Paul Sharits (1943-1993) is widely known for his structural films, the use of multiple projectors, infinite film loops, experimental soundtracks, and interventions at the level of the filmstrip in order to realize his elemental mode of cinematic presentation. Trained initially as a painter, and a prolific theoretical writer, Paul Sharits' art-making was in fact wide-ranging, evidenced by his early involvement with Fluxus artists in New York. His many works on paper — from diagrams to abstract film scores, fashion drawings, and hallucinogenic illustrations — have yet to be fully integrated into his better-known body of work. (paulsharits.com)

Word Movie - Fluxfilm 29 (1966) is a 4-minute silent short film by Paul Sharits. More than any of Paul Sharits' flicker films, Word Movie - Fluxfilm 29 most closely literalizes the flicker effect of the (film) shutter mechanism through its use of the separate word for each frame coupled with the single frame units of color. The word structure as a single unit becomes an analog for the individual film frame. And at the same time as serving that function, the word emphasizes the screen frame perimeters as certain words are horizontally cut off by the film line. (Regina Cornwell)

Shutter Interface (1975) by Paul Sharits is a hypnotic work a quartet of 16mm projectors stand, figure-like, side by side on imposing pedestals facing a long wall. Four looped films of varying lengths are unspooled and respooled in jewel-like swathes of colour interspersed with single black frames, creating the flicker effect Paul Sharits was the first to explore in colour films. (Frieze Magazine)

T,O,U,C,H,I,N,G (1968) is short film by Paul Sharits dedicated to and starring poet David Franks, whose voice also appears on the soundtrack. Pure colour and a few still images alternate in a wide variety of permutations. The spectator thus experiences the film as a constant and often aggressive flickering, which varies rhythmically and operates at the limits of perception. The coloured fields flatten the screen surface and light tends to be felt concretely in the cinema space itself, with the screen boundary pulsating and shifting with after-images. (Tate Modern)

Stan Brakhage (1933-2003) was an American non-narrative filmmaker who is considered to be one of the most important figures in 20th century experimental film. Stan Brakhage's films are usually silent and lack a story, being more analogous to visual poetry than to prose story-telling. He often referred to them as "visual music" or "moving visual thinking." His films range in length from just a few seconds to several hours, but most last between two or three minutes and one hour. He frequently hand-painted the film or scratched the image directly into the film emulsion, and sometimes used collage techniques. (Experimental Cinema)