Labour in a Single Shot
Labour in a Single Shot
Critical Perspectives on Antje Ehmann and Harun Farocki’s Global Video Project
€ 129,00
Aantal pagina's
15.6 x 23.4 cm
Toon inhoudsopgaveVerberg inhoudsopgave
Dedication Page
Ch. 1—Detlef Gericke, Foreword: Eine Einstellung zur Arbeit – Labour in a Single Shot
Ch. 2—Editors, Introduction
Ch. 3—Antje Ehmann, Workshop and Exhibition Journals, 2011-2014
Ch. 4—Peter J. Schwartz, Attitudes toward Work: On the Historical Metamorphoses of Psychotechnology
Ch. 5—Roy Grundmann, One Shot, Two Mediums, Three Centuries
Ch. 6—Thomas Elsaesser, The Body and the Senses: Harun Farocki on Work and Play
Ch. 7—Dale Hudson and Patricia R. Zimmerman, Ten Propositions
Ch. 8—José Gatti, Videopoetics of Labour in a Single Shot
Ch. 9—David Barker, Knowing When to Be Wary of Images
Ch. 10—Jeannie Simms, Punching In/Punching Out: Labour, Care, and Leisure at Work and at Play
Ch. 11—Gregory H. Williams, Labour’s Mediating Objects: Tools, Tactility, and Embodiment
Ch. 12—Thomas Stubblefield, Database Labour: Supply Chains, Logistics, and Flow
Ch. 13—Gloria Sutton, The Networked Conditions of Labour in a Single Shot
Ch. 14—Vinicius Navarro, Reading the Web Catalogue: Labour in a Single Shot as Online Environment
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Labour in a Single Shot

Critical Perspectives on Antje Ehmann and Harun Farocki’s Global Video Project

De onderstaande tekst is niet beschikbaar in het Nederlands en wordt in het Engels weergegeven.
This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and videomaker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honouring the original Lumière film’s basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world.

Roy Grundmann

Roy Grundmann is Associate Professor of Film Studies at Boston University. He is the author of Andy Warhol’s Blow Job (2003), the editor of A Companion to Michael Haneke (2010) and Werner Schroeter (2018), and a co-editor of Michael Haneke: Interviews (2020), The Wiley-Blackwell History of American Film, Vols. I-IV (2012) and American Film History: Selected Readings, Vol. 1 (Beginnings to 1960) and Vol. 2 (1960-Present) (2015). Grundmann has curated retrospectives on Andy Warhol, Michael Haneke, and Matthias Müller.

Peter Schwartz

Peter J. Schwartz is Associate Professor of German, Comparative Literature, and Film at Boston University. He is the author of After Jena: Goethe's Elective Affinities and the End of the Old Regime (2010) and of articles on the Faust tradition, Georg Büchner, Michael Haneke, and Aby Warburg. Recent publications include the English translation of André Jolles's classic work of literary genre theory, Simple Forms (2017), an iconographic study of Chinese Communist paper money and Soviet silent film (2014), and an extended critical essay on Aby Warburg’s relationship to cinema (2020).

Gregory Williams

Gregory H. Williams is Associate Professor of Contemporary and Modern Art History at Boston University. His book, Permission to Laugh: Humor and Politics in Contemporary German Art, was published by the University of Chicago Press in 2012. He is currently researching how early vocational training impacted the work of West German sculptors, painters, and printmakers in the late 1950s and 1960s. He is also co-editing a book on humor in global contemporary art.