Hon.Prof. Dr. Gabriele Jutz
Gabriele Jutz is Honorary 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
- Bodily Traces
- subtitle
- Scratching as Performative Act
- type
- Speech
- keywords
- Experimental Animation, Scratching, Performativity
- texts
- Abstract
- My paper examines scratching in terms of performativity. Scratching, as practiced by Len Lye, Stan Brakhage, Su Friedrich and many contemporary experimental animators, is a camera-less animation device where only a pointed object intervenes between the filmmaker and the celluloid. As described by Wystan Curnow, scratching brings “the body to bear in new ways“ (Curnow 2000: 208). Scratching is dependent on certain intensities for even the merest alteration of the pressure of the fingers, the tension of the hand, and the use of the scratching tool can alter the cinematic result. Scratching allows for the preservation of the artist's relationship to her/his material, much like the closeness and intimacy that exists between a painter and a canvas. Fabricating a film by hand is very nearly the opposite of “standard” filmmaking practice, which depends on an elaborate series of optical, chemical and mechanical processes, all of which further serve to distance the product from the instance of production. Handmade films, on the contrary, are intimately connected to presence, corporeality and performativity. To take a broader account of scratching – an autographic art practice– a renewed and dynamic concept of materiality, which avoids substantialism as well as servitude to the semantic, has to be tied together with J. L. Austin’s notion of the performative. What counts is the actual gesture that executes the very act of inscription. With regard to its dispositif, the scratched mark can be regarded as an indexical trace, which results from an action upon a material substrate. Many contemporary art practices, for example, Conceptual Art, eliminate the trace and deny the gesture, which are frequently regarded as a benchmark of modernist art. This paper argues that by revalorizing the gestural, autographic techniques such as scratching are far from reviving pre-modernist models of authorship, but can be regarded – via their performative aspects – to be at the heart of modernist art practice.
- lecturers
- Gabriele Jutz
- title of event
- Performing Animation, Animating Performance
- organisers/management
- Bella Honnes Roe, Christopher Holliday
- date, time and location
- date
- 2019-12-14
- time
- 09:00:00 - 18:35:00
- location
- King's College London - Mulberry Site, London, England, Vereinigtes Königreich