Siegfried Zielinski

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Born 1951. Studied philosophy, theatre, German philology, media studies, political sciences, and linguistics at Marburg University, Free and Technical University Berlin. His M.A. thesis was on the film director Veit Harlan, who was tried for crimes against humanity because of his film "Jud Süß" (1942). In the 1980s he was assistant lecturer and assistant professor at the Department for Media Studies, Technical University Berlin.

1990-1993 Professor for audiovisual studies at the University of Salzburg, Austria, founded the department of >Audiovisions<. As of 1993, Chair of Communication and Audiovisual Studies at the Academy of Media Arts Cologne; from 1994-2000 Founding Director and Rector of this Academy.

Siegfried Zielinski teaches and researches on the history, theory, and praxis of audiovision; his special field of interest is media archaeology. He gave seminars and lectures in around 25 different countries around the world.

Since 1979 he realized numerous Film, Video and exhibition projects, including "Responses to HOLOCAUST in Western Germany", "Channel Four — Fernsehen zwischen Kultur und Kommerz", "Einhundert — Kurzfilme zur Archäologie der Audiovision", "Museum Hermeticum", "Wie man sieht — ". He was director of the Cologne based festival "Digitale" (1995-2000). Together with the musician and composer Anthony Moore he developed a new accoustic format called "expanded lectures". CD-Rom productions amongst others with the Centre Pompidou in Paris, Amsterdam located deBalie ("Permanent Flux") and the Budapest Kunsthalle (Mucsarnok), "The Butterfly Effect".

Member of the European Film Academy (EFA), the Academy of Arts Berlin, the Faculty of the European Graduate School, Saas Fee, the Budapest Center for Culture and Communication (C3) and the Magic Lantern Society of Great Britain.


Selected books

Veit Harlan (1981), >Holocaust< zur Unterhaltung — Anatomie eines internationalen Bestsellers (mit F. Knilli 1982), >Jud Süß< (mit F. Knilli, T. Maurer und T. Radevagen 1983), Tele-Visionen — Medien-Zeiten (1983), Zur Geschichte des Videorecorders (1986), Audiovisionen — Kino und Fernsehen als Zwischenspiele in der Geschichte (1989, 1994/2, 1999 in a reworked english edition as Audiovisions — Cinema and Television as Entr'actes in History, bei Amsterdam University Press, 2003 in an Hungarian edition), Grenzüberschreitungen (mit E. Reiss 1992), Video — Apparat/Medium, Kunst, Kultur (1992), Keith Griffiths — The Presence (1993), Lab — Jahrbuch für Künste und Apparate 1995/96, 1996/97, 1998, 1999, 2000 und 2002 (with H. U. Reck, W. Ernst, T. Hensel and N. Röller). Audiovisions - Cinema and Television as Entr'actes in History (Amsterdam University Press, 1999) — Deep Time of the Media (MIT Press Cambridge, 2005). Co-editor of various series like >Preprints zur Medienwissenschaft< und >Germanistische Medienwissenschaft<; consultant editor of >Balkan Media< (Sofia, 1991-1999), Ctheory (Montreal, Canada).