“Cinematography of Devices”: Harun Farocki’s Eye/Machine Trilogy

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dc.citation.firstpage329
dc.citation.issueNumber2
dc.citation.journalTitleGerman Studies Review
dc.citation.lastpage351
dc.citation.volumeNumber38
dc.contributor.authorBlumenthal-Barby, Martin
dc.date.accessioned2015-10-12T15:47:24Z
dc.date.available2015-10-12T15:47:24Z
dc.date.issued2015
dc.description.abstractHarun Farocki’s 2001–2003 installation Eye/Machine tackles issues of surveillance surrounding the “intelligent” weapon systems deployed in the 1990/91 Gulf War. Farocki is especially interested in the image processing systems behind these weapons, their operational images that are both generated by machines and read by machines—images that require neither human creators nor human spectators. The article examines how Farocki turns these images into aesthetic artifacts even though they were never meant to be seen. Concomitantly, it interrogates our own status as spectators and explores how we can avoid complicity with the imagistic logic of war that Farocki confronts.
dc.identifier.citationBlumenthal-Barby, Martin. "“Cinematography of Devices”: Harun Farocki’s Eye/Machine Trilogy." <i>German Studies Review,</i> 38, no. 2 (2015) Johns Hopkins University Press: 329-351. http://dx.doi.org/10.1353/gsr.2015.0086.
dc.identifier.doihttp://dx.doi.org/10.1353/gsr.2015.0086
dc.identifier.urihttps://hdl.handle.net/1911/81875
dc.language.isoeng
dc.publisherJohns Hopkins University Press
dc.rightsArticle is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use.
dc.title“Cinematography of Devices”: Harun Farocki’s Eye/Machine Trilogy
dc.typeJournal article
dc.type.dcmiText
dc.type.publicationpublisher version
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