“The question ‘What is cinema?' is rather open.” Paul Sharits
A pioneer of the flicker film, Paul Sharits (1943–93) trained in painting and graphic design before turning to film. This background is apparent throughout his work, which juxtaposes intense pulses of color with repeated words or sound tones, and often takes the form of multiprojector pieces or installations. A long-time teacher at SUNY Buffalo, Sharits sought to bring about “entirely new definitions of the film viewing and making enterprise.” His ultimate goal was to retrain viewers' senses, which he saw as caught up in the overloading stimuli of the “electric age.”
Tracing the legacy of this pedagogical aim, this retrospective series, featuring many new preservation prints, surveys Sharits's career as he continuously evolves what it means to “open up” the cinematic medium. He envisioned his films-with their equal parts abrasion and elegance-as a type of perceptual retuning or shock treatment that could reawaken viewers' dulled capacities for feeling and cognition. In a vivid endorsement, Stan Brakhage characterized Sharits's cinema as a “healing fever cycle” that could be felt flooding through the viewer's veins.
A piece from Paul Sharits's Frozen Film Frames (c. 1969), which consists of serial arrangements of colored filmstrips encased in suspended plastic, will be on display at BAM/PFA during this series.