La Vie RFA
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Réalisé par Harun Farocki • Écrit par Harun Farocki
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Allemagne • 1990 • 83 minutes • 16 mm • Couleur
- Réalisation :
Harun Farocki - Écriture :
Harun Farocki - Image :
Ingo Kratisch - Son :
Klaus Klingler - Montage :
Irina Hoppe, Rosa Mercedes
- Production (structure) :
Harun Farocki Filmproduktion - Diffuseur :
ZDF - Zweites Deutsches Fernsehen, La Sept - Ayant droit :
Harun Farocki Filmproduktion
- N° ISAN :
non renseigné
Résumé
Peu avant la réunification de l'Allemagne, Farocki a su capter les règles qui régissaient la RFA, État industriel par excellence. Il cherche à cerner la logique des cycles de formation dans diverses institutions d'entraînement et d'éducation (compagnie d'assurances, école de sages-femmes, école de police, etc.) se préparant assidûment pour le jour J.
"The author assembles a genre picture of the contemporary FRG with shots of scenes where life is rehearsed, ability/durability is tested. Wherever one looks, people appear as actors playing themselves; they take on roles. A play in the theater of life made up of training courses, fitness tests for things and people. Be it in birth preparation classes for expectant parents or in practice runs for sales talks, on the military training ground or during role-plays for educational purposes. Everywhere the incessant effort to be prepared for the emergency of "reality" can be felt. How To Live In The FRG assembles out of a wealth of details a picture of a society in which childbearing and dying, crying anad taking care of people, crossing streets and killing are taught and learned in state or private institutions, indeed have to be learned. The real mechanical ballet is not danced by machines but by people, who move to a music that feeds on bombastic phrases from the realms of social work, bureaucracy and therapy. All together, the collected scenes appear to support the view that a mentality of insurance and providing for the future prevails in the FRG, a country in which happiness as well as misery are supposed to be disciplined by means of social techniques and freed from any measure of unpredictability. And yet How To Live In The FRG goes beyond such an interpretation. The participants in the games, tests, and therapy sessions are not degraded into pieces of evidence for some theory or other. They retain, to varying degrees, something of their dignity. This is a result of Farocki's working method:he has edited the scenes in such a way that even the most nonsensical occurrences as it were explain themselves."
(D. Leder)
Mot(s)-clé(s) thématique(s)
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