The third part of the Eye/Machine cycle structures the material around the concept of the operational image. These are images which do not portray a process but are themselves part of a process. As early as the Eighties, cruise missiles used a stored image of a real landscape then took an actual image during flight, the software compared the two images. A comparison between idea and reality, a confrontation between pure war and the impurity of the actual. This confrontation is also a montage and montage is always about similarity and difference. Many operational images show coloured guidance lines, intended to portray the work of recognition. The lines tell us emphatically what is all important in these images, and just as emphatically what is of no importance at all. Superfluous reality is denied – a constant denial provoking opposition.

1992 short by Schatzl, shot on video

An animated film that is critical of society. After being kissed by a "celestial" muse, an inventor succeeds in building a machine that will clothe the naked of the world. But after a "devilish" inspiration, the inventor expands heedlessly into new markets, leading to ever-increasing growth of the machine until it finally enslaves its inventor, who has become a war profiteer.

Documentary by Helma Sanders-Brahms.

The film is made up of recordings taken from Tuggener's entire period of creative activity, and brings together places and factories to which the artist produced individual films, books and corporate publications. An inventory of his far-reaching analysis of industry, its activities and the people working within it.

A playful take on gendered technology and the mechanisation of society. Adina Camhy traces spiralling stories both personal and societal, mapping out the entangled development of musical and militaristic machines.

A Film by Peter Krieg. From a Marilyn Monroe robot to the ethics of artificial intelligence, Machine Dreams explores humanity's love affair with machines and computers.

The intricate history of UFA, a film production company founded in 1917 that has survived the Weimar Republic, the Nazi regime, the Adenauer era and the many and tumultuous events of contemporary Germany, and has always been the epicenter of the German film industry.

The film was produced as a compilation film. Blum reported in “Film-Kurier“ (5.11.1928): "It will be assembled from excerpts of partly unpublished Ukrainian films. […] Some American footage has also been used. To get material as impressive as possible, a number of films, 0-60, have been viewed." Based on ideas by Dziga Vertov, and largely assembled from the last reel of his film 'The Eleventh Year', this compilation presents an explicit critique of the very technology that Vertov sought to praise, stressing the dark side of industrialization—hands mangled in workplace accidents, train wrecks, coffins—and connects to a particularly German concern with the negative effects of technology stretching from the Romantics to Heidegger, Horkheimer, and Adorno in the twentieth century.

In Eye/Machine II, Farocki has brought together visual material from both military and civilian sectors, showing machines operating intelligently and what it is they see when working on the basis of image processing programs. The traditional man-machine distinction becomes reduced to "eye/machine"" where cameras are implanted into the machines as eyes. As a result of the Gulf War, the technology of warfare came to provide an innovative impulse, which boosted the development of civilian production. Farocki shows us computer simulated images looking like something out of science-fiction films: rockets steer towards islands set in a shining sea; apartment blocks are blown up; fighter aircraft fire at one another with rockets and defend themselves with virtual flares.

The work centers on the images of the Gulf War which caused worldwide sensation in 1991. In the shots taken from projectiles homing in on their targets, bomb and reporter were identical, according to a theory put forward by the philosopher Klaus Theweleit. At the same time it was impossible to distinguish between the photographed and the (computer) simulated images. The loss of the 'genuine picture' means the eye no longer has a role as historical witness. It has been said that what was brought into play in the Gulf War was not new weaponry but rather a new policy on images. In this way the basis for electronic warfare was created...

It's been 10 years since John Connor saved Earth from Judgment Day, and he's now living under the radar, steering clear of using anything Skynet can trace. That is, until he encounters T-X, a robotic assassin ordered to finish what T-1000 started. Good thing Connor's former nemesis, the Terminator, is back to aid the now-adult Connor … just like he promised.

A quirky, dysfunctional family's road trip is upended when they find themselves in the middle of the robot apocalypse and suddenly become humanity's unlikeliest last hope.

The story of humankind's last stand against a cataclysmic alien invasion. Set in the war-ravaged African countryside, a U.S. soldier and a French foreign aid worker team up to survive the alien onslaught. Their bond will be tested as they search for refuge across a crumbling world.

Earth has been conquered by robots from another galaxy and the human survivors must stay in their homes, or risk incineration.

A psychopathic criminal with a mother complex makes a daring break from prison and then leads his old gang in a chemical plant payroll heist. After the heist, events take a crazy turn.