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Der Standpunkt der Aufnahme - Point of View
Perspectives of political film and video work

edited by Tobias Hering
designed by Chiara Figone
published by Archive Books in collaboration with Arsenal - Institute for Film and Video Art, Berlin 2014 
485 pages, German & English
22 Euros (in Germany)
ISBN 978-3943620146

List of Contents

Tobias Hering —
Der Standpunkt der Aufnahme – Point of View

Videoladen Zürich —
Züri brännt jetzt! / Zurich’s burning now!

Joanne Richardson —
Making films politically

Charles Heller —

Raphaël Cuomo, Maria Iorio —
And never becomes :

Serge Daney —
The Restaging

Brigitta Kuster —
Choix d’un passé. Traits d’union

dogfilm —
dogfilm goes Fernsehen? / dogfilm goes television?

Bärbel Schönafinger — 
kanalB ersetzt herkömmliches Fernsehen / kanalB replaces ordinary television

Serge Daney —
On Paper

Djibril Diop Mambéty —
La grammaire de grand-mère / Grandma’s Grammar

Brigitta Kuster —
parler film

bankleer —
Les Maîtres 2000. Syntax und Fleisch / Les Maîtres 2000. Syntax and Flesh

Jean-Marie Straub, Elke Marhöfer, Mikhail Lylov —
Tausend Klippen / A Thousand Cliffs

Serge Daney —
A Tomb for the Eye (Straubian Pedagogy)

Sarah Vanagt, Tobias Hering —
Disturbed Earth

Robert Schlicht —
Film als Schauprozess / Film as Show Trial

Robert Schlicht, Romana Schmalisch —
Supplements to Preliminaries

Miriam Aprigio, Raphaël Grisey —
Taking part in festivities of one hundred years ago ... Dear Miriam

Avery Gordon —
Who’s there? Some answers to questions about ghostly matters


All new texts are published for the first time. The repertoire texts are made available in print for the first time, some as first-time translations into English.

"Der Standpunkt der Aufnahme - Point of View" is conceived as providing reading matter; as a book which is not aspiring to fully or objectively cover its field of concern, but whose subjective contents, as much as they feed from specific work contexts, invariably raise and tackle questions which all politically concerned film and video work needs to address. Such questions, about the integrity of one's work, about the interaction between the camera and those filmed, about the relation between image and language, about positioning one's own production in the force-field of a largely globalized media landscape, are what suggests that there is a "political" dimension to this work in the first place. And it is the point of view, one's own position, "der Standpunkt der Aufnahme", the position of the camera as much as the history one is coming from, which such questions are concerning.

Download: press dossier for the book