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dc.contributor.authorBlumenthal-Barby, Martin
dc.date.accessioned 2015-10-12T15:47:24Z
dc.date.available 2015-10-12T15:47:24Z
dc.date.issued 2015
dc.identifier.citation Blumenthal-Barby, Martin. "“Cinematography of Devices”: Harun Farocki’s Eye/Machine Trilogy." German Studies Review, 38, no. 2 (2015) The Johns Hopkins University Press?: 329-351. http://dx.doi.org/10.1353/gsr.2015.0086.
dc.identifier.urihttps://hdl.handle.net/1911/81875
dc.description.abstract Harun 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.language.iso eng
dc.publisher The Johns Hopkins University Press?
dc.rights Article 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.type Journal article
dc.citation.journalTitle German Studies Review
dc.citation.volumeNumber 38
dc.citation.issueNumber 2
dc.type.dcmi Text
dc.identifier.doihttp://dx.doi.org/10.1353/gsr.2015.0086
dc.type.publication publisher version
dc.citation.firstpage 329
dc.citation.lastpage 351


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