Razor Blades

Produced in association with the American Film Institute.
(projection instructions: two 100′ 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 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)
‘How refreshing, how relaxing, coming at the end of a generally dull program, Razor Blades really lit up the inside of my head…the banquet of images was especially pleasing & tranquil from the first row where I sat. I very much dug your treatment of the sound, and as for pictures – well that is a much longer communique than this! Some of the word experiments (& letters) were especially informative to me, as I have had some very long-term thoughts about word image intercutting relationships. Also notable to me were the lovely circle animations at head and tail…well, with such ideas buzzing in my head, & in the mild after-euphoria of a beautiful (& indeed) IMAGE show, I felt the urgency and perhaps your receptivity to my sending of these impressions.’ Tony Conrad.
‘In Razor Blades, Paul Sharits consciously challenges our eyes, ears and minds to withstand a barrage of high powered and often contradictory stimuli. In a careful juxtaposition and fusion of these elements on different parts of our being, usually occurring simultaneously, we feel at times hypnotised and re-educated by some potent and mysterious force.
Razor Blades follows the tradition of the stroboscopic films which affect our eyes on a physical level, causing an almost hypnotic transference of light from the screen of our minds. However, Sharits explores psychological as well as physical sensations. He seems intent upon going against the grain of our perception and feelings, and we are forced to either stop the flow of images or to dive into them fully with total abandon. If we can do this we find the film deeply satisfying, because it is conceived to break down our defences and then to work on a subconscious level to initiate us into a new level of awareness. By opposing the eyes and ears against the mind, Razor Blades cuts deeply, both in our psychic and visceral bodies, and is a forerunner of what films some day may become – totally programmed visual, auditory and psychological environments.’ – David Beinstock , Whitney Museum.