At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.
Archive for the ‘Books’ Category
“Publishing is not evolving. Publishing is going away. Because the word ‘publishing’ means a cadre of professionals who are taking on the incredible difficulty and complexity and expense of making something public. That’s not a job anymore. That’s a button. There’s a button that says ‘publish,’ and when you press it, you’re done.” — Clay Shirky
“Publishing is in crisis. Publishing has always been in crisis, but today’s version, fuelled by the digital boom, has some frightening symptoms. Trade publishers see their mid-lists hollowed, academic customers face budgetary pressures from higher education spending cuts, and educational publishers encounter increased competition across their markets. But over the centuries, forced change has been the norm for publishers. Somehow, they continue to adapt.
This ground-breaking study, the first of its kind, outlines a theory of publishing that allows publishing houses to focus on their core competencies in difficult times while building a broader notion of what they are capable of. Tracing the history of publishing from the press works of fifteenth-century Germany to twenty-first-century Silicon Valley, via Venice, Beijing, Paris and London, The Content Machine offers a new understanding of media and literature, analyzing their many connections to technology and history. In answer to those who insist that publishing has no future in a digital age, this book gives a rejuvenated identity to this ever-changing industry and demonstrates how it can survive and thrive in a period of unprecedented challenges.” — from the book’s descriptive material.
I was saddened to hear of the recent death of Colin Wilson, a brilliant if erratic writer who wrote at least one excellent book, The Outsider, and a raft of other volumes, numbering nearly 100 in all, with the best among them being The Mind Parasites, the first edition of Poetry and Mysticism (the revised version ruined the book), The Space Vampires, and numerous other works. Much of what he wrote was junk, and he often seemed to keep writing until he could figure out what he really wanted to say, filling up the pages in a seemingly unending stream while striving to get at some almost indefinable conclusion.
But ultimately, if he was an outsider, Wilson was essentially an optimist, which is refreshing in itself. As he told one interviewer, “in The Outsider my starting point was all those 19th century writers and artists who came to a sad end, and who ended by saying (in the words of a friend of mine) ‘the answer to life is no.’ My reaction was like that of an accountant who is reacting to the statement ‘We had better declare bankruptcy.’ [My response was] ‘No, no, no. You’ve plenty of better alternatives.’”
One of his books, The Space Vampires, was made into a truly terrible film by Tobe Hooper, and his outrageous ego – “I suspect that I am probably the greatest writer of the 20th century,” he told the British newspaper The Guardian in 2006. “In 500 years’ time, they’ll say, ‘Wilson was a genius,’ because I’m a turning point in intellectual history” - assured his critical marginalization. But despite his faults, his best work does offer an early clue to a new direction, and for that, I will miss Colin Wilson and his work.
More and more, just a few canonical classics, such as Michael Curtiz’s Casablanca (1942) or Victor Fleming’s Gone With The Wind (1939), are representing the entire output of an era to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s?
For the most part, these films will be forgotten, and their makers with them. In this book, I argue that even obvious historical markers such as Alfred Hitchcock’s Psycho (1960) represent shockingly unknown territory for the majority of today’s younger viewers; and yet once exposed to these films, they are enthralled by them. In the 1980s and 1990s, the more adventurous video stores served a vital function as annals of classic cinema. Today, those stores are gone and the days of this kind of browsing are over.
This collection of essays aims to highlight some of the lesser-known films of the past – the titles that are being pushed aside and forgotten in today’s oversaturation of the present. The work is divided into four sections, rehabilitating the films and filmmakers who have created some of the most memorable phantom visions of the past century, but who, for whatever reason, have not successfully made the jump into the contemporary consciousness.
“Few have explored the cinematic margins as thoroughly as Wheeler Winston Dixon, and few match his talent for finding and celebrating the secret glories of overlooked, undervalued films. Gliding from Peter Bogdanovich to Myra Breckinridge by way of Robert Bresson, this is an exciting and ever-surprising collection.” —David Sterritt, Columbia University and Chair, National Society of Film Critics
“The marginalization of important films is a constant threat in the age of the New Hollywood blockbuster, with commercial cinema reduced to a cheap thrill and the audience conceived as adolescents. Dixon’s thoughtful remarks on neglected films testify not only to his own fine sensibility, but to the urgency of the concerns he sets before us.” —Christopher Sharrett, Seton Hall University
Dave Eggers is a brilliant novelist, and his previous works have certainly captured my imagination, but with his newest book, The Circle, to be published October 8th, he hits a note that particularly resonates in our “everywhere-at-once” culture. The protagonist, Mae, goes to work for a large social networking colossus, and while she is initially impressed by the splendor and grandeur of her corporate surroundings, she soon finds herself being seduced into a culture of continual updates, shared personal information, and an endless chain of “social connections” and roving video cameras that render humanity virtually obsolete.
As with George Orwell’s 1984, which The Circle is often compared to, but also Joseph Heller’s brilliant 1974 novel Something Happened, which has somehow disappeared from the canon of 20th century fiction, and is perhaps the most unsparing exposé of corporate culture the literary world has ever produced, The Circle unsparingly documents the false bonhomie, the lies, the surface “friendliness” that lies at thedark heart of corporate culture, where people are almost instantly disposable unless they go along with the group, as in 1984.
The New York Times Magazine published a lengthy excerpt from the book this past Sunday, and thankfully, it’s online, so I can link to it both here, and on the image above. It’s supposed to be fiction, of course, but it’s all too close to the truth in the way that contemporary corporations treat their employees, as endless extensions of their culture, while denying them a life of their own. The excerpt begins with these words:
“My God, Mae thought. It’s heaven. The campus was vast and rambling, wild with Pacific color, and yet the smallest detail had been carefully considered, shaped by the most eloquent hands. On land that had once been a shipyard, then a drive-in movie theater, then a flea market, then blight, there were now soft green hills and a Calatrava fountain. And a picnic area, with tables arranged in concentric circles. And tennis courts, clay and grass. And a volleyball court, where tiny children from the company’s day care center were running, squealing, weaving like water. Amid all this was a workplace, too, 400 acres of brushed steel and glass on the headquarters of the most influential company in the world. The sky above was spotless and blue.
Mae was making her way through all of this, walking from the parking lot to the main hall, trying to look as if she belonged. The walkway wound around lemon and orange trees, and its quiet red cobblestones were replaced, occasionally, by tiles with imploring messages of inspiration. ‘Dream,’ one said, the word laser-cut into the stone. ‘Participate,’ said another. There were dozens: ‘Find Community.’ ‘Innovate.’ ‘Imagine.’ She just missed stepping on the hand of a young man in a gray jumpsuit; he was installing a new stone that said, ‘Breathe.’
On a sunny Monday in June, Mae stopped in front of the main door, standing below the logo etched into the glass above. Though the company was less than six years old, its name and logo — a circle surrounding a knitted grid, with a small ‘c’ in the center — were already among the best known in the world. There were more than 10,000 employees on this, the main campus, but the Circle had offices all over the globe and was hiring hundreds of gifted young minds every week. It had been voted the world’s most admired company four years running.”
Of course, many of the reviewers thus far have remarked on the implicit irony of reading a book about social networking, and then immediately going on to Twitter or Facebook to “share” the news with others. But since I have no Facebook account, and don’t Tweet, I’ll confine my comments to this blog, which is more than enough. I’m more a fan of history than fiction, but this is fiction that is also the present truth, if only we take a closer look at it.
You can read the rest of the excerpt by clicking here; better yet, buy the book and zoom through the whole thing. It’s a frightening, prophetic page turner, and you literally won’t be able to put The Circle down; it’s essential reading.
As I write, “This slight but explosive volume, published in an English translation by Verso in 2012, has been kicking around on my work desk for about a year. I wrote a rather negative review of it for Choice, the library journal, and while I don’t want to recant anything I said there, I nevertheless find the book sticking with me in ways I hadn’t anticipated. I don’t agree with most of what Pedullà has to say, as I’ll detail, but he puts up a good fight.
Pedullà, a professor of Contemporary Literature at the University of Rome 3 and visiting professor at Stanford, is first and foremost a polemicist – he’s the guy who throws verbal bombs into the mix, and phrases statements of opinion as if they were fact. But for all of that, there is really very little that’s controversial here. Pedullà’s main thesis is inarguably correct, at least from my perspective; the era of dominance for the theatrical exhibition of motion pictures is finished. Or as he puts it on the opening page of his book,
‘The age of cinema, it is commonly claimed, is now drawing to a close. Day after day signs of a profound change in our relationship with moving images proliferate. The winnowing of box-office receipts, the shrinking size of the audience, the decreasing time lag between a film’s theatrical release and it commercialization on video, television’s growing cultural prestige: these indications, at once social, economic and aesthetic – only make the prophecy all the more credible. If cinema for decades represented the standard and even optimal filmic experience, the touchstone for all other forms of viewing, this formerly undisputed and indisputable centrality is today contested at its very core.’
All true, and yet, as I thought then, and still do now, Pedullà protests too much. The impact of web here is barely even mentioned, and as for ‘television’s growing cultural prestige,’ I have serious doubt about that. For Pedullà, the idea that viewing a film in a theater is the optimal way to see a film is an object of ridicule; summoning up derisively the words of Chris Marker as a member of the ‘old guard,’ Pedullà quotes Marker as noting that ‘on television, you can see the shadow of a film, the trace of a film, the nostalgia, the echo of a film, but never the film,’ and then takes Jean Eustache to task for the similar statement that ‘you can discover a film only at the movie theater.’
To these statements, which to my mind have more than a grain of truth to them, Pedullà’s disdain notwithstanding, I would add the words of the late director Roy Ward Baker, a friend of mine, who directed the only really first-rate film on the Titanic disaster (A Night To Remember, 1958). During an afternoon’s discussion in 1994 at his home in London, Baker told me that he’d been shocked by the impact of viewing a recent theatrical screening of A Night To Remember at a retrospective of his work at Britain’s National Film Theatre.
As Baker told me, ‘I felt like I was seeing it for the first time, you know? Like it was real again. I’d grown so used to seeing it on television, I’d forgotten what it was really like.’ Then, he leaned forward and said two sentences that I have never forgotten since; at least for me, they cut to the center of this entire argument. ‘You see’ Baker said, ‘on television, or on a DVD, you can inspect a film. But you can’t experience it.’ That comment hit me like a bolt of lightning; true, direct, and utterly incisive.”
Speaking with Adam Sternbergh, Ford, just back from an appearance at Comic-Con to promote his new film Ender’s Game, Ford noted that if the Star Wars films, or the Indiana Jones series, were released today in the intensely fan-driven environment created by the convention, and others like it, “everyone would be ahead of it, and everybody would know what it was, and it would be no fun at all. But people still went to movies in those days. People went to movie theaters. It was a community experience, and that was part of the fun. Now people see a movie on their iPad, alone, with interruptions for snacks [. . .] I think the success of Comic-Con is based on the partnership between the fans and the service providers, the entities — I won’t necessarily call them filmmakers — that supply the film product that supports their particular interest, whether it’s vampires or science-fiction fantasies or Transformers or whatever is going on [. . .] I think the smaller-scale movies, which I like very much, would be harder to conceive another iteration of.”
Thanks to producer Ian Mylchreest, I was asked to appear with Rebecca Romney of Bauman’s Rare Books to discuss famous books that have been made into films, including The Great Gatsby, To Kill A Mockingbird, Gone With the Wind and many more. As the show’s website above notes, “Bauman’s Rare Books in the Palazzo Shoppes has assembled an exhibition of novels that became famous films. The store has everything from a signed copy of Gone with the Wind to first editions of J.K. Rowling’s Harry Potter series. We look at some of the books and the movies that were made — what kind of books makes a great movie?” It was a fascinating discussion, and you can listen to it by clicking here, or on the image above.
As Breia Brissey writes in today’s edition of Entertainment Weekly, “the paperback version of Starters, author Lissa Price’s debut novel, hits shelves tomorrow. In honor of the re-release—complete with a new look, and a never-been-seen short story “Portrait of a Spore”—we got our hands on the cover of Enders, the sequel to the 2012 YA novel, due out January 7, 2014.” Starters and Enders are the hot new young adult novels on the scene; the film versions of these books are a natural, because both novels offer something new and fresh for readers and viewers, rather than rehashing yet another tired franchise.
Lissa Price can really write page turning stuff, and these books are both really fast paced, absorbing reading, no matter what your age. Starters really impressed me — assured, fast moving, great characters, and an absolutely original plot. And to top it off, if you click here, or on the image above, you can see a brief preview from Enders – about ten compelling pages that will leave you wanting more, right now – at the bottom of the page.
Madman, shaman, mystic, brilliant actor and filmmaker and a complete pain in the neck, Dennis Hopper started out in the early 50s with a chip on his shoulder and enormous talent, falling in with James Dean and appearing in Rebel Without A Cause, though clashes with the director, Nicholas Ray, caused his part in the film to be severely cut down. What followed was an epic journey through the last days of the Hollywood studio system, the making of the counter-culture classic Easy Rider, and his lost masterpiece, The Last Movie, which as Folsom makes clear went through so many different edits that a “definitive” version of the work is almost impossible to identify. After that, a spiral into drugs and madness, and then one of the biggest comebacks in film history in David Lynch’s Blue Velvet, a whole second career as a director of his own films, an artist, and a world class collector of other people’s work.
Using archival sources and interviews, writing in a free form style reminiscent of both Hunter S. Thompson and Tom Wolfe, Folsom paints a compelling, multifaceted picture of this deeply conflicted and influential filmmaker, pursued by countless demons of his own making, and yet still able to create work of lasting beauty and quality despite it all. I met Hopper just once, at a screening of The Last Movie at Preview Theater in New York in 1971, just before the film came out; I was editing one of my own films there, and stumbled into him in the hallway, looking for change for the Coke machine. He invited me to the screening, which was specially set up for critic Judith Crist — who clearly didn’t like or understand the film — and was polite and forthcoming about the difficulties of the film even for an unsympathetic viewer, which Crist clearly was. Universal hated the movie, too, and dumped it in one theater, where it closed in a few weeks; never mind that it had won the Critics Prize at the Venice Film Festival.
For myself, I was knocked out by the film, and had another connection to it — my friend and colleague Brad Darrach at Life Magazine, where I worked as a writer and critic in 1969-70, had gone down to South America for the shoot, and witnessed all the madness, excess and brilliance of the production first hand, so I had a pretty good idea what to expect. Sadly, and somewhat amazingly, the film isn’t available legally on DVD, though bootlegs and downloads abound, perhaps appropriately for such an outlaw film. But it would seem that it’s time for Universal to put out The Last Movie in an official version, so that everyone can see for themselves what Hopper was capable of when left alone with a decent budget and complete creative freedom, including final cut — one of the most adventurous, challenging, and utterly original movies ever made.
About the Author
Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or firstname.lastname@example.org.
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In The National News
National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/