![\"\"](\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2013\/06\/Arbeiter_verlassen_di_Fabrik.jpg\" "\\"Arbeiter")
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Workers Leaving the Factory<\/b> – such was the title of the first cinema film ever shown in public. For 45 seconds, this stillexistant sequence depicts workers at the photographic products factory in Lyon owned by the brothers Louis and Auguste Lumi\u00e8re hurrying, closely packed, out of the shadows of the factory gates and into the afternoon sun. Only here, in departing, are the workers visible as a social group. But where are they going? To a meeting? To the barricades? Or simply home? These questions have preoccupied generations of documentary filmmakers. For the space before the factory gates has always been the scene of social conflicts. And furthermore, this sequence has become an icon of the narrative medium in the history of the cinema. In his documentary essay of the same title, Harun Farocki explores this scene right through the history of film. The result of this effort is a fascinating cinematographic analysis in the medium of cinematography itself, ranging in scope from Chaplin’s Modern Times<\/i> to Fritz Lang’s Metropolis<\/i> to Pier Paolo Pasolini’s Accattone!<\/i>. Farocki’s film shows that the Lumi\u00e8re brothers’ sequence already carries within itself the germ of a foreseeable social development: the eventual disappearance of this form of industrial labor. (Klaus Gronenborn, Hildesheimer Allgemeine Zeitung<\/i>, November 21, 1995). The first film ever projected is listed under the title The Workers Leaving the Factory<\/i>. Chaplin played a worker, and Marilyn Monroe once exited the gate of a fish factory… but the workers’ film has not become a main genre in film history. The space in front of the gate is far from being a preferred cinematic location. Most films begin when the work is over. I have collected images from several countries and many decades expressing the idea "exiting the factory", both staged and documentary – as if the the time has come to collect film-sequences, in the way words are brought together in a dictionary. (Ulrich Kriest) <\/p>\n + + +<\/font><\/p>\n <\/p>\n Harun Farocki<\/b> (Nov\u00fd Jicin, attuale Repubblica Ceca, 1944), tra i pi\u00f9 importanti cineasti a livello internazionale, ha realizzato oltre novanta film. Gli hanno dedicato mostre retrospettive, tra gli altri, il Filmmuseum di Vienna, il MACBA di Barcellona, il Museo Nacional Centro de Arte Reina Sofia di Madrid, il Frankfurter Kunstverein (Francoforte), il MoMA di New York, l’Istituto del Cinema svedese (Stoccolma). Farocki ha partecipato anche a collettive che si sono svolte al Wattis Institute for Contemporary Art di San Francisco, alla Generali Foundation di Vienna, al Kunsthaus di Zurigo, al KW Institute for Contemporary Art di Berlino, oltre che a Documenta 12 a Kassel. Dopo aver insegnato alla University of California di Berkeley e all’Accademia d’arte di Berlino, oggi \u00e8 docente all’Accademia d’arte di Vienna. Harun Farocki vive e lavora a Berlino. <\/p>\n + + +<\/font><\/p>\n <\/p>\n
\n[Fonte: farocki-film.de<\/a>]<\/font><\/p>\n
\n[Fonte: strozzina.org<\/a>]<\/font><\/p>\n