In the mid-1960s, Paul Sharits develops an abstract cinema out with the pictorial tradition. All his
| PIECE is a reflection on the nature of the film and its components: the film, the camera program, the scroll, the perforations, the screen, the projections Having mainly used the technique of flicker (flash of patterns and colors), it highlights the discontinuity of frames, revealing unsuspected powers of the assembly.

Contains a booklet presenting Vincent Deville with the writings of Paul Sharits.

Films include:

Piece Mandala / End War 1966 color, silent, 5 min.
N:O:T:H:I:N:G 1968 color, sound, 36 min.
T,O,U,C,H,I,N,G 1968 color, sound, 12 min.

Contains a booklet presenting Vincent Deville with the writings of Paul Sharits.
"screen, irradiated by the N: O: T: H: I: N: G Paul Sharits, seems to adopt a spherical shape at times - due, I think, to the wonderful quality of light produced by his flashes of frames, a baroque pearl could say wonderful! This is one of the most beautiful films I've ever seen. "
- Stan Brakhage

"The film takes you on a colorful world, it increases your sense of color, the richer. You become aware of changing tones that surround your daily reality. Your vision has changed. You begin to see the light on objects around vousS The range of your experiences widened. You now have a new understanding. 're Doing humanly richer. "
- Jonas Mekas

In the mid-1960s, Paul Sharits develops an abstract cinema out with the pictorial tradition. All his work is a reflection on the nature of the film and its components: the film, the camera program, scrolling, perforations, the screen, the projections Having mainly used the technique of flicker (flash patterns and colors), it highlights the discontinuity of frames, revealing unsuspected powers of the assembly.

Publisher: ReVoir