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
- The Splice. A Paradigmatic In-Between.
- subtitle
- A Paradigmatic In-Between.
- type
- Speech
- keywords
- Arts, Media Research, Splice, Intermediality
- texts
- Abstract
- In film theory much has been written about editing and its power to produce meaning, but this basic cinematic technique has rarely been explored from a material viewpoint. However, there are experimental film practices in which the physicality of the splice itself—be it a cement splice or a tape splice—is exploited in surprising ways. Among those works that unleash the hidden potential of the splice, is American filmmaker David Gatten’s Secret History of the Dividing Line (2002). Looking for a material equivalent of the “dividing line” of the film title, Gatten found it in the cement splice mark, which he explores at length. In the projector performances of American artist Bruce McClure countless splices are made audible when they pass over the projector’s optical sound head. The individual loops are spliced with tape, and are then copied by print in a lab. The actual pattern of tape splices that hold the loop together, and the printed tape splices all make different sounds. Finally, Austrian artist Thomas Glänzel’s Ghost Frames (2018) exploits a 16 mm black and white camera-reverse-positive film from the late 1950s and in which the splicing tape had become so dry that it popped off the celluloid. As the glue had absorbed silver particles from the gelatin emulsion, each of the chips showed fragments of two half-frames from the film stills. Glänzel placed these “contact copies” on glass microscope slides, sealed them with synthetic resin, enlarged them and made negative prints on photographic paper, 24 cm x 30 cm. All of these artistic uses of the splice can be conceived as technical manifestations of the in-between, a specific form of intermediality.
- lecturers
- Gabriele Jutz
- title of event
- Internationale Konferenz "Intermediality Now: Remapping In-Betweenness"
- organisers/management
- Sapientia University of Transylvania
- date, time and location
- date
- 2018-10-18 - 2018-10-20
- location
- Cluj-Napoca (Rumänien)