Taking as its subject the political and formal strategies of Farocki’s film about the development of Napalm B by Dow Chemical during the Vietnam War, Godmilow’s unabashedly perfect copy reopens Walter Benjamin’s discussion of art in the age of mechanical reproduction. What Farocki Taught thus becomes an agit-prop challenge to the cinema verité documentary’s representation of information, history, politics, and “real” human experience.
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