VITA – PAUL SHARITS (1943-1993)

537 Lafayette Avenue
Buffalo, NY 14222

Professor of Film
Center for Media Study
101 Wende Hall
University of Buffalo S .U .N .Y
Buffalo, New York 14214

BORN Denver, Colorado, 1943


University of Denver 1964 B .F .A . in Painting (cum laude)
Indiana University 1966 M .F .A . in Visual Design (cum laude)


1962 Founded the Denver Experimental Film Society
1965 Founded the Indiana University Experimental Cinema Group, Bloomington
1967-70 Administered courses in personal filmmaking, photography and experimental design, Maryland Institute of Art, Baltimore
1968 Founded the Personal Cinema Group, Maryland Institute of Art
1968 Administered film workshop at Aspen School of Contemporary Art (summer)
1970 Developed an undergraduate film program for the Art Department of Antioch College, Yellow Springs, Ohio
1971 Designed physical facility for filmmaking and film studies, Antioch College Art Building
1971 Participated in formation of a Communications Department, Antioch College
1970-73 Administered film production, film history and film aesthetics courses, Antioch College
1972 Developed an undergraduate documentary film program and a graduate film studies program, Antioch College
1972 Part-time consultant to Special Programs division of Oregon State Executive Department, Salem, Oregon . Application of General Systems models to human perception behavior.
1973 Administered film history and analysis of “films by artists” courses, Summer Institute in the Making, Knowing & Judging of Film/ Media, State University of New York at Buffalo (summer)
1973 Administering filmmaking and analysis courses and research seminars, Center for Media Study, State University-of New York at Buffalo ; Director of Undergraduate Studies.


1968 Production grant, American Film Institute
1968 Yale Film Festival : N :O :T :H :I :N :G received Honorable Mention by Michael Snow and was given one of several “2nd prizes” by Ed Emshwiller
1970 Ford Foundation Humanities Grant, Antioch College
1971 Ford Foundation Humanities Grant, Antioch College
1974 National Endowment for the Arts, Public Media Grant (for 6-screen environmental film piece), Washington, D . C .
1975 Creative Artists Public Service Program (CAPS), New York
1976 Bicentennial Film Project grant (for 40 min, sound & color DECLARATIVE MODE), NEA & N .Y . State Council an the Arts
1978 Creative Artists Public Service Program (CAPS), New York

A . Writings by Paul Sharits

“Red, Blue, Godard,” Film Quarterly , Vol . 19, Summer, 1966 pp . 24-29 .

“Notes on Films,” Film Culture , No . 47, Summer, 1969, pp . 13-16 .

“Interview” by Jud Yalkut, East Village Other , July 16, 1969 .

“Notes on Films,” Inter funktionen , No . 4, 1970 .

“Blank Deflections : Golden Cinema,” Film Culture , No . 48/49 Winter & Spring 1970, pp . 20-22 .

“Words Per Page,” German translation by Birgit Hein, Xscreen . Cologne : Phaidon-Verlag GmbH ., 1971 .

“Words Per Page,” Afterimage , No . 4, Autumn, 1972, pp . 27-43 .

“Words Per Page,” Form and Structure in Recent Film at the Vancouver Art Gallery . Dennis Wheeler, ed . Vancouver : Talonbooks, 1973 .

“Notes on Film,” New Forms in Film, Cinema d’avant-garde americaine Annette Michelson, ed . Montreux : Film Festival, 1974.

“Hi ‘ hay yeh folks, step on in ‘and’ transverse ‘yr present’ position” (letter of dedication of T,O,U,C,H,I,N,G to David Franks) to be published in forthcoming Film Culture .

“UR(i)N(ul)LS :STREAM : S :S :ECTION :s :s :ECTIONED : (A) (lysis) , JO :’1968- 70′,” to be published in forthcoming Film Culture .

“Letter,” Flash Art, No . 48/49, October-November, 1974 .

“Regarding the Frozen Film Frame Series : A Statement for the 5th International Experimental Film Festival,” Knokke, Belgium, 1974 .

“Eight Interviews/Statements (concerning Matisse),” Jean-Calude Lebensztejn, ed . Art in America , 63, July-August, 1975 .

“Hearing : Seeing, Cinema as Cognition,” Ausgabe , No . 2, Summer, 1976.

“A Cinematics Model for Film Studies in Higher Education,” Quarterly Review of Film Studies , Vol . 1, #4, November, 1976 .

“Hearing : Seeing” (translated into German) Ausgabe 2, Berlin, 1976 .

“Hearing : Seeing” and “Cinema As Cognition,” in forthcoming Afterimage .

“Epileptic Seizure comparison” (notes and diagrams for the film piece), Niagara Magazine (Buffalo, summer 1976)

“Epileptic Seizure Comparison” (notes, diagrams, photos of the piece), Illusions of Reality exhibition calatlogue, Australia, 1977.

“I Feel Free . . .” (statement on work in general and “Frozen Film Frames,” photos) Open to New Ideas : A Collection of New Art for Jimmy Carter, exhibition catalogue Georgia Museum of Art, ens, Georgia, 1976.

“Frozen Frames : T,O,U,C,H,I,N,G”, Melba #1 (with photos), Paris, November,1976.

“Notes on N :O :T :H :I :N :G” in Experimental Animation : An Illustrated Anthology by Robert Russett & Cecile Starr (Van Nostrand Reinhold, New York, 1976).

“Words Per Page” in Esthetics Contemporary , ed . Richard Kostelanetz (Prometheus Books, Buffalo, New York, 1977).

“Postscript as Preface,” “-UR(i)N(ul)LS :TREAM :S :S :ECTION :S :SECTION : S :S :ECTIONED(A)(LYSIS)JO : ‘1968 – 70’,” “Words Per Page,” “A Cinematic Model for Film Studies in Higher Education,” “Hearing : Seeing,” “Cinema as Cognition : Introductory Remarks,” “Statement Regarding Multiple Screen/Sound ‘Locational’ Film Environments-Installations (1976),” “Exhibition/Frozen Frames,” “‘hi’hay yeh folks, step on in ‘&’ transverse ‘yr present’ position,” Film Culture :Paul Sharits No . 65-66, 1978, New York .