Surveillance and control in the work of Harun Farocki
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2018.138357Keywords:
surveillance, control, image, archive, Harun FarockiAbstract
This study aims to show how the images used by Harun Farocki in the films Prison Images and Images of the World and the Inscription of War assume an operational function, a role that distances them from a figurative dimension, producing associations not perceptible until then, which reveal the aspects of surveillance and control to which the world of production and consumption is directly linked. Based on the reflections of Michel Foucault and Gilles Deleuze, it is possible to show the normative character of surveillance and its reconfigurations from the technological advance to a system of social control that works in an open and expanded way and has the image as the center of its mechanism.
Downloads
References
BAUTE, M. “A sequência das moedas”. In: MOURÃO, M. D.; BORGES, C.; MOURÃO, P. (Orgs.). Harun Farocki: por uma politização do olhar. São Paulo: Cinemateca Brasileira, 2010. p. 128-133.
BLÜMLINGER, C. “Harun Farocki: a arte do possível”. In: MACIEL, K. (Org.). Transcinemas. Rio de Janeiro: Contra Capa, 2009. p. 231-241.
BRUNO, F. “Contramanual para câmeras inteligentes: vigilância, tecnologia e percepção”. Galaxia, São Paulo, n. 24, p. 47-63, dez. 2012a.
______. “Imagem, tecnologia e acontecimento: conexões a partir da obra de Harun Farocki”. In: DIAS, S.; MARQUES, D.; AMORIM, C. (Orgs.). Conexões: Deleuze e arte e ciência e acontecimento e… Petrópolis: De Petrus; Brasília: CNPq/MCT; Campinas: ALB, 2012b. p. 85-102.
DELEUZE, G. Conversações. São Paulo: Ed. 34, 1992.
FAROCKI, H. “Trailers escritos”. In: MOURÃO, M. D.; BORGES, C.; MOURÃO, P. (Orgs.). Harun Farocki: por uma politização do olhar. São Paulo: Cinemateca Brasileira, 2010. p. 64-97.
FAROCKI, H. Desconfiar de las imágenes. Buenos Aires: Caja Negra, 2013.
FERNÁNDEZ, D. “Prólogo”. In: ______ (Org.). Sobre Harun Farocki: la continuidad de la guerra a través de las imágenes. Santiago: Metales Pesados, 2014. p. 7-11.
FOUCAULT, M. Nascimento da biopolítica: curso dado no Collège de France (1978-1979). São Paulo: Martins Fontes, 2008.
______. Vigiar e punir: nascimento da prisão. Petrópolis: Vozes, 1987.
PANTENBURG, V. Farocki/Godard: film as theory. Amsterdã: Amsterdam University Press, 2015.
VEGA, F. “La fabricación de lo visual: catástrofe y política de la imagen en el cine de Harun Farocki”. In: FERNÁNDEZ, D. (Org.). Sobre Harun Farocki: la continuidad de la guerra a través de las imágenes. Santiago: Metales Pesados, 2014. p. 43-55.
Referências audiovisuais
IMAGENS da prisão. Direção e roteiro: Harun Farocki. Título original: Gefängnisbilder. Alemanha: Harun Farocki Filmproduktion; ZDF/3sat, 2000. (60 min).
IMAGENS do mundo e inscrições da guerra. Direção e roteiro: Harun Farocki. Título original: Bilder der Welt und Inschrift des Krieges. Alemanha: Harun Farocki Filmproduktion; Filmförderung NRW, 1988. (75 min).
Downloads
Published
Issue
Section
License
Copyright (c) 2018 Jamer Guterres de Mello
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal must agree with the following terms:
- Authors keep their copyrights and grant the journal first time publication rights, having their articles simultaneously licensed under the Creative Commons Attribution License, which allows sharing texts with authorship recognition and first publication on this journal for non-commercial purposes.
- Authors are allowed to make additional contracts, for a non-exclusive distribution of the article’s version published on this journal (e.g.: publishing in institutional repositories of articles or as a book chapter), with authorship recognition and first publication on this journal.