As Stephen Heller reports in The New York Times, “Tony Palladino, an innovative graphic designer and illustrator who created one of the most recognizable typographic titles in publishing and film history, the off-kilter, violently slashed block-letter rendering of Psycho, died on May 14 in Manhattan. He was 84. Mr. Palladino’s conception for Psycho originally appeared on the book jacket for Robert Bloch’s 1959 novel of that title, published by Simon & Schuster. Alfred Hitchcock purchased the rights to the lettering for the film’s promotion, which influenced the stark opening credit sequence created by Saul Bass. Palladino said the design — stark white letters torn and seemingly pasted together against a black background to resemble a ransom note — was intended to illustrate typographically the homicidal madness of the novel’s protagonist, Norman Bates. ‘How do you do a better image of Psycho than the word itself?’ he said.”
Archive for the ‘Film History’ Category
I recently had a screening of my early films at The Microscope Gallery in New York; Matthew Sorrento offers this review, which reads in part “as a teenager, Dixon was moved by the films screened at his local New Jersey library, noting how the works followed either the Hollywood or the independent models and how the later was an open field for artists (though the former would certainly interest him in his later criticism).
He found a welcoming community of artists at Rutgers University and then in New York, where enthusiasm and usefulness, as Dixon puts it, were all one needed to enter. Years later he would reflect on the scene in his essential 1997 text, The Exploding Eye, which sets right a lot of the debates lost in worship and revisionist history – but in the late 1960s Dixon was part of the thriving experimental scene.
Incorporating found footage, home movies, spur-of-the-moment camerawork, and poetry readings, Dixon’s catalog sums the best the times had to offer. To the post-digital generation, his work captures an era of democratic art, the materials for little investment and content composed anywhere, for nearly anyone.
On May 4th, 2014, New Yorkers had the rare – and perhaps final – chance to view Dixon’s films (now archived at the Museum of Modern Art) at the Microscope Gallery in Brooklyn. With Dixon in attendance, the artist-critic provided lively commentary on his collection of works that emit constant energy and passion.”
As the site notes, “Pathé News was a producer of newsreels, cinemagazines, and documentaries from 1910 until 1976 in the United Kingdom. Its founder, Charles Pathé, was a pioneer of moving pictures in the silent era. The Pathé News archive is known today as British Pathé. Its collection of news film and movies is fully digitized and available online. Follow us through the 20th Century and dive into the good and the bad times of the past. Feel free to explore more than 80,000 videos of filmed history and maybe you’ll find stuff no one else has ever seen. From next week on you’ll get a new playlists each Monday and Thursday, a special collection of videos we’ve picked out for you. On top of that you’ll get a weekly highlight video every Friday! Look forward to Top Ten lists, special occasions and recent events put into context. Have fun with 3,500 hours of filmed history!”
My review of the new Godzilla film seems to have sparked some real response, and in the comments section, I added these thoughts, which I think should be repeated here. In response to a number of people agreeing with my assessment of the film, and some people disagreeing, I added these final comments on both the film, and on reviewing films that I’m not fond of – something I don’t enjoy doing.
“I took no particular pleasure in doling out a bad review of the film — and I really went in expecting a genuine return to the roots of Godzilla, so to speak. But we have to keep these things in perspective. On one level, the whole thing is ridiculous – I mean, who really cares if a Godzilla reboot works? On the other, the original film was such a serious and potent metaphor for the nuclear decimation of Japan in 1945 that to see the whole concept turn into just another monster movie is a real betrayal of the 1954 original.
Pop thought it may be, the first Gojira had depth, which this film lacks; then again, I wish Edwards would go back to smaller, more thoughtful projects, but now that Hollywood has him in its grasp, there’s little likelihood of that. The 2014 Godzilla reminded me most strongly of Ataque de Pánico! (Panic Attack!; 2009), a short film made by another spfx wizard, Fede Alvarez on a dimestore budget, which also led to another Hollywood deal.
So it’s like this; make one good film with no money, then Hollywood snaps you up, and you make one bad film after another which is totally compromised by studio/exec interference, but they’re still hits because the studios have sunk so much money into them that they can’t afford to let them die, so they promote the hell out of them, and thus they become ’successes,’ and so you do another.
So I’m waiting for Manoel de Oliveira’s next film, which will have no money, lots of ideas, and will no doubt challenge and engage me more than this — but circling around all of this for me is my conviction that the 1954 Gojira and Oliveira’s The Strange Case of Angelica (2011) are roughly approximate in seriousness of intent, and that a stronger case needs to be made for Ishirō Honda in the first film. The genre really doesn’t matter here; it’s seriousness of intent.” As Honda himself famously noted, “monsters are born too tall, too strong, too heavy—that is their tragedy,” and that’s the tragedy of this film, too.
As I note in Film International today, “Now, we have Gareth Edwards’ 2014 version of Godzilla, and the results are decidedly mixed. I am a great admirer of Edwards’ 2010 film Monsters, which Edwards, an accomplished digital special effects technician, wrote, directed, photographed, produced and edited on a budget of significantly less than $500,000. Unlike most tech-heavy films of its type, Monsters betrayed real signs of intelligence and originality, imbuing the aliens, who are only glimpsed in full during a final, eerily mystic mating sequence at a desert gas station, with a genuine if other-worldly presence.
Edwards made up Monsters as he went along, shooting out of the back of a van on location, improvising most of the film with just two actors, and later described it as being ‘Lost in Translation meets War of the Worlds,’ which really does sum the film up rather neatly. One might almost call it an alien romantic fantasy, and the bare bones, documentary style of the film, combined with the laid back performances of Scott McNairy and Whitney Able as the two leads, created a work of genuine quality – a rarity in effects driven films. Though the film was only a modest commercial success, Hollywood took notice, and recognizing Edwards’ skill with actors as well as CGI effects, quickly snapped him up for bigger things.
Bigger, yes, but sadly not better. Made for $160 million, with extensive location shooting, and an added promotional budget of $80 million to put the film over the top, Edwards’ version of Godzilla has benefited from a shrewd marketing campaign, with a trailer that, as with Monsters, withheld the title character from view almost entirely, while banking heavily on actor Bryan Cranston’s presence in what seems to be a leading role in the film – in the trailer, he gets nearly all of the dialogue, intercut with suitably spectacular scenes of destruction. But – spoilers ahead – the trailer is one of the most remarkably deceptive ad campaigns in recent memory.”
As their site – follow the links above in the photo and the opening quote – accurately notes, “Film Fatales is a collective of female filmmakers based in New York who have written or directed at least one feature narrative or documentary film. Our members meet the first week of every month, hosted at the home of a different filmmaker each time. Gatherings consist of a meal, a topical conversation relevant to the creative process, and a sharing of the current projects of our members. Film Fatales has quickly become a grassroots community of collaboration and support, with over a dozen films in production by our members this year alone. By offering a space for mentorship, peer networking and direct participation, we hope to promote the creation of more stories by and about women.”
The new version of Godzilla, a potential reboot by director Gareth Edwards, has been much anticipated by fans of the series. Hopefully, the film will restore the much-damaged franchise to its original vitality and intensity, just as Christopher Nolan did with the Batman reboots.
I spoke with Duane Dudek of the Milwaukee Journal Sentinel on this film, who wrote that “over the 28-film series from Japan — five more than James Bond — the giant lizard became a pop-culture icon, but the films ‘descended into baroque parody,’ said Wheeler Winston Dixon, professor of film studies at the University of Nebraska.
The worst of them include the 1998 Roland Emmerich Godzilla with Matthew Broderick. The black-and-white original is a still poignant document of Japan 10 years after two atomic bombs were dropped on the country to end World War II. Rural and urban scenes that portray civilian and military life, and even women’s roles, are a glimpse of a country rich in tradition struggling to be modern.
Godzilla, portrayed by an actor in a rubber suit, is considered a neo-dinosaur reanimated after atomic testing, and the original film is a metaphor for Japan’s lingering nuclear trauma [. . .] In an attempt to restore the creature’s dignity, Toho oversaw the making of [this] new Godzilla film and had ’specific touchstones’ it wanted to include, said Dixon.
Toho is ‘painfully aware this is an incredibly valuable character in their arsenal. They are looking to crack the American market decisively’ with a first-class production and state-of-the-art effects. ‘This is their chance to reclaim and reboot the entire franchise,’ Dixon said.”
Agnès Varda never seems to get enough credit. The fore-mother of the French New Wave, long before Godard, Truffaut and the rest of the Cahiers du Cinéma crowd picked up a camera, Varda was making feature films from 1954, employing Alain Resnais as her editor, and pretty much setting out the basic precepts of simplicity, communality, and originality that her colleagues would later follow. But while Godard and Truffaut became art house darlings in the 60s – and certainly their work deserves the attention it got – Varda was somehow overlooked, although such films as Cleo from 5 to 7, Les Creatures, and Le Bonheur remain absolutely daring in their approach to the film medium, as well as dynamics of relationships between men and women, and particularly in affairs of the heart.
As the volume’s website notes, “Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director’s multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.”
In five succinct chapters, detailing Varda’s place within cinema history, her “ethics of filming,” and the aesthetic and technical concerns that inform her films, Bénézet, who teaches comparative literature in the School of Languages, Linguistics, and Film at Queen Mary, University of London, offers a compelling case for Varda as a major filmmaker of not only 20th century, but also 21st century cinema, and one of the most successful at embracing digital cinema in her newer films, such as the transcendent documentary feature The Gleaners and I, shot entirely on a small home digital camera. Bénézet makes it clear that Varda has never stopped evolving as both a filmmaker and an artist in general, embracing new technology and the changing culture of France to create work of stunning resonance and beauty with absolutely minimal resources.
Varda has survived many of her contemporaries, and she keeps on working to this day; in the end, Varda is finally managing to get some measure of the respect and care she so clearly deserves simply by the act of sheer survival – she has outlived her detractors, mostly male, who really couldn’t see the value in her work. Dismissed or marginalized when first released, her films, now lovingly restored by Varda herself in DVD editions available throughout the world, have finally taken their place in the cinematic canon along with those of her male counterparts. There have been other excellent books on Varda, but this particular text, neatly illustrated with frame blow-ups, and graced with a detailed filmography, is one of the best, and also has the virtue of being the most complete.
I missed this book when it came out in 2012, but boy — am I glad I found it now. When I first glanced at this volume, I thought that it was a collection of essays edited by Sorrento written by a number of different writers, simply because the range of films covered was so wide. But no – Sorrento is the sole author of this work, and it’s one of the most comprehensive and intelligent books on the subject I’ve ever come across. I met Sorrento, who teaches Film Studies at Rutgers Camden for the first time at the screening of my films at The Microscope Gallery a few days ago, although I have always admired his writing for Film International – see some of his work for that journal by clicking here - and he was kind enough to give me a copy. It was a revelation; this is an entirely new way of looking at these films, and at the history and evolution of crime films in general, especially as they morph and adapt the demands of new audiences.
In truth, I was knocked out – this is a superb course text, and outlines each film in detail. Sorrento has a sharp and accessible style, and a solid grounding in the genre, and it shows in every sentence of every essay; it simply jumps off the page as lively, informed, and important critical writing. As the publicity material for the volume notes, “the most pervasive genre in contemporary cinema, the American crime film has recently enjoyed a new surge of popularity and proliferation. Though these innovative films now tackle topical issues, they continue to reference the classic narratives and archetypes established in the great crime pictures of past decades. The titles explored in this critical survey span many themes that have fused with other genres to create fascinating filmic hybrids. Focusing on character and plot construction, the author highlights the gangster and film noir traditions that still run strongly through recent American cinema.”
But this gives only the merest suggestion of what this text accomplishes, as it deals with such directors as David Lynch, Gus Van Sant, David Mamet, Werner Herzog, Sam Raimi, David Cronenberg and the Coen Brothers and Stuart Gordon, who also provides a foreword to the volume, and whose despairing and overlooked classic Edmond, with a standout performance by William Macy, is examined here in detail. Other films covered include Spike Lee’s Inside Man, Tony Gilroy’s Michael Clayton, Debra Granik’s Winter’s Bone, Gus Van Sant’s Elephant and Paranoid Park, David Fincher’s Se7en, the brutal films of Andrew Jarecki, the nightmarish visions of David Lynch, the late films of Clint Eastwood, and how they developed and deepened the characters he created in his early work with Don Siegel, Woody Allen (an interesting and rewarding choice for this volume), David Mamet, the much underrated films Public Enemies and American Gangster, nothing less than a mini career survey of the Coen Brothers from their first film Blood Simple to No Country for Old Men, the hallucinatory work of David Cronenberg in such films as Eastern Promises, Werner Herzog’s Bad Lieutenant: Port of Call New Orleans and Sam Raimi’s A Simple Plan – ambitious enough for you?
What distinguishes this volume above all is the effortless erudition on display here; the skill with which Sorrento brings you into the the inner world of the film, and refuses to settle for summary analysis; the verse and style with which he attacks his work, and brings these films to life for the reader. Though obviously an aficionado of the genre – and of genre films in general – Sorrento remains rigorously critical in his writing, pointing up elements of some films that are problematic, while at the same time remaining deeply sympathetic to the aims of these individualistic filmmakers. Personally, while reading the volume, I could easily see a class centered around the text, that would embrace a wide variety of films – recent work, not just the classics – and offbeat titles, such as Gordon’s film, that certainly deserve more attention.
Sorrento is now working on a new book on “extreme cinema” in a variety of genres; we had a detailed and fascinating discussion about the project, and I hope it comes to fruition. There’s no question that in the early part of the 21st century, films have become more graphic, more daring, and more explicit than every before, putting the hearts and minds of the audience on trial – a responsibility that must not be taken lightly. Other have done volumes on “extreme” horror films, for example, but Sorrento’s new book will argue that this tendency towards “testing” the audience has now spread across nearly every genre in the cinema, including comedy. In the meantime, Sorrento’s The New American Crime Film stands as a singular and original text in a wilderness of re-treads, and in all sincerity, got me thinking about these films in an entirely new light – there’s a course there, for sure.
As I note in my review, “literally hundreds of film books cross my desk every year; I review books on every imaginable genre, director, movement or filmic era on an almost daily basis for a variety of publications, but every so often, a book appears that instantly commands my attention as a work of inescapable importance. Film Manifestos and Global Cinema Cultures: A Critical Anthology is such a volume. Running to a staggering 680 pages, and yet priced in hardcover for a mere $85 on Amazon, this collection of film writings from the dawn of cinema to the present day, edited by Scott MacKenzie, is one of the most inspirational and informative volumes I’ve ever come across, because it highlights the constant need for renewal which typifies the cinema, potentially that most compromised of art forms. It is, indeed, one of the most important volumes on the history, theory and practice of the cinema ever compiled.
The struggle between capital and creation is an ongoing one, even with the advent of digital cinema, and yet it is more than ever vitally important that artists reclaim the cinema, making films that challenge and enlighten the viewer, and break away from established orthodoxies of cinema production. Most of the texts here were written by filmmakers, actual practitioners of the cinematic arts, and they are direct calls to action, even if they (blessedly) contradict each other, and often insist that only “they” are correct in their approach to the cinema. This is the sort of conflicting chaos that creates the most interesting and lasting films in cinema history; films born not out of the studio system, but out of warring, marginalized factions, working with outdated equipment, insufficient funds, no distribution, and nothing more than a vision, and a desperate desire to get the vision recorded by any means available.”
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/