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Archive for the ‘Film Preservation’ Category

Fantasia of Color in Early Cinema

Friday, May 22nd, 2015

Just as I finish up my book on black and white, Amsterdam University Press comes out with this fabulous book on early color filmmaking.

Fantasia of Color in Early Cinema by Giovanni Fossati, Tom Gunning, Joshua Yumibe and Jonathan Roson is a stunning look at early hand colored and dyed cinema, from the turn of the 19th to 20 the centuries, which collects in one volume an enormous number of gorgeous, hand colored images. As the press material for book notes, “we normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century. In this visually stunning book, the editors present a treasure trove of early color film images from the archives of EYE Film Institute Netherlands, bringing to life their rich hues and forgotten splendor.

Carefully selecting and reproducing frames from movies made before World War I, Fossati, Gunning, Rosen, and Yumibe share the images here in a full range of tones and colors. Accompanying essays discuss the history of early film and the technical processes that filmmakers employed to capture these fascinating images, while other contributions explore preservation techniques and describe the visual delights that early film has offered audiences, then and now. Featuring more than 300 color illustrations for readers to examine and enjoy, Fantasia of Color in Early Cinema will engage scholars and other readers of all ages and backgrounds.”

Early reviews have been rhapsodic, with Martin Scorsese declaring that “‘I could gaze at the images in this book for hours. They are as fascinating as illuminated manuscripts or magic lantern slides,” and artist Tony Oursler commenting “in the endless rewrite of art history the moving image seems indefinably futuristic. Fantasia of Color in Early Cinema makes the case for the importance of these mind-blowing masterpieces. These stunningly chromatic film stills link technology and the human touch while revealing one of film’s best kept secrets. Traditional painting and sculpture relies on reflected light while projected light opens a wildly new path of experimentation. Here we see, for the very first time, images made at the speed of light.”

You can see more images from book by clicking here, or on the image above.

Agnès Varda To Receive Honorary Palme d’Or at Cannes

Saturday, May 9th, 2015

Agnès Varda, here seen shooting The Gleaners and I, will be awarded an Honorary Palme d’Or at Cannes.

As Kinsey Lowe reports in the always-reliable online journal Deadline, “Agnès Varda will be honored for the body of her work at the closing ceremony of this year’s Cannes Film Festival. She’s the first woman selected for this distinction. Only three other directors — Woody Allen, Clint Eastwood and Bernardo Bertolucci — have been recognized in this way for the global impact of their body of work.

From her first film, La Pointe Courte in 1954, Varda’s style reflected elements of what would become the French New Wave although because she preceded that movement her work is more Left Bank in style. Her next feature, Cleo From 5 To 7, was a documentary style look at a singer awaiting results of a biopsy, which foreshadowed Varda’s fascination with human mortality. Her films also tended to focus on women and her subsequent film Vagabond [1985] examined the investigation of the death of a female drifter.

She married film director Jacques Demy in 1962 and after his death in 1990, she made Jacquot de Nantes, about his life and death. In 2000, she used a digital camera to make The Gleaners and I [see still above]. Her 2008 autobiographical work Les plages d’Agnès picked up France’s the César for best documentary. A well-rounded and multifaceted artist, she started out as a photographer. The Los Angeles County Museum of Art held an exhibition entitled Agnes Varda in Californialand in 2013. The show was a sort of reflection of the time Varda spent in Los Angeles in the ’60s and included sculpture, photographs and short films.”

This is an honor that is more than overdue – congratulations to the foremother of the New Wave.

Miss Mend, or The Adventures of Three Reporters on TCM

Friday, May 8th, 2015

Once again, TCM scores with another amazing classic film – this Sunday night May 10th, 2015.

Almost unknown in the West, even today, though luckily actually available on DVD, Miss Mend, or The Adventures of Three Reporters is a really wild Russian film that mixes equal parts action serial, Dr. Mabuse crime film, and political satire in a film that breaks tradition with all other Soviet film of the silent era.

Made in 1926, the film chronicles the attempts of “three reporters and an office girl trying to stop a bacteriological strike by some powerful western business leaders against the USSR,” and while the whole film is typically outrageous Soviet propaganda, it’s filled with an energy and kinetic power akin to the work of Sergei Eisenstein crossed with a dash of Fritz Lang, and succeeds almost through sheer outrageousness alone.

As film critic Bret Wood notes of the film, “when one thinks of the Soviet cinema of the 1920s, the images that come to mind are those of state-sponsored propaganda, rendered in a dynamic visual style, orchestrated with the rhythm of hammer blows, engineered to deliver the maximum emotional and intellectual impact. But not every Russian film at the time was cut from the cloth of Sergei Eisenstein, Dziga Vertov and Vsevolod Pudovkin. There was a whole other movement that embraced the conventions of American and European film as a means of imparting its sociopolitical messages.

Films such as The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), The Cigarette Girl of Mosselprom (1924) and even the sci-fi romance Aelita, Queen of Mars (1924) proved that some Red Russians served up their agitprop with joie de vivre. The most prominent purveyor of this breed of film was the Mezhrabpom-Rus studio. In her book Movies for the Masses: Popular Cinema and Soviet Society in the 1920s, Denise J. Youngblood writes that ‘the studio was a flourishing concern, its commercial style already well established. Despite its dependence on leftist, German capital, it turned out unabashedly bourgeois films — films with the dash and glamour which had characterized the pre-revolutionary cinema.’

One of Mezhrabpom’s most ambitious films was Boris Barnet and Fyodor Otsep’s Miss Mend (1926), which tapped into the adventure serial genre that had proven popular in the U.S. (The Perils of Pauline [1914]), Germany (Fritz Lang’s The Spiders [1919-20]), and France (Louis Feuillade’s Les Vampires [1915]). Broken into three feature-length installments and clocking a total of more than four hours, Miss Mend is a hyperkinetic comedy thriller that achieves the near-impossible challenge of maintaining audience interest over the course of a plot that expansive without being exhausting.

The labyrinthine plot follows the exploits of a muck-raking reporter, Barnet (Barnet), a photographer named Vogel (Vladimir Fogel), Hopkins the clerk (Igor Ilyinsky), and a typist named Vivian Mend (Natalya Glan), who stumble upon a conspiracy to murder American industrialist Gordon Stern and lay the blame on the Bolsheviks. Through a falsified will, Stern’s empire will go to the vampish second wife Elizabeth (Natalya Rozenel), who hands it over to a ‘gigantic criminal conspiracy’ known as the Organization, led by an assassin named Chiche (Sergei Komarov).

In part two, the nefarious Chiche reveals a plot to sell plague-inducing biological weapons to a cabal of wealthy industrialists. To demonstrate the effectiveness of the germs, he sends an ampule to be discharged in Soviet Russia (where it will eliminate thousands of labor activists). A motorboat chase ensues and the ampule is intercepted by Vogel, but is accidentally smashed, and the passengers and crew on the S.S. Preussen begin dropping like flies.

In the concluding section, the plague is contained and pursuit of Chiche reaches a fever pitch. Hopkins falls under Chiche’s hypnotic spell (a reference perhaps to Fritz Lang’s arch-villain Dr. Mabuse, who was a master of mind control) but it is unclear just how deeply entranced he may be. As the Organization begins to unravel, its mastermind makes a last-ditch effort to release the plague-bearing bacterium upon the world, but he hasn’t accounted for the presence of the Soviet Police, who have the chance to be the heroes of the climactic third act.

According to Youngblood, ‘Miss Mend was one of the most-seen [Soviet] films of the twenties, with a recorded audience of more than 1.7 million in the first six months. It played at least two months at the deluxe Ars theatre in Moscow.’ But Youngblood reveals that the critics were not as enthusiastic as the ticket-buyers. ‘Miss Mend was one of the most criticized movies of the twenties . . . The reviews ranged from the dismissive (“naive and stupid” and “varnished barbarism”) to the denunciatory (accusations that the film’s cheerful antics promoted “hooliganism”).’ Not exactly an intellectual exercise, the film was nonetheless laced with bits of social commentary, often aimed at various forms of Western decadence (including corrupt cops and red hot jazz).”

And you’re going to miss this? No, you’re not – DVR it. Miss Mend is an astounding piece of filmmaking.

Roberty Downey Sr.’s Pound (1970)

Sunday, May 3rd, 2015

Robert Downey Sr. (center) with cast members on the set of his film Pound.

As readers of this blog know, I’m a friend and fan of the work of Robert Downey Sr., whose best known film after all these years is Putney Swope. I first met Bob back in 1969, right after the success of Putney, when he was editing Pound in a cutting room in the West 50s in Manhattan. We hit it off, and remain friends to this day, but although I’ve written about a lot of his other work, I’ve never really tacked Pound, which is simultaneously one of his most disturbing and ambitious films, and was – at least in my mind – a highly unlikely follow-up to Putney Swope. But at this point in his career, Bob could write his own ticket, and the result is one of the darkest, most unsettling visions of humanity in crisis that ever hit the screen – yet to this day, Pound is almost impossible to see.

As Rich Drees noted in a 2006 article on Pound, the plot of the film is simple: “set in a New York City dog pound, 18 dogs, played by human actors, wait to be adopted. Part existential comedy, part allegory, the dogs include a punch drunk Boxer (Stan Gottlieb), a hyperactive Mexican Hairless (a scene stealing Lawrence Wolf) and a sleek Greyhound (Antonio Fargas). Meanwhile, the city is being terrorized by a serial killer dubbed The Honky Killer (James Green). Pound also features the debut of performance of Downey’s son Robert Jr. as a puppy temporarily held at the pound.”

But that’s just the set-up. Hovering over all the characters is the continual threat of death from “the needle” – they’re not so much waiting to be adopted, as waiting to be executed. A terrier advises that they should revolt against their captors and escape, while an airedale argues that their deaths are not imminent, and a pardon is forthcoming. Throughout the film, there a number of mournful musical numbers which verge on nihilistic vaudeville, interspersed with a series of philosophical diatribes on the nature of existence, the transience of life, and the ways in which we’re all in a prison of one sort or another, whether we wish to admit it or not.

The end of the film is terrifying, as all of their ranting against the caprices of fate comes to naught. Without warning, a guard peremptorily pulls a switch that sends poisonous gas into the holding chamber, and one by one, the animals die an agonizing death, with each “dog” given a last, wistful closeup as they expire. Downey then cuts to a final sequence on a train to nowhere, as the “dogs” sit in their seats, bound for who knows where – heaven? hell? limbo? – and a candy barker walks through the aisle with a megaphone singing the 1930s song “Just One More Chance,” the lyrics of which, in part, lament that “we spend our lives in groping for happiness / I found it once and tossed it aside / I paid for it with hours of loneliness / I’ve nothing to hide.” And on this unresolved note, the film ends.

Not surprisingly, Pound was summarily rejected by the sponsoring studio, MGM, who for some reason, Downey told me, thought that the film would be an animated cartoon. When they saw the finished result, MGM dumped it on the bottom half of a double bill with Federico Fellini’s Satryicon, to Downey’s delight. Yet not surprisingly, given the film’s incredibly bleak outlook on life, Pound has never had a VHS or DVD release, although it was available as a streaming download on Netflix for a time, but has now been withdrawn.

Indeed, as Drees notes, it’s a miracle that the film exists at all, since “the only print of the film that Downey could locate was found in his ‘cameraman’s ex-wife’s closet . . . a 35mm print that was dead.’ Although the print itself was deemed unprojectable, it was able to be digitally scanned and restored. ‘So they put the color back in,’ says Downey. ‘They cleaned up the sound a bit too. Technology is great, it’s just the movies aren’t getting any better. It’s only because of digital technology that some of this stuff can be saved, because most of the colors just go. Most of my stuff in color other than Greasers Palace (1972), I hate the color. I love black and white.’”

Based on a play Downey wrote very early in his career, The Comeuppance, which was produced Off-Off Broadway in 1961, Pound betrays its theatrical origins, and has strong links to Sartre’s play No Exit, as well as to Downey’s even earlier efforts, such as his first play about two nuclear missiles in a silo, waiting go off, talking to each other about the destruction they will inevitably inflict on humankind. Pound can certainly be seen as an extension of that, and it’s no wonder that it was so roundly rejected by the general public, and got an NC-17 rating – it’s a real warning that the only one you can really trust in life is yourself.

There are bootlegs of the film, of course, drifting around on the web, and today, the film’s major curiosity draw seems to be the brief appearance of Bob Downey Jr. in a small role as a puppy – but the film is much more than that. It’s certainly not a masterpiece, and Downey himself has expressed definite reservations about Pound, but all in all, it’s one hell of a scary vision of life, and a real outlier in film history – the work of someone chasing not success, but his own vision, consequences be damned. As Downey said of his work as a filmmaker, “after being thrown out of the house, four schools and the United States Army, I discovered that I was on the right track.”

“I just think he’s one of our great American directors” — Paul Thomas Anderson

This Is Widescreen – The Academy of Motion Picture Arts and Sciences

Sunday, April 26th, 2015

The Academy of Motion Picture Arts and Sciences is running an excellent new series on widescreen cinema.

From May 1st through June 19th, the Academy of Motion Picture Arts and Sciences is a running a widescreen “retrospective” of the some of the most innovative CinemaScope and related processes films from the 1950s and 1960s – with the 1960 arguably being when the format reached its zenith. As their program notes for the series comment, “cinema has endured for decades through changes in technology and competing visual platforms, and now you can discover how studios and filmmakers – long before tablets, smartphones and the Internet – responded when audiences began trading regular visits to the movies for the ease and affordability of the first small screen: television.

In response, many impressive widescreen cinematic formats were rolled out around the world and capitalized on the breathtaking width of the projected image, not to mention the heightened fidelity of stereophonic sound, to achieve effects far beyond the reach of TV sets.

This Is Widescreen offers a colorful assortment of films (including classic musicals, crime films, sci-fi chillers, ghost stories and more) that demonstrate how filmmakers found new means of engaging the flexibility of the cinema and the key larger-than-life film formats in the ’50s and ’60s – from the launch of Cinerama in 1952 and the subsequent widescreen boom that included CinemaScope, VistaVision, Todd-AO and others – plus highlights from the first wave of ‘Scope filmmaking from around the globe.”

Admission to each screening, projected immaculately in 35mm format, is a mere $5 (!!), and the opportunity to see these remarkable films on the big screen in their original aspect ratio shouldn’t be missed. All screenings will feature pre-show presentations including shorts, trailers, cartoons and/or behind -the-scenes footage. Feature films screened during the series are:

Cinerama Holiday – May 1 at 7:30 pm
Lola Montès - May 7 at 7:30 pm
Carmen Jones and Bigger Than Life – May 8 at 7:30 pm and 9:30 pm
The Hidden Fortress – May 14 at 7:30 pm
To Catch a Thief
and Artists and Models – May 15 at 7:30 pm and 9:30 pm
Shoot the Piano Player and Lola – May 21 at 7:30 pm and 9:20 pm
Invasion of the Body Snatchers and Beyond a Reasonable Doubt – May 22 at 7:30 pm  and 9:05 pm
Last Year at Marienbad and The Innocents – May 28 at 7:30 pm and 9:20 pm
Oklahoma! - May 29 at 7:30 pm
A Woman Is a Woman and Cruel Story of Youth – June 4 at 7:30 pm and 9:10 pm
The Vikings – June 5 at 7:30
Kwaidan - June 11 at 7:30
Grand Prix – June 12 at 7:30
The Big Gundown and Dragon Inn – June 18 at 7:30 pm and 9:35 pm

For more information on each program, click on the links above – not to be missed!

Laurel and Hardy: 40 Memorable Moments

Tuesday, April 21st, 2015

Courtesy of The Telegraph, here are forty memorable scenes from the films of Laurel and Hardy.

As the newspaper notes, “Stan Laurel and Oliver Hardy have inspired generations of comedians including Matt Lucas (“I always thought of them as friends”), John Cleese (“they’re wonderfully, wonderfully funny”), Steve Martin (“they are hard to top”), Steve Coogan (“they were geniuses of comedy”) and Stephen Fry (“a constant joy”). Laurel and Hardy will return to the big screen this summer to mark the 125th anniversary of Stan Laurel’s birth and cinemas across the UK will be showing a double bill of their classic 1933 feature length film Sons of the Desert and the short movie County Hospital. Martin Chilton celebrates this wonderful comic duo with a pick of 40 of their finest moments.”

Click here, or on the image above, to browse through this excellent gallery of photos.

The Black Film Center/Archive – Richard E. Norman Collection

Monday, April 20th, 2015

More essential films saved from destruction.

As The Indiana University – Bloomington Newsroom reports, “The Black Film Center/Archive will produce a new finding aid for the collection of Richard E. Norman, a pioneer in development of films for African-American audiences. Project staff, working in partnership with IU Libraries Digital Collections Services, will enhance this online resource with over 20,000 digitized items from the archive.

‘The Norman Collection constitutes a unique resource for the study of the formation of American cinema in general and the history of race films in particular,’ said Michael T. Martin, director of the Black Film Center/Archive and a professor of American studies and of communication and culture in The Media School. ‘Arguably, of no less importance to both histories as the Lincoln Motion Picture Co. and Micheaux Picture Corp. are, this grant ensures the preservation and access of our Norman holdings for current and future generations of researchers, film historians and the public, as it will be to the teaching mission of Indiana University.’

In the early 1900s, Norman, a southern-born white filmmaker, was among a small group of so-called race filmmakers who set out to produce black-oriented pictures to counteract the racist caricatures that had dominated cinema from its inception.

Norman began his filmmaking career in the Midwest before relocating his Norman Film Studios to Jacksonville, Fla., where from 1919 to 1928 he produced silent feature films featuring leading black actors and actresses. He cast his actors in positive roles such as a banker, businessman and cowboy, and not in demeaning roles often given to African Americans by Hollywood. In his 1926 feature, The Flying Ace, he notably depicted an African-American pilot in the U.S. Armed Forces — an impossible career in reality for a black man until 1940.

Apart from short fragments, all but one of Norman’s films are now lost, making the collection at IU even more important. His lone surviving film, “The Flying Ace,” was restored by the Library of Congress in 2010 and screened at IU in 2013 as part of the ‘Regeneration in Digital Contexts: Early Black Film’ conference.

Norman’s archive at IU — an extensive collection of his personal and professional correspondence, detailed theatrical distribution records, original shooting scripts and other records — is among the most important resources for the study of early African-American film and movie-going culture from 1912 to 1954. Norman ceased film production with the advent of the sound era, but he remained active in the motion picture industry as a distributor and owner of theaters.

‘Since the 2013 publication of Barbara Tepa Lupack’s scholarly biography on Norman, we’ve seen a surge of research interest in Norman’s collection from scholars internationally,’ said Brian Graney, archivist of the Black Film Center/Archive and principal investigator on the Norman project. ‘This support from NEH will greatly increase the discoverability of Norman’s records and make them readily available as digital resources for remote research and new forms of scholarship on African-American movie-going.’

The collection was donated by Norman’s son, Capt. Richard E. Norman Jr., to the Black Film Center/Archive under its founding director Phyllis Klotman, emeritus professor of African American and African diaspora studies, who died late last month.”

Fascinating history – read more by clicking here, or on the image above.

Columbia University Seminar Presentation – 4/16/15

Monday, April 20th, 2015

I was honored to be invited to deliver a seminar lecture at Columbia University on April 16, 2015.

My talk was entitled “The Current Fate of Experimental Works on 16mm from the 1960s and 1970s in a Digital Age,” with David Sterritt, Chair of the National Society of Film Critics and a Professor of Film Studies at Columbia University serving as the respondent.

The problem we discussed is a serious one – most of the experimental films of the 1960s and 1970s were created on 16mm reversal film, which is now an obsolete format, and many of the artists involved in the era have died, leaving their films as essentially “orphan works.” Even such well known artists as D.A. Pennebaker are searching for archives to take their 16mm original printing materials, and for most independent filmmakers of the 1960s, the films sit on the shelf, unseen and undistributed, where once they commanded a wide audience around the world at colleges, museums, and galleries.

As I noted during my lecture, in part, “with the rise of what is supposedly ’social media,’ a sense of community is gone. I think a better term for it is ‘anti-social’ media, because it locks us all away from each other in our own little cubicle. True, I can communicate with anyone in the world with a few keystrokes, but it’s impersonal, fragmentary, lacking in any real person to person substance.

Skype or Facetime are poor substitutes for actually sitting in a room and talking to a group of people. Vimeo [a premium video sharing site] is supposed to be a haven for artists, as well, but there’s little real interaction – by design – and many of the artists’ sites are ‘ghost sites,’ of videos posted years ago, and viewed only a few times.

Bookstores have vanished, not only in New York City, but around the world. And now, when one goes into a coffee house, instead of discussions, one finds a group of solitary people staring at their iPads or laptops, alone together in a virtual world where the only interaction takes place on the screen. Most people aren’t even aware of it, but our private space is essentially gone . . .

The experimental film work I have discussed in this paper, made for the most part in 16mm format, is also now beyond general use, as 16mm projection and production – to say nothing of 35mm – becomes a thing of the past.

Most of these works will become mere memories, existing only in terrible copies uploaded on the web if they exist at all. These films will never make the jump to DVD or streaming video, and unless one wants to go Anthology Film Archives, they’re almost impossible to see. Indeed, it’s as if they never even existed to an entire new generation of potential artists.”

A difficult problem, for which there is no easy solution; well worth talking about.

The Films of Jim Krell at Anthology – At Last!

Saturday, April 18th, 2015

A sold out audience for the films of Jim Krell at Anthology Film Archives – 4/17/2015.

At last, in their first projection since a screening at the Rutgers University in 1982, six of Jim Krell’s films were shown to a large, receptive, and deeply enthusiastic audience at Manhattan’s Anthology Film Archive on April 17, 2015. Krell’s films are such utterly original works that the chance to see them should simply not be overlooked, not least because they were created in 16mm, and were screened in that format, something that is increasingly rare in the 21st century.

I curated the screening, in addition to presenting an introductory lecture offering an overview of Krell’s work, as someone who witnessed the creation of many of the films included in the program. Sadly, the prints of some of Krell’s earliest films, such as Paper Palsy and Shoreline of China, seem to have been lost in the thirty or so years since their last projection.

The originals for these early films, however, are happily all in Anthology’s collection of Krell’s materials; perhaps, someday, they will be printed up again. Nevertheless, what we saw was astounding, and demonstrates conclusively that a major retrospective of Krell’s work is long, long overdue.

One of the most original and iconoclastic figures of the New American Cinema, Jim Krell created work that is simultaneously so important, and yet so unknown, that this screening constitutes a major event, closing a significant gap in experimental film history. Starting in the early 1970s, Krell created a series of mysterious and rigorous films that defy written description, visionary works that conjure up an entirely different vision of the physical universe.

During that time, I had the opportunity to watch him at work on several occasions. What always impressed me (or perhaps ‘astonished’ is a better word) concerning Krell’s shooting methods was the intrinsic speed and seemingly random technique he brought to his work, creating films with offhand precision that both challenged and engaged the viewer.

Now living in Italy, Krell has long since moved on to other pursuits, but during the white hot period in which he turned out one amazing film after another in a veritable torrent of work, Krell created a singular vision that is all the more impressive because each of his films is entirely different from any other of his works; he never does the same thing twice. So the chance to see, and save, his work, is something that isn’t to be taken lightly.

Thanks to all at Anthology, including Jed Rapfogel, Andrew Lampert, Sarah Halpern, and the superb projectionists who really brought Jim’s films to life on this memorable night; I really do hope this will be the first of many more screenings of his work. You can read more about Krell’s work in my book The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema.

Jim Krell is a genuine American original, in every sense of the word.

Lunch with Robert Downey Sr.

Saturday, April 18th, 2015

Nothing like having lunch with an old friend.

In town for a lecture at Columbia University on April 16th, 2015, I was happy to have lunch with Bob Downey Sr. and his wife, Rosemary Rogers, at their apartment, with no real objective other than to have a good time and catch up. I’ve written extensively on Bob’s work in my book Film Talk, and have known him since the late 1960s, and always found him to be a totally stand up guy, a valued friend, and one of the most gifted and outrageous filmmakers of all time.

Recently, many of his key films were collected in a superb Criterion edition entitled Up All Night With Robert Downey Sr., including his landmark comedy Putney Swope. As Criterion notes, “Robert Downey Sr. emerged as one of the most irreverent filmmakers of the new American underground of the early sixties, taking no prisoners in his rough-and-tumble treatises on politics, race, and consumer culture.

In his most famous, the midnight-movie mainstay Putney Swope, an advertising agency is turned on its head when a militant African American man takes charge. Like Swope, Downey held nothing sacred. This selection of five of his most raucous and outlandish films, dating from 1964 to 1975, offers a unique mix of the hilariously abrasive and the intensely experimental.”

Check it out- Bob is the real deal!

About the Author

Wheeler Winston Dixon

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 thirty books and more than 100 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. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

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