This article presents the results of an investigation on the documentary Prison Images, by filmmaker Harun Farocki, and defines its recurring images, organized into the following thematic groups: “Disciplinary Body,” “Oppressed Body,” “Guarded Body,” “Technology as a Tool for Desubjectification,” “Work and Oppression,” and “Desire.” Such structure allowed to reach an understanding of Farocki’s poetic and intellectual thought by revealing the sensitivity and innovative character of the formal structure of his work. In addition, it unraveled a critical and human dimension which becomes especially relevant nowadays. This article focuses the logic behind the relation stablished by Farocki between the production of images in contemporary society and the process of dehumanization, found both in the means of production and in imprisonment.
Harun Farocki; Images; Archive; Prison; Humanity