Carte Blanche to Sandra Gibson & Luis Recoder: Reprojection: "The Multiple Screen" films of Paul Sharits

23 March, 2012 - 20:00
SPHINX
“I’m intrigued with parthenogenesis, which has some relation to the new film, and toyed with the thought of titling the film REPROJECTION; before then I had decided that since the film was being structured in a way which might be thought of as non-algebraically tautologic, I would title it PROJECTIONPROJECTION; now it seems better to return to my first title: either PRINT PROJECTION or simply PROJECTION.” Paul Sharits (‘Correspondence with Stan Brakhage’)

Razor Blades

Paul Sharits
,
US
,
1968
,
25'

“Projection Instructions: two 1000’ reels to be projected side by side onto one very large screen or two normal size screens / projectors should be identical, same focal length lenses, same intensity bulbs, detachable speakers / each reel has its own soundtrack and both should be played full volume and full treble / detachable speakers must be placed one on each side of the room, half way between screen and projectors, for stereo effect / synch ‘left’ and ‘right’ reels by aligning title / credits which appear at beginning of each reel / proper reels for ‘right’ and ‘left’ projectors indicated on head leaders.”

Color Sound Frames

Paul Sharits
,
US
,
1974
,
26'

“Other works of the past few years are composed by rephotographing strips of ‘flicker’ footage in a homemade system, wherein the projector element has no shutter blade or gripper arm and thereby allows the ‘subjects’ – the ‘flicker’ film strips – to be observed as continuous strips of film, with their sprocket holes visible; not only is there a natural horizontal and vertical division of the frame but there is also possible a layering of color planes (when the strips are projected at a rapid speed and rephotographed, their differently colored frames begin to blur into each other, forming whole ranges of shimmering color bars and planes, several appearing at a time within the frame, some assuming dominance – like fundamental tones – while others pulse around/behind the dominants, as if they were their overtones). The works which are made this way [i.e., Synchronoussoundtracks] are certainly more complex than I have described them: because their images ‘move’ at varieties of speeds, contain superimpositions, have sound elements (sync-soundtracks of the sprocket hole images’ rates of passage), etc., these factors also contribute to the films’ total ‘chordal fabrics’.” (Paul Sharits, ‘Hearing: Seeing’)

Declarative Mode

Paul Sharits
,
US
,
1976
,
38'

“Projection Instructions: 1. place 2 projectors close, side by side; do not load film yet. 2. turn on bulbs and find less intense bulb – use that faint bulb for the inner image (it is important that the inner image be dimmer; if necessary put a neutral filter of about 1 stop in front of lens). 3. you MUST HAVE AT LEAST ONE ZOOM LENS, so that one image can be put inside the other (the precise proportion is shown in a drawing accompanying the prints); another way of doing this is to move one projector forward until the right size is reached – but this cannot be done in a projection booth because there is not enough space. 4. make sure that inner rectangle is precisely placed so that the top and bottom borders and the sides are exactly equal – there should be absolutely no keystoning – this is of IMPORTANCE. 5. thread film and go to the punch mark on each reel. 6.ADVANCE THE FOOTAGE FOR THE INNER SCREEN 24 frames AHEAD OF THE REEL FOR THE EXTERIOR IMAGE – THIS SLIGHT OUT-OF-SYNC IS CRUCIAL TO THE EFFECT OF THE FILM. 7. start both projectors at the exact same instant. 8. FOCUS BOTH PROJECTIONS ON THEIR EDGES – the sharpness of the edges is also crucial.” 

Analytical Studies II: Unframed Lines

Paul Sharits
,
US
,
1976
,
25'

“Most of my films set up an experiential field wherein the film is not constantly imposing itself on you yet has enough consistency that you can ‘move through’ yourself rather than just follow the development of the film. All the films have a little bit to do with meditation. These locational works become the ultimate field for that kind of contemplative reflection. It becomes like watching fireflies or water flowing over a dam – something that’s moving. A fire or a candle flame – it’s shifting – but it doesn’t change its form dramatically. “ (Paul Sharits in an interview with Linda Cathcart)