Harun Farocki's 1990 film LEBEN – BRD (HOW TO LIVE IN THE FEDERAL REPUBLIC OF GERMANY) is a montage assembled from short scenes taken from 32 instructional and training classes, and therapy and test sessions from across the German Federal Republic. The individual film segments are all ‘acted scenes’, recorded during practice sessions in which some real life situation is being introduced, taught, practised, imitated, invoked, or mastered. LEBEN – BRD is a film composed entirely of these scenes – ‘a documentary film with performers’. The various types of performances in the film all have specific rules, sometimes revealing a depressing banality and sometimes an enticing, all too obvious perfection. The effort demanded by these performances represents a particular form of labour – indirect and contrived. True human action is ruled out, what is important here is the significance of preparatory and follow-up work, which appear as exercises in wasted human knowledge, or as a drill in modern marketing methods. These ‘didactic plays on mastering life’ are intended to be instructional in the carrying out of certain administrative and service activities, that is, in the rehearsing of certain functions. In addition, they – much like a ‘false bottom’ – are meant to lay bare and cure, per therapy, the effects of actual events and actions on the human spirit. Leben – BRD, in its brief shots of the tests that various consumer goods are put to, has created its own cinematic method of editing, its own form of punctuation. It is precisely these images, absent of people, that reinforce the human situation. ‘Matter is more magical than life’ (Roland Barthes), this magic appears to imbue the film's scenes, somewhat similar to a concept of ‘endurance’, whether of human beings or of objects. Just as material and product testing reveal something about our utilisation of things – in the face of endless, rhythmic endurance/application/ torture testing of consumer goods, the essence of ordinary activity emerges – so the various trials and errors and re-enactments and role-playing reveal something of the control that the forces of big business, of the insurance conglomerates, and the military impose on human life through their representation of the world, a standardisation that human beings do not ever completely assimilate.