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
- Austrian Expanded Cinema Performances of the 1960s
- type
- Speech
- keywords
- Media Research, Arts, Expanded Cinema, Performance
- texts
- Abstract
- During the 1960s, Vienna’s most active group of artists were the “Wiener Aktionisten“ (Vienna Actionists), whose unprecedented, provocative actions shocked contemporary society. Using nudity, ritual and violence they confronted modern taboos and challenged conventional attitudes towards the human body. From 1967 Austrian filmmakers like Peter Weibel, Ernst Schmidt Jr., Hans Scheugl and Valie Export among others developed Austrian expanded cinema, which was in vogue with the underground movement and the student protests of 1968. There seems to exist a general agreement among scholars that Austrian expanded filmmakers of this period followed the trend within modernist art toward medium-specific purification: the reduction of the art object to the essential physical or material components of its medium. By contrast, I would like to argue that expanded cinema is not entirely receptive to the modernist model. Its engagement with the physical materials of film lead to the creation of cinematic works challenging the material limits of the film medium as it had been defined for over 80 years. The rejection of film stock, cameras, and projectors as necessary filmmaking tools subverts the model of medium-specific, reflexive filmmaking and bears testimony to the search for an art form in accordance with what Rosalind Krauss called the „postmedium condition“. In terms of its semiotic framework, expanded cinema-performances privilege the indexical sign which becomes effective as a gesture. As the process of creation and reception take place simultaneously, it is not the product that counts, but the here and now of the very act of enacting, or performing. Performance-based art practices, like expanded cinema performances, go even so far as to abolish the temporal and spatial distances that separated the trace from its referent. Paraphrasing Philipp Rosen, who conceived of the trace as a “matter of pastness“ we can conceive of the gesture as a matter of presentness. Intimately allied with the world of objects, art practices based on the index, represent a challenge for any assertion of “autonomy” or “purity” in the work of art. Through its introduction of reality and therefore “impurity” into the medium, expanded cinema-performances can be considered an alternative to high modernist claims and offer a new understanding of the genealogy of the cinematic avant-garde.
- lecturers
- Gabriele Jutz
- title of event
- VII Magis International Film Studies Spring School
- organisers/management
- Universität Udine
- date, time and location
- date
- 2009-02-27 - 2009-04-02
- location
- Gorizia (Italien)