liebman sharits
TRANSCRIPT
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Paul
shar i t s
by
stuart l i ebman
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ul shar i t s
y stuart l i ebm n
Fourteenth
i n
s e r i e s o f
monogr phs wri tt en f or
t he
s e r i e s Fi l mmakers
F i l m n g
co sponsored
y
F i lm
I n he
i t i e s
nd
Wal ker
r t
Center
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Paul
shar i t s
Moret han t en
year s
have
passed si nce Paul
Shari ts
neat l y
t ranscri bed
three
short
secti onf r o mW tt genstei n s Remarks
on t h e Fo undat i o ns
of
Mathemati cs i n t o
t he
hecti c
assemblage
of
not es f or hi s f i l m S
tream S: S : ect i on: S : e c-
t i onSS
: ecti oned
165
What then-does
i t
j u s t
t w i s t
andturn abo ut w t h i n
t hese rul es?- I t f or ms
ever
new
r u l e s
s al ways
bui l di ng
new
road
f or
t r a f f i c
by ext endi ng
t he
net wor k of
t he o l d
ones
166 But
t hen
doesn t i t
need
a
sancti on
f or
t h i s ?
Can
i t
ext end t he
net wor k
a r b i t r a r i l y ? We l l
coul d
say a
mathemati ci an
s al ways i nvent i ng
new
f or ms
of
descri pti ons
Some,
st i mul ated by practi cal need
o t h e r s f r o m
aestheti c
needs, -and
yet others
i n
a
var i ety o f
ways And here i magi ne a
l andscape
gar dener
desi gni ng paths
f or
t he
l ayout
of
a
garden i t
may wel l
be
t hat he draws themon a
drawngboardmer el y
as
or nament al
s t r i p s w thout
t he s l i g h t e s t thought
of
someone s
wal ki ng
on
them
167
The
mathemati ci an s an i n ve nt o r not adi scoverer
These
quotat i ons present ed w thout comment, establ i sh
a
spaceof tr anqui l
specul ati on
amd
thecorroded
punni ng
proser ecount i ng S h a r i t s random hought s andmyr i ad anx-
i e t i e s
Despi t e
t h ei r
i s o l a t i o n however
t hey
ar e drawn i n t o
t he
dynamc
of an
evol vi ng
drama
whose
theme
i s
fam l i ar
even
i
t s t er ms
and t s
sett i ng
ar e newAn a r t i s t str uggl es
t o
establ i sh
hi s voi ce an h i s t o r i c a l l andscapedef i ned byt he
powerf ul
r epresent ati ves of anadmredtradi t i on
Al t hough
t he
dramahas been
reenactedcount l ess
t i mes i n thewor k
and
i nt i mate thoughts
of strong
creati ve
a r t i s t s
t he i nt e r e s t
andpoi gnancy
of S ha r i t s str uggl e i s dim ni shed nei t her
by
t he exi st ence
of pr ecedent s
nor
by
hi s
i n a b i l i t y
t o
f ormul ate
t he
themee x p l i c i t l y
Thesequotati ons were omt ted
from
thenotes f or thef i l mpubl i shed i n
Fi l mCulture
65-66
Theori gi nal
notes
are
i n
the
f i l e
of
Anthol ogy
Fi l m
Archi ves, ew
ork C ty
age
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u~u
t
- 11116 A
I
i l uNk I
I
I G
MA
ya
r
W
At
t he r o o t
of
t he
drama l i e s what
t he
l i t e r a r y
c r i t i c
Harol d
Bl oomc a l l
t he anxi et y
of i nf l uence, theacute sense of
bel at ednessan a r t i s t
experi ences whenconf ront i ng t he
b r i l -
l i a n t l y
creat i veachi evemnts of a
v i t a l a r t i s t i c tr adi t i on
The
a r t i s t
struggl es to
establ i sh grounds f or hi s own
di f f erence
so
t hat
he
can
pur sue
creat i ve
wor k
w thout t heoppressi ve
f ear
t h a t , i n
TS
E l i ot s words, everything that can
bedone
has
been
done
3
I n
d i f f e r e n t conf i gurat i ons, t he
anims and
purpose
of t h i s
anxi ety i s woven i n t o t he
f abr i c of
S ha r i t s
t e x t s I t s
presence
canbe sensed i n t he W tt genstein quot a-
t i ons
f or t hey i mpl i c i t l y proposea pol emc, l e s s agai nst t he
mast erwor ks
of
t he
avant- gar de
f i l m t r a d i t i o n thanagai nst
the categori es f r omwhich
t hey
drew
t h e i r
str engt h i coni c
i mager y,
narrati ve, t he
r epr esentat i on
of
t he s e l f
For
several
years, t he f i r s t of
h i s ar t i s t i c
maturi t y, mdelsder i ved f r omt he
di scour ses
of musi c ( ser i al i sm andart c r i t i c i s m ( Gr eenber-
gi an mderni sm sust ai ned S ha r i t s i n h i s attemt
t o d i s -
tance himsel f f r om t hese
categori es
Now i n
t he
years
between 1968and
1970,
a pi votal l y tr ansit i onal mmnt
of per sonal
and
aesthet i c
t ransval uati ons i n h i s career,
S h a r i t s
neededanevenmre
abst r act
and
ri gorous
mdel
f or
t he
pure ci nema of
uni quel y
ci nemati c
mat eri al s, pro-
cesses
and
i deas
he
aspi redt o creat e
Encouraged
by t he
examl e of
Wt t genstei n s
mat hemat i ci an,
Sh ar i t s i n t en s i -
f i ed hi s
search
f or
a
set
of
pri me
ci nemati c si gns
as abst ract
and
s e l f - r e f e r ent i a l as numbers
whi ch
coul d
be
r ef ashi oned
andrecombinedby
procedur es
model l ed
af t er
t hearbi t rary
f ormal protocol s
of mathemati cal specul ati on From
hese
premses,
Shari t s
generated
t he
radi cal l y
d i s t i l l e d
space
and
t i me
of
mast erwor ks di sti ngui shed f or
t h e i r f ormal
el egance
andby t he
new
hori zons of t heoreti cal specul ati on t hey
open
S h a r i t s
i s one
of themst
si gni f i cant
a r t i s t s
of agener at i on
of
Amri can
f i l mmaker s
who
came
t o
ci nema i n t he
1960s
whentwo
decades of i ndependent
e f f o r t s hadf i n a l l y
est ab-
l i shed
t he
i dea
of
atradi t i onof avant gardef i l mmaki ng
The
earl y
1960s
was a peri od
of astoundi ng and unprecend
Scratch
not ati ons
f or
S
: t ream
S : S
: e c t i o n
: S
:ecti on
: S : S
: ect i oned
( 1968-
2 Harol d
Bl oom
The Anxi et y
of
I nfl uence NewYork
Oxf ord
Un i v e r s i t y
71)
P r e s s ,
1973)
Fo r amrecompl ete
consi derat i on
of t he
h i s t o r i c a l
o r i g i n s
of
t h i s
a n xi e t y , see
J ackson
Bat e,
The Burden of
t he
Past and
t he
E n g l i s h Poet New
York Nort on,
1972)
3
T
S
E l i o t
What
i s
a
Classi c7
OnPoetry
and
Poet s NewYork Noon-
Page 2
day,
1961), p
58
Page
3
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ented
growt h
f or
t he
avant-garde
f i l m
movemnt
i n t he
Uni t ed
States
Deren
had
di ed i n
1961, and Si dney Peterson
andJ amsBroughton
hadstoppedmaki ngf i l ms
f or
vari ous
personal
or economc
reasons Another earl y exponent
of
t he t r a di t i on , Kenneth Anger,
however ,
broke a decade-
l ong si l ence and began
to make
f i l ms i n t he
Uni ted
States
agai n
Robert Breer
also
returned f r omEur ope Mar kopol ous,
Brakhage, and Harry Smth
created
t h ei r l ongest andmost
ambi t i ous
f i l ms
There were
al so
i mpor t ant
new
debut s by
J ackSmth, Ken J acobs, J onas
Mekas , and
Andy
Warhol The
strong f i l mmakers
of
S h a r i t s
generati on-
Fr ampt on,
Lan-
ow
and Snow and somwhat l a t er ,
Noren,
Sonbert , and
Gehr-cam
to maturi t y
i n
f u l l ,
and
conspi cuousl y
uneasy
awareness
of these
di verse
and
i mpressi ve
achi evemnts
Born
i n
1943,
S h a r i t s encountered
t he
wor k of ea r l i er
avant-
garde
f i l mmakers at
l east
as early
as 1962whenhefounded
t he
Denver
Experi mental F i l m Soci ety whi l e s t i l l a
st udent of
pai nti ng
at t he Un i v er s i t y
of
Denver
Un t i l
1965, he
made
f i l ms
that echoed
al ready
establ i shed
t hemat i c and
f ormal i d i -
om The
rawbl ack
and
whi t e
sol i ps i smandthe t emporal
dynamcs respecti vel y
characteri sti c
of
trance
and
l y r i -
cal f i l ms
seem to have
presi ded over hi s attemt t o
recreate personal f eel i ngs, s t r e s s moods, anxi ety-
experi ences
of
bl eakness ,
non- l i near, t emporal
suspensi on,
l o s s
of
obj ecti ve
mnd
set (grey, grainy, cl aust rophobi c-
hi ghl y f i l m c , a bl ack and whi t e
l andscape
4
I
wri te
seem
because
these f i lm-amongthemEvent ,
Wnter
course, and
I l l umnat i on
Acci dent - no
l onger e x i s t
W th
a
si ngl e
excepti on,
S h a r i t s
destroyed
al l
of them
n
1966
i n
a rage
of
non- narrati ve
commttmnt
.
S ha r i t s
destr ucti ve rage
di d not r e s ul t s o l e l y f roman
uncontrol l abl e
emot i onal
i mpul se,
and
i t
was not di rected
onl y
agai nst narrati ve
as
s t r u c t u r a l pri nci pl e i n
f i l ms
I t was
equal l y provoked by consi derabl e r e f l e c t i o n
about
f i l m
as
an
aest heti c
mdi umand hi s
obj ecti ons
extended
to
t he
enti re range of ci nemati c
di scourse
Even
t he
avant-garde
was not
exemted f romhi s
c r i t i c i s m
Af ter
several years
of
experi ments w th
f i l m
i n
1965,
di scovered that Ci nemat i c was an expressi on
mani ngmore than creati ve edi t i ng i . e space-
4
Paul S h a r i t s , Movie Cookbook,
( 1966),
Fi l m
Cult ure 65-66 (Wnter
1978
:109
Page4
t i me mani pul at i on and/ or i magi st i c- metaphori c
i nvent i veness)
or
s e ns i t i v e camra control i
. e
expressi ve
camra
movemnt ,
f ramng,
composi -
ti onal t o n a l i t y ,
et al ) because
i n
each
of
these
i nst ances, Ci nemat i c mant ci nemati c treat-
mnt
of
a
non-f i l mc
subj ect .
So , i began
to l ook
t o
t he
actual materi al s- processes
of mymdi um i n t he
most basi c- obvi ous
modal i ti es,
f or
subj ect mat t er
and f or appropri ate overal l s t r u c t u r a l pri nci pl es
.
The
theoreti cal
i ssues at stake i n t hese remarks are
l e s s
consi derabl e, but
i t i s t he
manner i n whi chShari ts
def i nes
himel f w t h
respect
to
t he
avant-garde
f i l m
tradi ti on
that
I
want to
consi der
f i r s t
Hi s t one
i s
curi ousl y
aggressi ve
Shari ts
wri tes
as
i f
e ar l i er
vanguard
f i l mmakers
fa i led
to
grasp the
true
nature
of
the ci nemati c
whi ch
he poses as a
condi -
t i o n
of
any c l a i m
to
aestheti c
seri ousness The creati ve
edi ti ng and
i nnovati ve
camramovemntwhi chprovi ded
t he f oundati ons
of
f ormal l y
advanced
f i l m practi ce i n t he
Uni ted
States
f romt he 1940s t hrough t hemd- 1960s ( that i s ,
f romt he
earl y
wor k
of
MayaDerent hrough
Stan Brakhage s
l y r i c a l
andmthopoei c f i l ms ) ar e
characteri zed merel y
as
so
many
t r eatment s
of
i nappropri ate
subj ects
The e f f o r t s by
many
f i l mmakers- preem nentl y
Deren,
Markopol ous,
and
Brakhage-to ground t h ei r
ci nemati c
pract i ce
i n
theori es
def i ni ng
t he str ategi es and
structural pri nci pl es
they
bel i eved
uni que to
t he
mdi um
are not
mnti oned
Hi s readi ng-or
r a t h e r ,
msr eadi ng- of avant-garde
f i l m
h i s t o r y
i s
so caval i er
and
u n f a i r ,
i n
f a c t ,
as
to
suggest
t he
exi st ence of som underl yi ng
anims
T h i s
anims
has
recentl y
been
gi ven
a
name
i t
i s t he anxi ety
of
i nf l uence,
and i t s
defensi veaims
to establ i sh
f or
S h a r i t s a
space
apart
f rom
t he tradi ti on i n
whi ch
hi s
own
o r i g i n a l i t y
can f l o u r i s h
T hi s anxi ety i s present evenwhen
Shari ts
ost ensi bl y
prai ses
t heachi evemnts
of
e ar l i er f i l mmakers
Consi der
hi s assess-
mnts
of t he f i l ms
of
BrakhageandWarhol , F i r s t
presented
publ i c l y i n 1970 i n
hi s
i mport ant l ecture Wor ds
Per
Page ,
S h a r i t s
commnts
r e f l ec t
concerns
whi ch he has
been
grappl i ng
w th
s i nce 1965
Stan
Brakhage s mass i ve
work
i s t oo expansi ve i n i t s
5
Shari ts,
-UR( i )N(ul) LS
:TREAMS
: SECTION
S
: SECTI ON
S : S:ECTIONED A)-
( l y s i s ) J O 1968- 1970, F i lm Cult ure
65-66(Wnter 1978 : 13
Page
5
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i mpl i cat i ons
andri chness t o discuss
here
except t o
menti ont hat
hi s
use
of
t he cameraas abehavi or al
extensi on, hi s
f o r c e f u l
modul ati on of di sj uncti ve,
di str act i ve mst akes ( b l u r s , s p l i c e s ,
f l a r e s ,
f rame
l i n e s ,
f l a sh f r ames) and
hi s
decomposi t i on-
reconsti tuti on of subj ects
i n e di t i n g,
because of
t h e i r c i nemat i cal l y s e l f - r e f e r e n t i a l qual i t i es
(they
reveal
t h e s ys t emby
whi ch
they ar e made), bri ng
ci nema up
t o
date w t h t he other advanced a r t s
And, i n
another
manner, AndyWar hol hasdemon-
strated i n hi s ear l ywor k
that pro l ongat i ons
of
subj ect
( r edundant , nonmoti on pi ctures), because
they
def l ec t at t ent i on
f i n a l l y
t o
t he
mater i al
process
of
recordi ng- pro j ect i ng
( t o
t he
successi on
of f i l m
f r ames,
and
byway
of
consci ousness
of
f i l m
grain,
scratches, and
d i r t
p ar t i c l e s , t o t he sense of t he
f l o w
of
t he
cel l ul oi d s t r i p ) ,
i t
i s
perhaps
as
reveal i ng
of
t he
nature
of ci nema as i s
consi st ent
i nterr upti on of
normat i ve ci nemati c f unct i ons
Emphasi s i n
o r i g i n al
. °
Despi te the
apparant
generosi t y
and l audat ory
tone
of
t h i s
t r i b u t e , t he t ex t i mpl i c i t l y ar gues that Brakhage
and
War hol di d not pur s ue t he i mpl i cati ons
of
t h e i r i nnovati ons
ei ther far
enough
or
w t h s uf f i c i e nt r i g or T he i r s el f - r e f e r en t i a l
gestures
and
tautol ogi cal
decl arati ons
of
f i l m c materi al s
were
a begi nni ng,
but
onl y
a
begi nni ng
I t i s as i f they
proceededcor rect l y
up
t o
a
cert ai n
point, but then swerved
awaywhen
they
shoul d
have
moved
preci sel y
i n
the
di rec-
t i on
that Sh ar i t s aspi res
t o
move.
Thr ough t h i s
spect acul ar
act
of mspri si on, al l
f i l ms ,
even those
of
admredprecursors,
become
ant i c i pat i ons
of
t he ci nema S h a r i t s hi msel f w i l l
make Hi s
f i l ms ,
hi s t ex t s br oadl y
h i n t ,
w i l l
be cruc ia l l y d i f f e r -
ent
because
they
w i l l bet he f i r s t toexpl o i t the
mater i al sand
processes of t he medi umcorrectl y Hi s w i l l
be compl etel y
andauthent i cal l y
ci nemati c
t he
f i r s t
f i l ms
.
I n
1965,
as Shari ts became i ncreasi ngl y
d i s s a t i s f i e d w t h
6
S h a r i t s , Wor ds Per Page, . F i l m
Cul tur e
65-66 (Wnter
1978)
: 34 S h a r i t s
readi ng of
thei rwork s t r i k e s
m
as extr aordi nari l y reducti ve,
s t i l l anot her
s i g n that acreati ve mspr i s ion i s at work
Page6
Harol d Bl oomhascal l ed
t h i s
t ype
of
m sread ing
cl i namen
. pci t
p
14
t he
f i l ms
of
e a r l i e r f i l m
a r t i s t s
as
wel l
as
w t h
hi s
own, he
became
aware of apart i cul ar concept i on of
t he
purpose
andval ue of modern v i s ua l a r t
whose f oremost exponent
was t he
a r t c r i t i c , Clement
Greenberg
I n hi s a r t i c l e , Moder-
n i s t Pai nt i ng,
whi ch
he
publ i shed
i n
1965,
Greenbergd e f i n i -
t i v e l y f ormul ated the
fundamental
premse
of hi s
i n f l u e n t i a l
theory
of
modern sm Each a r t , he
wr ote,
had t o
dete rm ne th rough
t he operat i ons pecul i ar
t o
i t s e l f
t he
effects pecul i ar and
excl usi ve
t o i t s l
By
doi ng t h i s , each ar t
woul d,
t obe
s u r e ,
narrow i t s area
of
competence,
but
at
thesamet i me i t woul dmake
i t s
possessi on of
t h i s
area
al l
t he
more
secure
I t
qui ckl y emerged t hat t he uni que
and
proper
area
of
competence
of each ar t coi nc i ded
w t h
al l
that
was uni que t o
t he
nature
of
i t s
medi um
The task
of
s e l f - c r i t i c i s m became
t o
el i mnat e
f r om
t he
ef fects of
eacha r t any
and
every
effect
t hat mght
concei va-
bl y
beborrowedf r om
or
by t he med umof anyother
a r t
Thereby
each
ar twoul d
berendered
pure,
and
i n i t s p ur i t y f i n d t he
guarantee of
i t s
st andards
of
qual i ty
as w el l as
of
i t s i ndependence P u r i t y
meant s e l f - d e f i n i t i o n , and t he enterpr i se
of
s e l f -
c r i t i c i s m i n t he a r t s became one
of
s e l f - d e f i n i t i o n
w t h
avengeance °
Because
of Gr eenberg s
i nf l uence
i n
cert ai n
advanced
c r i t i c al c i r c l e s, t he quest
f or
puri ty
was
i n s t i t u t i o n a l i z e d
as
the
f o rce ani mati ng
modern
a r t s h i s t o r y , and
s e l f - d e f i n i t i o n
became
t he
central
standard
of
val ue
agai nst
whi ch
con-
t emporar y
aesthet i c
achi evement
hadt o
be
measured
8
My purpose
i n consi deri ng
the
anxi ety
of
i nf l uenceat
such l ength
i s
nei ther
t o
di sparage
t he me r i t s o f
hi s theoreti cal cl aims,
nor
t od im ni sh
t he extraordi nary
beauty
of
hi s
f i l ms
I thi nk i t i s
also cl ear that
S h a r i t s
f ound much i n Brakhage s and
Wrhol s
f i l ms
that i nfl uenced
hi m
n
the conventi onal sense
weuse
t he
t e rm T h ei r exampl econf i rmed the
p o s s i b i l i t y
of a
f ormal vocabul ary based
on ci nemati c mater i als I
suppose t oo that S h a r i t s mus t be bel i eved
whenhe
emphasi zes
that
he
di scovered the
anti mony
of
s t a s i s and
mot i on
so central
i n hi s
mature wor k i n t he opposi ti on of s i ngl e f rameand
f l ow ng
s t r i p he
bel i eves
t o beembod ed
i n Wrhol s
l ong-t ake s t y l e I
want onl y
t o
suggest
some
of t he
hi ddenexchanges,
of ten
as
perverse
as
they
ar e
d i s c i p l i n e d ,
that
under l i e
t he
h i s t o r i c a l
devel opments
i n
amature ar t
f o rm
9
C ement
Gr eenber g,
Moderni st
P a i n t i n g ,
repr i nted i n The NewA r t ,
ed Gr egory Battcock New
York
: Dutt on, 1966 ) , p 102
Page 7
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Anal yti cal
Studi es
Unframed Li nes 1971-76 Fi nal
image
Page
8
O : H : N G 1968
Epi sodi c Generati on 1, 976
Page
-
8/20/2019 Liebman Sharits
8/14
Greenberg s
theory
of moderni st art i n t e n s i f i e d
S h a r i t s d i s -
af fect i on
w th
thewor ks he model l ed
a f t e r
t hose
of
other
f i l mmakers andencouragedhi m o
def i ne t he ci nemati c
as a
ki nd
of
cat egori cal aesthet i c i mperat i ve
Work on hi s
f i l ms ,
Ray
Gun
V i r u s ,
WordMove,
Razor Bl ades,
and
Peace
Mandal a/EndWar ,
compl emented
by ext ensi ve
research
i n
t he
phenomenol ogy of ci nemat i c
perc ept i on,
enabled
hi m
o f ormul at e
a
programmati c st at ement f or
the
Fourth I nternati onal
Exper i ment al
F i l m F es t i v a l at
Knokke- Le- Zoute i n
1967
I wi sh
t o
abandon
imta t ion and i l l u s i o n
andent er
d i r ec t l y i n t o
the
hi gher
drama
of
c el l u l o i d ,
two
di mensi onal
s t r i p s , i ndi vi dual
rect angul ar f r ames
;
t he
nature
of
sprocket s
and emul si on proj ect or
operat i ons, the
three di mensi onal r e f l ec t i v e screen
surf ace t he r e t i na l
screen
;
opti c ner ve andi n d i v i d -
ual
psycho-physi cal s u b j e c t i v i t i e s
of
consci ousness
I n t h i s
ci nemat i c
drama,
l i g h t i s
ener gy
rather
than a
t o o l
f or t he
represent at i on
of non- f i l mc obj ect s;
l i g h t
as
energy i s
r el eased t o c rea t e
i t s
own
obj ect s,
shapesandtextures Gventhe
fact
of r e t i n al i n er t i a
andthef l i c k e r i n g shutter
mechanism
f
f i l m proj ec-
t i o n ,
one y
gener at e
v i r t u a l
form,
create actual
mot i on (rather than i l l u s t r a t e i t , bui l d
actual
col or-
space
(rather
than
pi cture
i t , andbe
i nvol ved i n
actual
t i me
i mmd ate
presence)
1 0
Shari ts
f ormul at ed
t h i s
l uc i d
program
oestabl i sh
t he
l i m t s
and t o i sol ate
the uni que
expressi ve potent i al
of
hi s
medi um
L i k e t he moderni st pai nt ers
who
expl ore t he can
vas
surf ace
and
shape i n the
bel i ef
that t hese
parameters
consti tute t he
essent i al
t erms
of
pai nt i ng s di scourse,
S ha r i t s
proposes
t o
use as thepri mevehi cl es of hi s
aesthet i cs
state-
mnts
onl y the
per ceptual processes and
f ormal
el ements
whi ch
consti tute ci nema
Hi s
f i l ms ,
theref ore, expl oi t t he
dynamcs
of
r e t i n al r esponse
t o
modulated
l i g h t
andc ol o r ,
andt hey el evate the
normal l y
i n v i s i b l e
materi al s of
f i l m
sprocket
h o l e s , t he
f l a t
screen, t he i ndi vi dual
f r ames, et c
.
i n t o the
pri nci pal
obj ect s
of v i s i o n Devel opedand
refi ned
w t h
astoni shi ng
resol uteness and i nvent i veness, t h i s
pro-
10 S h a r i t s ,
Not es on
Fi l ms/ 1966- 1968
. F i l m
Cul t ure 47
Summer
1969) : 13
Page
1 0
f
gram nf orms
al l thework
S h a r i t s has produced
duri ng
the
l a s t f i f t e e n years
Decl arati veMode,
a t wo-proj ect or, si ngl e- screen
f l i c k er
f i l m i l l us t r at es
t he
r emar kabl e conti nui ty of S ha r i t s
concerns
Commssi oned f or
the Bi cent enni al
Year s cel e
brat i on
of
Amri canval ues, Decl arati ve
Mode
extendst he
expl orati ons
of
t he
f act of
r e t i n al i n er t i a andt he f l i c k e r i n g
shutter
mechani sm
of
f i l m
proj ect i on ,
whi ch
S ha r i t s had
begun nearl y adecade
bef ore i n
such
works as Peace
Manda
l a/ End War
and
T: O U
: C
: H
I : N
: G The
f l i c k er effect
f or whi chthese
f i l ms ar e
named
i s an i n t r i n s i c but o r d i n a r i l y
unnoti ced
f eature
of
t he phenomenol ogy
of
f i l m
vi ewi ng
Fi l ms
c rea te the
i l l u s i o n
of
obj ect s
mving
on
screen by
proj ecti ng a
rapi dl y
pul si ng
( f l i c k e r i n g ) beam
of
l i g h t
t hrough
as e r i e s
of
s t i l l f r ames
that
ar e
transported
i n t er m t -
tentl y
past
t he
l i g h t source
. Each
fram
cont ai ns
a
phase
of an
act i on
( ei ther
photographed
or
an mated)andt hese
phases
must be coordi nat ed ( f o r
exampl e,
t hey must be
consecut i vel y ordered) so t h a t , whenproj ect ed, t hey f use
i n t o
the
per ci eved i mageof
an
obj ect movi ngcont i nuousl y
t hrough
astabl e
sett i ng
.
I n hi s f l i c k e r f i l ms , Sharit s di srupts
t h i s
process
He
repl aces
the consecut i ve phases
of
act i on
w t h s o l i d l y
col ored or
bl ack or whi te f rames The
ef f ect
i s
l i t e r a l l y
dazzl i ng
The
viewer sees of ten
vi ol ent bursts
of l i g h t whose color
and
i n t e n s i t y ar e
f unct i ons
of
t he
speed at
which t he
col ored
f r ames and t he
complementary col ors of
spont aneousl y
i nduced
af t eri mageschange The
osci l l at ing col ors
not onl y
f oreground
t he
pul si ng
l i g h t
beam
t hey
a lso
r e f l ex i v el y
remnd t he vi ewer
of
the
physi cal
l i m t s
of
the
f ram
and
of
t he surf ace on whi ch
f i l ms are proj ec ted When
col ors
change
s l o wl y ,
a
f l a t , undi f f erent i ated f i e l d f i l l s t he enti re
i mage
As the
speedi ncreases,
however , randomshapes
appear
that seem
ei ther to
s i nk i n t o an
i l l u s o r y depthor t o
11 The l e ns must also be properl y f ocused Fo r mre
detai l ed
discussi ons
of these
i s s u e s ,
seeJ oseph
and
Barbara
Anderson, Moti on
Percepti on
i n
Moti on
P i c t u r e s , and
B i l l
N chol s andSusan J Lederman F l i c k e r
and
Moti on
i n F i l m i n The
Ci nemat i c Apparatus
eds Teresa de
L a ur e t i s
andStephenHeath New
York
St
Ma r t i n s
P r e s s ,
1980), pp
76-95 and
pp
96- 105
respecti vel y
12 The
perc epti on
of
camra
movement
has beendi scussed by Davi d
Bordwel l ,
Camra
Movement and
Ci nemat i c Space,
Ci ne-Tract s 2
Summr
1977 19- 25
Page
11
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9/14
proj ect i n t o the
audi t ori umspace
dynamc, purel y
o p t i -
cal
space, s h i f t i n g
between
two and three
di mensi ons,
whi ch
i s
characteri sti c
of
our percept i on of the
space
i n
al l
f i l ms ,
i s
created
3
I n
Decl ar at i veMode Shari ts exagger at es al l t hese
effects by super i mposi ng
one
f l i c k e r
f i l m
w t hi n
t he
f rame
of
another The
col or
changes cause
the
spati al rel ati onshi ps
of the
two
f i e l d s
t o
vary dramat i cal l y
Wen
t he
col or
of
t he
i nner f i e l d
abrupt l y matches
t hat
of
t he
f ramng f i e l d , f or
exampl e,
i t radi ates rapi dl y
t o the l i m t s of
t he
out er
screen
At ot her
t i mes, the
sequence i s rever sed as theouter r ect an-
gl e col l apses i n t o t he smal l er
f rame
Cont r ast i ng
col ors
on
t he
i nner and
oute r screen
al so
create
t he
i l l u s i o n
of
a
t r uncat ed pyramd
bul gi ng
f orwar d
or
backward As the
speedi ncreases,
f i l m i mageandscreen surf acef use
into
the
i l l u s i o n of
a t aut
membranefl exi ngi n arhythmt hat
suggests
a hear t
beat i ng
exci tedl y
Sha r i t s or i g i na l l y pl anned a
soundtr ack t o
accompany
Decl ar at i ve
Mode computer was
t o
havebeenused
t o
const r uct
vari at i ons
and j uxt aposi ti ons
of
phonemes
and
t hen mor phemes
f r om
aspoken t e x t
of
the Decl arat i on
of
I ndependence
Event ual l y
t he enti re unmodi f i ed
t e x t
woul dhavebeenheard The
f i l m
i s now
di stri butedwi t hout a
soundtr ack,
andany
e x p l i c i t relati onshi p to J ef f erson sdec-
l arati on
i s
no
l onger apparent
W
see
onl y
a
vi sual structure
whi ch,
accordi ng
t o
S h a r i t s , gr adual l y
moves
f r oma measuredpoi se
t owards an
ecstati c
l e ve l
of
col or- l i ght
pul sati on
ending
i n
mcro-osci l l at i ons
around
5 cycl es per
second, whi ch
i s at
once
t he
pr i mary f ade-wave cyc l e possi bl e i n
soundspeed
16mm
f i l m
and
i s al so
a rhythm
associ at ed wi th
cert ai n neuron
pul ses
dur i ng expansi ve,
i n s p i r a -
t i onal states of
consci ousness)
.
Even the rhythmc
structure
al one,
however ,
sustai ns
S h a r i t s
13
The
psychol ogi st Hugo Munsterberg was the f i r s t f i l m
theori st
I am
aware of
whocharacteri zed
the
percepti on
of ci nemati c
i mages i n
t h i s
manner The F i l m
Psychol ogi cal Study
( 1916,
repri nt
edi t i on
New
York Dover , 1970),
pp
18-24
14 Sharit s,
unpubl i shed
proposal
f or Bi centenni al
F i l m
Proj ect,
1976, c i t ed
i n notes f or a screeni ng
at
the
useumf A r t , Carnegi e I nst i t ute on
September
20,
1977
Page
1
2
pur pose
i n maki ng
Decl arati ve
Mode
t o
cel ebrate the
grandscal e
of
sent i ment i nscri bed i n J ef f erson s ri ngi ngdec-
l arati on of human
l i b e r t y
I n
hi s
1967
st atement,
S h a r i t s emphati cal l y re j ected
any
imtat ion andi l l u s i o n o f
r e a l i t y
i n ci nema Hedi dnot mean
t o
excl ude
represent at i onal
i mages
e nt i r e l y , however , and,
i n
f a c t ,
such i mageshave
often
played i mpor t ant
r o l e s
i n
hi s
f i l ms
I n
PeaceMandal a/End
War ,
f or
exampl e,
si ngl e-f r ame
shots
of
a
coupl e
maki ng l ove mot i vat e
t he
gradual s h i f t s i n
the f l i c ker i ng
col or patt erns surr oundi ng
them
S : TREAMS : SECTI ON
S : ECTI ON S : S : ECTI ONED used
superi mposed
i mages
of a st ream
f l owi ng over
rocks
as
an
echo of
t he
metaphor
of
f i l m
as
a
stream
dammd
by
spl i ces
he pr oposes
As t hese
exampl e
suggest , S h a r i t s has
al ways i n s i s t e d t hat
represent at i onal i magery
be
tr ansl ated
into
t he opt i cal t er ms
andstructural
modes
of
hi s
medi um
and the
ef f ect of
t h i s tr ansl ati on
has been t o subvert any
i l l u s i o n
of
r e a l i t y the
i mages
mght
suggest
Af t er
a
hi atus of
nearl y si x years,
represent at i onal
i mages
reappeared i n S h a r i t s wor k i n t he twover si ons of Epi l ept i c
Sei zure
Compari son and
i n
T a i l s , bot h compl eted n 1976
Onl y three mnut es l ong,
T a i l s
i s
S h a r i t s s h o r t e s t , but
one
of
hi s most , beaut i f ul wor ks
T h i s
decepti vel y
si mpl e f i l m i s
di vi ded i n t o ei ght secti ons
I n
each, an
i coni c i mage
appears, The
second,
f i f t h
and
seventh
secti ons present
i mages of peopl e (r especti vely
a
nude
woman a
womn n
a f eather boa,
and
a
chi l d)
The i d e n t i t i e s
of
t he other sub-
j ects
ar e
l e s s
c l e a r , but
di scern consecut i vel y a bl urr ed
i mage
of
a
green
f i e l d ,
a
rephotographed
f i l m
s t r i p
a
noc-
t urnal f i r e
ashot
t hrough
t he w ndow
of
amovi ng
t r a i n ,
and,
f i n a l l y , anot her
f i l m s t r i p
16
Thef i l m al l ows
j u s t
enought i me
f or
these
i mages t o
bedeci phered before t hey
ar e
swept
away
i n a f l a r e
of
l i g h t as t he f i l m
seem
t o
r un of f t he proj ector
l eaving t he screen f i l l e d wi th pur e whi t e
l i g h t
15
There i s o f t en
aw degap
between the
accessib l e
meani ng
of
Sharit s
f i l m andthe pr ivate
si gnif i cance
they appear to
have
f or
hi m
For
exampl e
hi s
di ari es and
notes
f or
Decl arati ve
Mode
suggest that the
col o r f l i ckers
of
i ndi vidual secti ons represent
hi sexperi enceonpart i cu-
l ar days i n
Hydra
and Mont i ce l l o
16
Most
of
Sharit s
mor e
i nti mate
texts -h i s j ournals,
di aries, andl e t te r s -
suggest t hat each subj ect
represented
i n the f i l m s i mages-nature
j ourneys,
chil dren,
women
burni ng,
and s t r i p s
of
f i l m
running
across
the
screen- are
obsessi ve sources of wonder
f or
hi m
Page 13
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10/14
T a i l s
1976
Page
14
The punni ng t i t l e provocat i vel y sugges ts that these
i mages, i cons
of
an i ndef i ni te
past
t i me,
m yr epr esent
the
phases
of
anarrati ve,
al bei t
a
hi ghl y
e l l i p t i c a l
one
Shari ts
i nvokes
t h i s p o s s i b i l i t y
however ,
t o open
a sophi sti cat ed
pol emcabout
thei ncompati bi l i ty
of
narrati vet i me andan
authenti cal l y
ci nemati c
t emporal i t y I n order
t o
construct
the real t i me of anarrati ve i n f i l m i ndi vidual i magesmust
be f ocused t owards tota l i z ing
t empor al
hor i zon that
establi shes
t h e i r si gni f i cance
as
a
moment
of an
ordered
sequence
of
event s
The t ai l consti tutes
t he
t a l e
so
t o
speak
T a i l s i r o n i c a l l y parodi es
thesei deas Ther e f l e x i v e mar ker s
of
r e e l
t i me,
t he
gl ori ousl y
l umnous
f l a r e s
termnat i ng a
r e e l
of
exposed
f i l m
compose t he pri mary
structure of
the
f i l m
They erupt i n t o t he r e a l
t i me of
t he
si ngl e
l ong t akes i n
eachsecti on
t o
corrupt t he
i l l u s o r y
presence
of
t hedepi cted
subj ects,
and
to set
upapl ay
between
the
pasti ness of
the
i mageandtheemphati c
presence of i t s ci nemati c
i n s c r i p -
t ion
The
b r i l l i a n t l y
t screen that
f oll ows
each f l a r e creates a
gapbetween
i mages t hat
ef f ecti vel y
i n h i b i t s any i nf erence
of
a causal
networ k
uni t i ng
them
Depr i ved of an or i ent i ng
t empor al i t y,
each
i magemust beread
as
a
sel f - contai ned
monadt o
beexper i enced i n i t s u l l
t empor al
i ndeterm nate-
ness
u n t i l t bursts
i n t o
l umnous cl i max S h a r i t s underscores
h i s
pol emcal
poi nt by concl udi ng
T a i l s w t h
awi t t y
rhyme
As t he
l a s t rephotographed
i magebegi ns
t o
f l a r e
o u t
t he
f i l m
recordi ng
t h i s
i mageal so
f l a r e s
o u t
superi mposi ng
yet
anot her l ayer of
t i me onto t hose
i nscri bed
wth i n
t he
f i l m
Both
t he
si ngl e-screen
and
f our- screen versi ons of
E p i -
sod i c
Generat i on
engage t he topi c
of i mageryandtem
p o r a l i t y i n ci nema,
al t hough
at an even
hi gher l e v e l
of
abs t ract i on Both
wor ks ar e composed
of
t he
same f our
secti ons
Thesect i ons ar e
approxi matel y
ei ght
mnutes l ong,
andeach presents an o r i g i n a l speci men f l i c k e r f i l m sub-
j ec ted
t o
successi vest ages
of r ephot ography
I n secti on A
a central
band
of col ored
f r ames s f l anked by a row
of
sprocket hol es on one
s ide
andby themodul ated
bl ack
and
whi t e
contours
of
anopti cal sound
track
on
theother
scr atched l i n e
runs across
thecol or f r ames
I n
Secti on
B
two
new
r ows
of
sprocket
hol es
ar e
added
at
theedges
of
17
t m ybe
possibl e t o
readt hesei magesasa
raref i ed
representati on
of
events
i n
Shari ts
l i f e as he
di scusses
i t i n Postscri pt As
Preface
. .
F i l m
Cult ure 65-66 (Wnter 1978) : 2 - 3
Page15
-
8/20/2019 Liebman Sharits
11/14
t he f ramand
t he r emai ni ng
el ements
appear
somewhat
condensedt oward
t he cent er
of
t he
imge
Af resh scratch
s cut
i n t o the surf ace
of
thenewimge Secti on C con-
t i nues t h i s process,
but other
ki nds of changes
resul ti ng f r om
t he
rephotography
are i ntr oduced
The
r e d ,
black, and
greencol ors appear mre
somber , andthej aggededgesof
t he soundt rack and scratch
marks
become
smoother
By
the l a s t secti on,
D, t he
imge
hasbecomeadense,
unst a-
bl e conf i gurati on of bl urr i ng sprocket h o l e s , yel l ow s t r i p e s ,
and
bands of synt heti c col ors
At cert ai n speeds, event he
l i near
ori entati on of theel ements di si nt egrates
as mment-
a r i l y precepti bl e r e gul a r i t i e s
i n di recti on,
c ol o r , or shape
create
new
v i s u al
pat t erns
The
soundt r ack
i s
subj ect ed t o a s e r i e s
of
t r ansf ormati ons
analogous
to
t hose
of
t he
v i s u al track di dacti c
t e x t
d i s -
cussi ng the
product i on
of
sound
t hrough
anopti cal
sound
system i s i n i t i a l l y
heard T h i s
t e x t
s
progressivel y
condensed
by
a
comput er , andby
t he
t h i r d
condensat i on, onl y
random
words
can
s t l l bei denti f i ed By t he f ourt h st age, thet e x t s so
accel erat ed
t hat t s meani ngdi ssol ves i n t o
a rhythmcal l y
undul ati ng
aura of
sound
Al t hough t hey usethesame
el ement s, t he
exper i ence of
the two versi ons of
Epi sodi c
Generati on
i s
ast oni shi ngl y
di f f e r ent
I n
t he
si ngl e-screen
v er s i o n, t he sect i ons are
pres-
entedconsecut i vel y T h i s order i ng est abl i shesani nexorabl e,
l ogi cal
mvement
toward
some
f uture mment
when
the
imgew i l l
be
so congested
that t he i n i t a l
conf i gurati on of
e emnts-indeed
t he
el ements
t hemsel ves- w l l
no l onger
be
i denti f i abl e
Wen t he
f o u r
sect i ons
are
set s ide
by
si de
and
present ed
si mul t aneousl y
i n endl essl y repeated
cycl es,
as they
are
i n the f our- screen l ocati onal v er s i o n,
t he
pro-
gressi ve
t empor al
t h r u s t
of
t he si ngl e- screen versi on i s l os t
Occasi onal l y, when t he al i gnment s, speed, and
di recti ons
of mving el ement s moment ari l y match,
t he screens
f use
i n t o
a
uni ty
andt he
enti re wal l seem
t o
l ead t heeyef r om
t he past
toward
t he
f uture
as
the
composi t i onal
el ement s
mvef r om l e f t
t o
r i g h t
Abr upt
decel erati ons
or evenmnor
s h i f t s i n p o s i t i o n , however , suf f i ce t o suspend t h i s total i z i ng
18 Other changes i n present ati onal format i nclude the rotati on
of
the
imges ninety
degrees
to
the l e f t sothatthe
sprocket hol es appear at
the
top
and
bottom
rat her than
at the
ri ght nd ef t si des
of the
f ram
The
l ocati onal versi on
of
Episodi c
Generati on s also proj ected
by
projectors
stand ngw t h i n the
space
of thework One sexperienceof
the
work s
f ar
mre
coml ex
than
m
brief descri pt i on
cansuggest
Page16
mvement
As
the
separat e i d e n t i t y
of thei ndi vi dual
screens
i s
reaf f i rmed,
t he i mpressi on
of
a
uni f yi ng t empor al vector
i s
shattered i n t o t he exper i ence of f o u r i ncompat i bl e
t empor -
a l i t i e s
t hat
are
si mul t aneousl y present
Permeatedby
t he di rge-l i ke buzz
of the
soundt racks, t he
room
s
a
s i t e
of
dynamc
a c t i v i t y i n which
rhymng
and
di ssonant
patterns, mvements and count er - movements,
consti tute, di ssol ve and reconsti tute an i n f i n i t e var i ety of
si gni f i cant conf i gurati ons The
v o l a t i l e permutat i ons
of ci ne-
mati c si gns
create a
spaceof
pure potent i al t hat uncanni l y
r e c a l l s
t he
dramati c arena
Paul
Val ery
imgined as t he
spaceof
consci ousness
i t s l f Wth i n
t he
mnd, he w r i t e s ,
adram
t akes
pl aceDram,
adventure,
agi t at i on,
any wor ds of the s o r t can be
used
provi ded
t hat
several of themare used
together,
so t hat
one
i s
corrected
by anot her
The actors
i n t he
dram
are
mental
i mages,
and
i t i s
easy tounder st andthat,
i f we
el i mnate
the
part i cul ar
f eatures
of
t he imges
and
consi der onl y
t h e i r
successi on,
f r equency,
peri o-
d i c i t y ,
varyi ng
capaci t y f or associ at i on,
and f i n a l l y
t h e i r
durati on, we
are
soon temted t o
f i n d
anal o-
gi es i n
the
so- cal l ed materi al
worl d,
t o comare
themw t h
s c i e n t i f i c anal yses, to
postul ate
an
e n v i r -
onment , t oendowthem r s t w t h conti nui ty, vel oci -
t i e s , propert i es
of
di spl acement , t hen w t hmssand
energy
Thereuponwemyreal i ze t hat mny
such
sys t ems
are
possi bl e, t hat anyone i n part i cul ar
i s
wort h
nomre
than
anot her
19
That such an abstract work generated
by
quasi -
mthemti cal pr ocedures i n s i s t s on bei ngread
as
a
mta-
phor
f or
t hemnd
reveals thepower of
t he
avant- garde
f i l m
tr adi ti on
S h a r i t s
attempt
t o
evade
t he
burdenof t s
i mpr es-
s i v e
accoml i shmnts
by i nventi ng
new
ormal
codes
and
str ategi es
h a s , i r o n i c a l l y , mde
hi mi nto
oneof
t hat
t r a d i -
t i o n s cent ral
f i gures
19
Paul Val ery I ntroducti on
t o
theMethod
of
Leonardodo
Vinci ,
Leo-
nard Poe Mal l arme, tr ansl ated
by
Malcolm
CoweyandJ ames R
Lawer Pri nceton Boll i ngen, 1972
pp
10- 11
Page
1 7
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paul s h a r i t s f i l mogr aphy*
SEARS
CATALOGUE
(b w 2-screen performance
work,
1964)
RAYGUNVI RUS
( 1966) 14
mnutes, c ol o r , sound
WORDMOVI E/ FLUXFI LM 29 ( 1966) 3
4 mnutes,
c o l o r ,
sound
PI ECEMANDALA/ END
W R
1966) 5
mnut es,
c ol o r ,
s i l e n t
RAZOR BLADES
( 2-scr een,
1965- 68) 25
mnutes,
b/w
c ol o r , stereo
sound
NO
T
: H
: N
: G ( 1968) 36
mnutes,
c ol o r ,
sound
T,O U C,H, I , N,G ( 1968) 12 mnutes, c ol o r ,
sound
S: TREAM : ECTI ON : ECTI ON: S : S: ECTI ONED ( 1968- 71) 42
mnutes, c ol o r , sound
I NFERENTI AL
CURRENT( 1971) 8m nut es,
c o l o r ,
sound
AXIOMATIC
GRANULARI TY ( 1973) 20
mnutes,
c o l o r ,
sound
ANALYTI CAL
STUD ES
COLOR
FRAME
PASSAGES ( 1973-
74) 29mnutes, c ol o r ,
s i l e n t , 16
f ps
OLOR
SOUND
FRAMES ( 1974)
26
/2 mnutes,
c o l o r ,
sound
APPARENT
MOTI ON( 1975) 30
mnutes,
c ol o r ,
s i l e n t ,
pro-
j ect s i l e n t speed onl y
ANALYTI CALSTUD ES I THE FILM
FRAME ( 1972- 76)
25
m n-
u t e s ,
c ol o r ,
s i l e n t
DECLARATI VE
MODE
(2- screen
proj ecti on,
1976-77)
40
mnutes,
c ol o r ,
sound
ANALYTI CAL STUD ES UNFRAMED LI NES ( 1971- 76) 25
mnutes,
c ol o r ,
s i l e n t
ANALYTI CALSTUD ES I V ( 1973- 76)
EPI SODI C
GENERATI ON
(si ngl e-screen v er s i o n,
1976) 30
mnutes, c ol o r , sound
EPI LEPTI C SEI ZURE
COMPARI SON
(si ngl e-screen v er s i o n,
1976)
30
mnutes,
c ol o r , sound
TAI LS ( 1976)
3
mnutes,
c o l o r , s i l e n t
TI RGUJ I U (2-screen performancewor k, 1976)
SOUNDSTRI P/FI LMSTRI P (2-screen
performance
v er s i o n,
1972- 81)
F I V E MEXI CAN
PYRAMDS (work i n progress)
PASSAGES (work i n progress)
POSON
(work i n progress)
Page 1
8
l ocati onal f i l mpi eces
SOUND
STRI P/FI LM
STRI P
( 1971)
SYNCHRONOUSOUNDTRACKS
( 1973- 74)
VERTI CAL CONTIGU TY ( 1974)
DAMAGED
FILM
LOOP
( 1973- 74)
THE
FORGETTING
OF
I NTENTI ON NDMPRESSI ONS
( 1974)
SHUTTER I NTERFACE ( 1975)
DREAMDSPLACEMENT( 1975- 76)
EPI LEPTI C SEI ZURE
COMPARI SON( 1976)
EPI SODI C GENERATI ON( 1979)
*The
most
ext ensi ve
f i l mogr aphy
of
Paul
Shari t s
appears
i n F i l m
Cul t ur e
65- 66 (Wnter 1978) 115- 124
paul s h a r i t s
sel ect ed bi bl i ogr aphy*
ar t i c les by
paul shar i ts
Red,
Bl ue
Godar d, F i l m Quart erl y (Summer 1966)
Movi e Cookbook, F i l m Cul t ure 65/6 (Wnter 1978)
Not es
on
F i l ms , F i l m Cul t ure
47
(Summer 1969)
Bl ank
Defl ect i ons
Gol den Ci nema,
F i lm Cul t ur e
48/ 49 (W nter/ Spri ng 1970)
Wor ds Per Page,
( 1970)
Af t er i mage 4 (Autumn
1972)
Epi l epti c Sei zure
Compar i son, Ni agara
Magazi ne
(Summer
1976)
A
Ci nemat i cs Model
f or F i lm
St udi es
i n
Hi gher Educa-
t i o n , Quart erl y Revi ew of Fi l mSt udi es : 4 (November
1976)
- Ur( i )N(ul) LS
: DREAM
: ECTI ON: S : ECTI ON: S
: SEC-
TI ON : S : S: ECTI ONED (A)- ( l ys i s ) J O
: 1968- 70
, Fi l m
Cul t ur e
65- 66 (Wnter 1978)
Postscri pt
as
Pref ace,
( 1973)
Fi l m
Cul t ure 65-66(W n-
t er
1978)
Exhi bi t i on/ Frozen
Frames, ( 1974)
Fi lm
Cul t ur e
65- 66
(Wnter 1978)
Hear i ng: Seei ng,
( 1975)
F i l m Cul t ure 65- 66 (Wnter
1978)
Page
19
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13/14
C nema as
Cogni ti on,
1975)
Fi l m Cul t ur e
65-66
(Wnter
1978)
Statement Regarding
Mul ti pl e Screen/Sound Loca-
t i onal F i l m
Envi ronment s- I nst al l ati ons, 1976) Fi l m
Cul -
ture 65-66
(Wnter 1978)
hi hay yeh f o l k s , step
on
transverse yr
present
posi ti on, F i l m
Cul t ur e 65-66
(Wnter
1978)
Comedy i n Abstract
A r t , (f orthcomng)
i ntervi ew wi t h
paul
shari ts
Paul Shari ts/ Li nda Cathcart ,
i n
Paul Shari ts Deam
Dspl acement and
Other Proj ects . Buf f al o Al bri ght-
Knox
Gall ery,
1976
n
. p
arti cl es
about
paul
shari ts
Cornwel l ,
Regina Paul
Shari ts
I l l u s i o n
andObj ect Art-
forum
Septemer
1971)
56-62
Krauss,
Rosal i nd
Paul Shari ts
Stop Ti me,
Ar t f orum
(Apri l
1973)
60- 61
Paul Shari ts, i n
Paul Shari ts
DeamDi s-
pl acement and
Other
Proj ects
. Buf f al o
Al br i ght - Knox
Art Gal l ery , 1976 n. p
Li ebman, Stuart
Apparent
Moti onand F i l m
Structure
Paul
Sh ar i t s
Shutt er
I nterf ace, M l l enni um
F i l m J our-
nal 1
: 2
Spri ng-Summer
1978)
: 101-109
M chel son,
Annette
Paul
Shari ts and
theCri ti que of
I l l us ioni sm
AnI ntr oducti on, i n
Proj ected
Images
Mn-
neapol i s
Wa ker
Art
Cent er,
1974
Shrader, Paul ,
Sensi bl e New
Trends
i n Exper i ment al
Fi l ms,
Los
Ange es
Ti mes,
9
September
1971
Si tney,
P
Adam,
The
Achi evement
of
the
Ameri can
Avant-Garde,
i n ThePl easur e
omAmeri can
Experi -
menta
F i l m
1939-1979
Stockholm
Moderna
Museet,
1980,
pp 21- 35
Vi si onary
F i l m
NewYork
Oxford
Uni versi ty
Press, 1974, pp
425-427
Wol l en,
Peter
Ontol ogy and
Materi al i sm i n Fi l m
Screen
Summer
1976)
7-23
' A
thorough l i s t i n g
of al l arti cles
byand
about
Shari ts
through
1978 appears
i n
Fi l m
Cul t ur e 65- 66 (Wnter
1978) : 130-133
Page
20
Thi s mnograph i s mde possi bl e by grants
f rom
he
Mnnesota
State
Arts
Board
f romf unds
appropri ated
by the
Mnnesota
State Legi sl a-
ture and f romhe
Nat i onal Endowment
f o r the
Arts
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14/14