[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F2333:{\"language\":\"fr-FR\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":8,"birthday":9,"deathday":10,"gender":11,"homepage":12,"id":13,"imdb_id":14,"known_for_department":15,"name":16,"place_of_birth":17,"popularity":18,"profile_path":19,"combined_credits":20,"images":1520},false,[6,7],"Rosa Mercedes","Mercedes Rossa","Harun Farocki est né en 1944 à Nový Jičín (alors située en Allemagne mais aujourd’hui en République tchèque), d’un père indien et d’une mère allemande. Il étudie à la Deutsche Film und Fernsehakademie à Berlin et y réalise des films-essais militants, dans un contexte marqué par les protestations contre la guerre du Vietnam, thème de son premier film important, Feu inextinguible (1969). Entre 1974 et 1984, il est rédacteur en chef de la revue Filmkritik, dans laquelle il développe une vaste réflexion théorique sur l’image. Il en fera de même par sa pratique de cinéaste, tout au long de sa vie. Dans Nature morte (1997), c’est le processus de fabrication de photographies publicitaires qui est analysé à l’aide d’une mise en parallèle avec la tradition picturale dont il découle. Dans Les Ouvriers quittent l’usine (1995), Harun Farocki repart du film fondateur des frères Lumière pour en retrouver des réminiscences dans l’histoire du septième art. Dans En sursis (2007), il remploie des images tournées par Rudolf Breslauer, prisonnier dans le camp de transit nazi de Westerbork (Pays-Bas), sur ordre d’un SS. Parce qu’elles ne montrent pas directement l’horreur, ces archives invitent à une réflexion sur l’ambiguïté de tout document. La conscience politique d’Harun Farocki s’exprime par ailleurs à travers sa volonté de témoigner du fonctionnement des industries et de l’influence de la technologie. Dans En comparaison (2009), il dévoile les différentes façons dont la brique est fabriquée de par le monde, des plus traditionnelles aux plus automatisées. L’univers de l’entreprise, avec ses codes et ses modes spécifiques d’expression du pouvoir, constitue également l’un de ses objets d’étude privilégiés. Dans Un nouveau produit (2012), il suit les réunions d’une société de consulting de Hambourg et documente la rhétorique déployée en son sein. 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Dans une œuvre qui rappelle les écrits de Paul Virilio et de Michel Foucault, Farocki examine divers phénomènes, notamment des photographies de reconnaissance aérienne du camp de concentration d’Auschwitz.",1.7996,"\u002FjEPbZyaDCzdOTXg6inbNiqVtjxc.jpg","1991-11-13",6.7,11,"Self (uncredited)","65373b054083b3011a6d483a",{"adult":4,"backdrop_path":23,"genre_ids":92,"id":93,"title":94,"original_language":42,"original_title":94,"overview":28,"popularity":95,"poster_path":23,"release_date":96,"softcore":4,"video":4,"vote_average":65,"vote_count":33,"character":55,"credit_id":97,"order":32,"media_type":36},[39],556829,"Wer ist Helene Schwarz?",1.0656,"2005-02-13","6537e62cae366800ada7a590",{"adult":4,"backdrop_path":23,"genre_ids":99,"id":100,"title":101,"original_language":42,"original_title":101,"overview":28,"popularity":102,"poster_path":103,"release_date":104,"softcore":4,"video":4,"vote_average":105,"vote_count":32,"character":55,"credit_id":106,"order":35,"media_type":36},[39],295059,"Schnittstelle",1.3476,"\u002F2KXmbr5Yh7uHgVbl2GvsoAcoCss.jpg","1995-11-08",6.5,"5424bc32c3a368088700435d",{"adult":4,"backdrop_path":23,"genre_ids":108,"id":109,"title":110,"original_language":42,"original_title":110,"overview":28,"popularity":111,"poster_path":112,"release_date":113,"softcore":4,"video":4,"vote_average":35,"vote_count":35,"character":114,"credit_id":115,"order":35,"media_type":36},[39],412586,"Telekritik zu: The Song of Ceylon",0.6874,"\u002Fa8vVC6dwqDplHM3z3RCQyidf7O6.jpg","1975-10-07","(voice)","630fe126564ec7007a8db1af",{"adult":4,"backdrop_path":117,"genre_ids":118,"id":119,"title":120,"original_language":42,"original_title":120,"overview":28,"popularity":121,"poster_path":122,"release_date":123,"softcore":4,"video":4,"vote_average":124,"vote_count":125,"character":28,"credit_id":126,"order":35,"media_type":36},"\u002FfMD7LI8Zilkp7QmhMLF8SsRbfYy.jpg",[39],89625,"Nicht löschbares Feuer",1.4711,"\u002Fryf8tHaTBuBPpDiMdj0SuwymL2Q.jpg","1969-07-26",6.2,15,"659b3f3415959f01a4225f9a",{"adult":4,"backdrop_path":23,"genre_ids":128,"id":129,"title":130,"original_language":42,"original_title":130,"overview":28,"popularity":131,"poster_path":132,"release_date":133,"softcore":4,"video":4,"vote_average":65,"vote_count":11,"character":28,"credit_id":134,"order":35,"media_type":36},[59],316205,"Ihre Zeitungen",1.3448,"\u002FhTieeIlSn7XsMVKTUX0AkCG6ZeM.jpg","1968-06-30","54adcf2c92514169e0000757",{"adult":4,"backdrop_path":23,"genre_ids":136,"id":137,"title":138,"original_language":27,"original_title":138,"overview":28,"popularity":139,"poster_path":23,"release_date":140,"softcore":4,"video":4,"vote_average":141,"vote_count":33,"character":142,"credit_id":143,"order":33,"media_type":36},[],337949,"\"Amerika\" vor Augen oder Kafka in 43 Min. 30 Sec.",0.976,"1978-09-20",6,"Film director","5541ed88c3a3681da50037f4",{"adult":4,"backdrop_path":145,"genre_ids":146,"id":148,"title":149,"original_language":150,"original_title":149,"overview":151,"popularity":152,"poster_path":153,"release_date":154,"softcore":4,"video":4,"vote_average":155,"vote_count":156,"character":157,"credit_id":158,"order":35,"media_type":36},"\u002Fzh8ezwQj7TWhMiqH1hvjPnjTgwX.jpg",[39,147],36,324184,"Une jeunesse allemande","fr","La Fraction Armée Rouge (RAF), organisation terroriste d’extrême gauche, également surnommée « la bande à Baader » ou « groupe Baader-Meinhof », opère en Allemagne dans les années 70. Ses membres, qui croient en la force de l’image, expriment pourtant d’abord leur militantisme dans des actions artistiques, médiatiques et cinématographiques. Mais devant l’échec de leur portée, ils se radicalisent dans une lutte armée, jusqu’à commettre des attentats meurtriers qui contribueront au climat de violence sociale et politique durant « les années de plomb ».",1.8334,"\u002Fc4ruzmrtQ2OL6oVIJILzVLB4XXS.jpg","2015-05-15",7.1,26,"Self (archive footage)","555c3d6a9251416b66000b8f",{"adult":4,"backdrop_path":23,"genre_ids":160,"id":161,"title":162,"original_language":42,"original_title":163,"overview":164,"popularity":165,"poster_path":166,"release_date":167,"softcore":4,"video":4,"vote_average":105,"vote_count":141,"character":28,"credit_id":168,"order":169,"media_type":36},[],254967,"Entre deux guerres","Zwischen zwei Kriegen","Un film sur l’essor de l’industrie sidérurgique dans la république de Weimar, et sur ses conséquences politiques : le nazisme et la guerre.\r Un hommage à Fritz Lang et à Bertolt Brecht.",0.5929,"\u002Fb91eAsfw5etDwX4kP33Nv9qTsz0.jpg","1978-11-05","55a678f2c3a368458400003e",12,{"adult":4,"backdrop_path":23,"genre_ids":171,"id":172,"title":173,"original_language":42,"original_title":173,"overview":174,"popularity":175,"poster_path":176,"release_date":177,"softcore":4,"video":4,"vote_average":105,"vote_count":178,"character":28,"credit_id":179,"order":35,"media_type":36},[39],309858,"Schlagworte – Schlagbilder. 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muet de 3 minutes et demie, dans lesquels elle est libre de faire ce qu'elle veut.",2.0543,"\u002F5l2dmFdiaFbt8XUyzmZxBeqGMJA.jpg","1978-12-20",4.9,"N°1068","5d3a256de54d5d6f48daa51b",93,{"adult":4,"backdrop_path":293,"genre_ids":294,"id":295,"title":296,"original_language":42,"original_title":297,"overview":298,"popularity":299,"poster_path":300,"release_date":301,"softcore":4,"video":4,"vote_average":302,"vote_count":65,"character":303,"credit_id":304,"order":35,"media_type":36},"\u002Fm9D3jKPQTae3Jmm3W1XyHzEUOTJ.jpg",[39,271],239395,"Sorties d'usine","Arbeiter verlassen die Fabrik","À partir du tout premier film de l'histoire du cinéma, \"La Sortie des usines Lumière\", Harun Farocki a rassemblé des séquences de sorties d'usine dans des films d'archives ou des films de fiction allemands et 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Il prend les ampoules sur le tapis et les insère dans un appareil de test. Les ampoules s’allument brièvement et baignent la scène d’une lumière scintillante. 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