Univ.-Prof. Dr. Gabriele Jutz
Gabriele Jutz is Professor of Film and Media Studies in the Department of Media Theory. Her current research interests include the history and theory of moving image-based art from experimental film, experimental animation and hybrid forms (moving images combined with painting, photography, performance, sculpture, etc.) to artists’ moving images (in a gallery or museum) as well as image/sound relations in audiovisual practices anchored in artistic contexts.
Since 2021 she has been a partner in the research project “Moving in Every Direction: Künstlerische Forschung als Beitrag zur Entwicklung aktueller Raumkonfigurationen für das bewegte Bild,” a research project funded by the Swiss National Science Foundation. Since 2020 she has worked as a partner with “Ecstatic Truth,” an international research network that organizes an annual symposium exploring the interface between animation and documentary. From 2015 to 2017 she participated in the International Research Network’s “Film and the Other Arts,” funded by the Arts & Humanities Research Council (AHRC). From 2016 to 2019 she was a key member of “RESET THE APPARATUS! A Survey of the Photographic and the Filmic in Contemporary Art,” a project funded by the Austrian Science Fund/PEEK that dealt with “obsolete” media and technologies in contemporary art practices.
In 2010, her book Cinéma brut. Eine alternative Genealogie der Filmavantgarde (De Gruyter) discussed experimental film practices that reject the usual tools of filmmaking: films made without the use of a camera, films made of found footage, and films that expand the limits of the film “performance” beyond what takes place on the screen.
In 2010, she was a Professor of Film Studies at Johann Wolfgang von Goethe University in Frankfurt am Main; and in 1991 at Freie Universität Berlin. She has lectured at the Universities of Vienna, Salzburg, Graz, and at Danube University Krems. From 2001 to 2003 she received a scholarship from the Austrian Science Fund to pursue her postdoctoral research (habilitation). From 1988 to 1994 she participated in a French-Austrian exchange program between the Austrian Academy of Sciences and France/CNRS (Centre National de Recherche Scientifique). In 1987 she received a three-year research grant from the Austrian Science Fund (FWF) to research Gender and Film. She finished her studies at Paris Lodron University of Salzburg in 1988 with a PhD on Fiction Film as a Source of Historiography. She received her MA (Lehramt) in History and Romance Studies in 1984 (University of Salzburg). In 1983 she received her Diplôme d’études approfondies (DEA) in film studies at University Paris 3 Sorbonne.
She is a member of several Director’s Boards: Synema – Gesellschaft für Film und Medien (Vienna); the Austrian Society of Semiotics; the Center for Avant-Garde Studies, University of Iceland; she is also the National Representative to the Executive Committee in the International Association for Semiotic Studies. She is a member of: NECS – European Network for Cinema and Media Studies; EAM – European Network for Avant-Garde and Modernism Studies; and of GfM – Gesellschaft für Medienwissenschaft.
Contact
Office Hours: by Appointment
Phone: +43-699 12108144
Email: gabriele.jutz[at]uni-ak.ac.at
Showroom: Gabriele Jutz
- title
- Cinematography’s Blind Spots
- subtitle
- Artistic Exploitations of the Film Frame
- type
- Chapter (Peer-Reviewed)
- keywords
- film frame, experimental film, Photography , Cinematography, Installation, Photogram
- texts
- This article discusses filmic and photographic works that focus on isolated film frames, whether extracted from the continuum of a film strip, as in Slide Movie (Gebhard Sengmüller, 2007) and Und ich blieb stehen. (Thames, London) (Susanne Miggitsch, 2017), or captured photographically from a book or a viewing table, as in Motion Picture (La Sortie des Ouvriers de l’Usine Lumière à Lyon) (Peter Tscherkassky, 1984/2008) and Précis de decomposition (Éric Rondepierre, 1993–1999). Usually rendered invisible during projection, a single frame represents the “blind spot” of cinematography. An explicitly ideological perspective was offered in 1971 by French film critic Sylvie Pierre Ulmann, who distinguished between the use of extracted frames (or “photograms”) and idealized still photographs produced on a film set. These “parasitic photographs” no longer bear traces of the material state of a given film copy; they look flawless and perfectly meet ideological requirements of “legibility” and “beauty.” The examples presented here bypass ideological claims, because, on the one hand, their dissected frames belong to the same order as the film they are taken from, and, on the other, they result in varying forms of “illegibility.”
- authors
- Gabriele Jutz
- publishers
- Edinburgh University Press
- date
- 2021
- location
- Edinburgh, Schottland, Vereinigtes Königreich
- published in
- title
- Cinematic Intermediality
- subtitle
- Theory and Practice
- editors
- Kim Knowles, Marion Schmid
- pages
- 136–149
- language
- English