Godard/Farocki: towards other pedagogies of perception

Jean-Luc Godard and Harun Farocki share the editing table as a place for a different way of thinking and an alternative, dissident pedagogy of images, where the filmmakers themselves question and learn, from scratch and step by step, about their tools and possibilities. Somewhere between self-reflection and portraiture, these “home movies” dialogue on the borders between images and sounds, between automatic and creative gestures.

Schnittstelle [Interface] is a seminal essay in Farocki’s work: a self-portrait of his creative process to date (1995), blazing the trails that his digital work was to take, and reviewing editing as a laboratory for critical analysis and the creation of metaphors. The editing room is the central space in Marcel, which forms part of the extraordinary radical television series by Godard and Miéville: Six fois deux. Based on a dialogue between Godard and Marcel, an amateur filmmaker and a watchmaker by profession, Godard and Miéville reflect on how to see what lies between work and love, between the gestures of the professional and those of the amateur.

Georg K. Glaser - Schriftsteller und Schmied is one of Farocki’s loveliest film-portraits: filming and conversation with the writer and craftsman Glaser, who in the morning devoted himself to literature, and in the afternoon worked in his studio in Le Marais, Paris, making bowls, vases and jugs with metal techniques that almost no one else knew how to use.

Schnittstelle, Harun Farocki, Germany, 1995, Betacam a digital, 23’

Six fois deux: 3b Marcel, Jean-Luc Godard and Anne-Marie Miéville, France, 1975, U-Matic to digital, 55’

Georg K. Glasser - Schriftsteller und Schmied, Harun Farocki, Germany, 1988, 16 mm to digital, 44’

Spanish subtitles. Jean-Luc Godard’s copy provided by INA and Harun Farocki’s copies courtesy of Antje Ehmann (Harun Farocki GbR).

29 January 2023


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