{"id":1089,"date":"2018-12-03T15:27:32","date_gmt":"2018-12-03T08:27:32","guid":{"rendered":"https:\/\/ffd.or.id\/site\/uncategorized\/retrospektif-harun-farocki-back-to-work\/"},"modified":"2020-09-28T19:16:24","modified_gmt":"2020-09-28T12:16:24","slug":"retrospektif-harun-farocki-back-to-work","status":"publish","type":"post","link":"https:\/\/ffd.or.id\/en\/program-highlight\/retrospektif-harun-farocki-back-to-work\/","title":{"rendered":"Retrospektif: Harun Farocki &#8211; Back to Work"},"content":{"rendered":"<p>As the prequel to the program \u201cPerspektif\u201d that questions the concept of working, this year\u2019s <strong>\u201cRetrospektif\u201d <\/strong>tried to highlight Harun Farocki\u2019s works in portraying labor through cinema. If today\u2019s present tried to review conventional labors, Farocki that lived when industrialization became the world\u2019s development basis, depicted it as a beautiful symphony. He wasn\u2019t loud in critiquing industry and humans like a moth within, but he presented the workers\u2019 reality in a repetition of moving pictures and\u2014in some movies\u2014an assembly of words until it evokes an odd intensity effect.<\/p>\n<p>Through <strong><em>Workers Leaving the Factory <\/em>(1995)<\/strong>, Farocki combined footages of the working class in factories. This movie doesn\u2019t just remind us of Lumiere brothers\u2019 first movie in the 100 years celebration of cinema, but it also become a reflection. Until more than 100 years after industrial revolution, humans are in fact still working under the same rhythm. Farocki also conveyed what he called contemporary opinion of industry through his cinematic essay <strong><em>As You See<\/em> (1986)<\/strong>. Moreover, he didn\u2019t forget to capture \u201cnew\u201d jobs through observational sequence as the reality of contemporary society in <strong><em>Still Life<\/em> (1997)<\/strong>.<\/p>\n<p>Farocki wasn\u2019t just a productive filmmaker that had directed 120 movies and installation works. He was also a movie critique, editor, theorist, and academician; a complete package which would never be enough to be discussed through his selected three movies. Industry, capital, and humans are subjects that aroused him.<\/p>\n<p>Via Farocki, we could see what\u2019s behind: how industry was created and how humans were like moths in the work vortex. Too little time to explore his way of thinking. But at least, it\u2019s enough to be the beginning to see what had happened back in the days where mechanization and mass industry were considered exceptional\u2014before we\u2019re drowning in the joy of what they called industry 4.0.<\/p>\n<p>Harun Farocki\u2019s movies will be screened at Festival Film Dokumenter 2018 on <strong>5 to 9 December 2018<\/strong>. Specific agenda of <a href=\"https:\/\/ffd.or.id\/site\/en\/ffd-2018\/retrospective\/\"><strong>\u201cRetrospektif\u201d<\/strong> <\/a>could be seen on <a href=\"https:\/\/ffd.or.id\/site\/en\/ffd-2018\/schedule\/\">schedule<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the prequel to the program \u201cPerspektif\u201d that questions the concept of working, this year\u2019s \u201cRetrospektif\u201d tried to highlight Harun Farocki\u2019s works in portraying labor through cinema. If today\u2019s present tried to review conventional labors, Farocki that lived when industrialization became the world\u2019s development basis, depicted it as a beautiful symphony. He wasn\u2019t loud in [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":475,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22],"tags":[],"edition":[63],"class_list":["post-1089","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-program-highlight","edition-ffd-2018-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/1089","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/comments?post=1089"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/1089\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/475"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=1089"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/categories?post=1089"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/tags?post=1089"},{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=1089"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}