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Summary

In the mid-1960s, Paul Sharits developed an abstract cinema in radical opposition to the pictorial tradition. His works taken together propose a reflection on the very nature of cinema and its component parts: the film strip, single frames, the flow of film through the projector, sprocket holes, screen, projection. Using mainly the flicker technique (flickering between pictures and colors), he highlights frame by frame discontinuity, thus revealing the hidden powers of editing.

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