in Contemporary Transnational German Film
 The article is dedicated to the problem of trauma and death shown in contemporary transnational (made by directors living in Germany, but of non-German origin) German feature, documentary and experimental film. It raises the question of how the medium of film within its various narration and depiction modes (re)creates memory and post-memory, and at the same time it can be seen as a way to reclaim history in its personal or cultural dimension. The following films have been discussed: Totentraum (1995) and In fremder Erde (2001) by Ayhan Salar, Passing Drama (1999) by Angela Melitopoulos and The Cut (2014) by Fatih Akin. For this purpose, the author has implemented inter alia Aleida and Jan Assmann’s theory of memory.

Everyday Myth

April 01 2020 Everyday Myth Harun Farocki, Harun Farocki Harun Farocki (1944–2014) studied at the German Film and Television Academy (DFFB) in West Berlin from 1966 to 1968. He realized more than one hundred productions for television, cinema, and radio (documentaries, essay films, fiction, children's television, radio plays) in the following five decades, which he complemented, since 1995, with video installations for exhibition spaces. Farocki's films and installations have been shown widely in solo and group exhibitions, including Documenta 10 in 1997 and Documenta 12 in 2007. A prolific writer, most notably in the journal Filmkritik, which he coedited between 1974 and 1983, he also taught at various institutions, including DFFB, the University of California, Berkeley, and the Academy of Fine Arts Vienna. Search for other works by this author on: This Site Google Scholar Ted Fendt Ted Fendt Search for other works by this author on: This Site Google Scholar Author and Article Information Harun Farocki Harun Farocki (1944–2014) studied at the German Film and Television Academy (DFFB) in West Berlin from 1966 to 1968. He realized more than one hundred productions for television, cinema, and radio (documentaries, essay films, fiction, children's television, radio plays) in the following five decades, which he complemented, since 1995, with video installations for exhibition spaces. Farocki's films and installations have been shown widely in solo and group exhibitions, including Documenta 10 in 1997 and Documenta 12 in 2007. A prolific writer, most notably in the journal Filmkritik, which he coedited between 1974 and 1983, he also taught at various institutions, including DFFB, the University of California, Berkeley, and the Academy of Fine Arts Vienna. Ted Fendt Translator Online Issn: 1536-0105 Print Issn: 1526-3819 © 2020 by Grey Room, Inc. and the Massachusetts Institute of Technology.2020Grey Room, Inc. and the Massachusetts Institute of Technology. Grey Room (2020) (79): 90–92. https://doi.org/10.1162/grey_a_00294 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Harun Farocki, Ted Fendt; Everyday Myth. Grey Room 2020; (79): 90–92. doi: https://doi.org/10.1162/grey_a_00294 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsGrey Room Search Advanced Search This content is only available as a PDF. © 2020 by Grey Room, Inc. and the Massachusetts Institute of Technology.2020Grey Room, Inc. and the Massachusetts Institute of Technology. Article PDF first page preview Close Modal You do not currently have access to this content.

Snowdrops Bloom in September

April 01 2020 Snowdrops Bloom in September Harun Farocki, Harun Farocki Harun Farocki (1944–2014) studied at the German Film and Television Academy (DFFB) in West Berlin from 1966 to 1968. He realized more than one hundred productions for television, cinema, and radio (documentaries, essay films, fiction, children's television, radio plays) in the following five decades, which he complemented, since 1995, with video installations for exhibition spaces. Farocki's films and installations have been shown widely in solo and group exhibitions, including Documenta 10 in 1997 and Documenta 12 in 2007. A prolific writer, most notably in the journal Filmkritik, which he coedited between 1974 and 1983, he also taught at various institutions, including DFFB, the University of California, Berkeley, and the Academy of Fine Arts Vienna. Search for other works by this author on: This Site Google Scholar Ted Fendt Ted Fendt Search for other works by this author on: This Site Google Scholar Author and Article Information Harun Farocki Harun Farocki (1944–2014) studied at the German Film and Television Academy (DFFB) in West Berlin from 1966 to 1968. He realized more than one hundred productions for television, cinema, and radio (documentaries, essay films, fiction, children's television, radio plays) in the following five decades, which he complemented, since 1995, with video installations for exhibition spaces. Farocki's films and installations have been shown widely in solo and group exhibitions, including Documenta 10 in 1997 and Documenta 12 in 2007. A prolific writer, most notably in the journal Filmkritik, which he coedited between 1974 and 1983, he also taught at various institutions, including DFFB, the University of California, Berkeley, and the Academy of Fine Arts Vienna. Ted Fendt Translator Online Issn: 1536-0105 Print Issn: 1526-3819 © 2020 by Grey Room, Inc. and the Massachusetts Institute of Technology.2020Grey Room, Inc. and the Massachusetts Institute of Technology. Grey Room (2020) (79): 100–105. https://doi.org/10.1162/grey_a_00297 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Harun Farocki, Ted Fendt; Snowdrops Bloom in September. Grey Room 2020; (79): 100–105. doi: https://doi.org/10.1162/grey_a_00297 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsGrey Room Search Advanced Search This content is only available as a PDF. © 2020 by Grey Room, Inc. and the Massachusetts Institute of Technology.2020Grey Room, Inc. and the Massachusetts Institute of Technology. Article PDF first page preview Close Modal You do not currently have access to this content.