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Archive for the ‘Film History’ Category

“The Power of Pictures: Early Soviet Photography, Early Soviet Film”

Sunday, September 27th, 2015

A frame blowup from Mikhail Kalatozov’s Salt for Svanetia (1930), now screening at the Jewish Museum.

Here’s a great review by Holland Cotter of The New York Times of a new show at the Jewish Museum in New York City.  As Cotter writes, in part: “Revolutions sell utopias; that’s their job. Art, if it behaves itself and sticks to the right script, can be an important part of the promotional package. This is the basic tale told by ‘The Power of Pictures: Early Soviet Photography, Early Soviet Film’ at the Jewish Museum, but with a question added: What happens to art and its makers when the script is drastically revised?

In the years following the 1917 revolution, Russia was a social and political experiment in progress, and a wild, risky one. It had a stake in emphasizing its brand-newness, its difference from the rest of the world. Its young government made every effort to promote the idea that it was creating a liberated, radical Now to set against a repressive, conservative Then.

In this heady atmosphere, avant-garde art, chance-taking by definition, was officially embraced as a natural complement to progressive politics. Photography and film, modern forms as yet untainted by history, were considered particularly suitable for molding life in the present. And both had inventive practitioners.

Already, by the mid-1920s, Sergei Eisenstein, a Red Army veteran, was memorializing the revolution in movies. Utopia-minded painters like El Lissitzky and Alexander Rodchenko were proposing alternative modes of seeing by bringing abstraction into photography . . .

Like photography, film in this period was ideologically constrained but conceptually advanced. The symphonic brilliance of Eisenstein’s 1925 Battleship Potemkin and his 1927 October, or Ten Days That Shook the World transcends the official approved narratives. Mikhail Kalatozov’s far less familiar Salt for Svanetia from 1930, a quasi-ethnographic film shot in the remote Caucasus, is enchantingly strange even with its tacked-on Soviets-come-to-the-rescue ending.

Remarkably, the show presents these films complete, along with nine other beauties in a small, comfortable viewing theater built into one of the Jewish Museum’s galleries. They are all screened back-to-back, four a day, with a few, including Grigory Kozintsev’s fascinatingly operatic 1926 adaptation of Gogol’s The Overcoat, repeated twice in the rotation.”

If you’re in Manhattan, check it out – some beautiful and little known work here.

Another New Frame by Frame Video – Batman v Superman

Thursday, September 24th, 2015

Ben Affleck and Zack Snyder on the set of Batman v Superman: Dawn of Justice.

Curt Bright and I have really been pumping these Frame by Frame videos out – three in the last week alone! This time around, it’s the new Batman v Superman movie, directed by Zack Snyder, on which I have real reservations. As I note in the video commentary, this seems like reaching for the end of the franchise waaaaaay too soon – the comparison I make is Frankenstein Meets the Wolfman (1943), which spelled the beginning of the end for the classic Universal monster series, and led to the “monster rally” films House of Frankenstein (1944) and House of Dracula (1945), before the entire franchise collapsed in parody with Abbott and Costello Meet Frankenstein in 1948.

Frankenstein Meets The Wolfman has much the same basic plot arc as Superman v Batman, but with Snyder’s film, it proved necessary to turn Superman into something of a villain, seemingly out of control, thus forcing Batman to travel to Gotham City to challenge Superman, who is suddenly seem as a threat to humanity, rather than a savior, his more traditional role.

As Snyder told Katie Roberts when he undertook the project, “after Man of Steel finished and we started talking about what would be in the next movie, I started subtly mentioning that it would be cool if he faced Batman… You’re in a story meeting talking about, like, who should [Superman] fight if he fought this giant alien threat Zod who was basically his equal physically, from his planet, fighting on our turf… You know, who to fight next?… But I’m not gonna say at all that when I took the job to do Man of Steel that I did it in a subversive way to get to Batman. I really believe that only after contemplating who could face [Superman] did Batman come into the picture.”

Which is all very well, but what’s the next act? And with Wonder Woman thrown in as an extra added attraction, along with DC superheroes Aquaman and Cyborg, all in their first live action big-screen iterations, it would seem to me that this is becoming more and more like a series ender, rather than a franchise extender. If you’re setting up this conflict, even if everything turns out all right in the end, which of course it will, you’ve nevertheless created a mash-up which could easily lead to parody, rather than an extension of the DC Universe.

Really, all of this is rather inconsequential in the long run, at least for me, but for fans, I think this is starting down the road to a series of films with endless cataclysmic fights, explosions, and violence, rather than character development, in which the members of the DC universe are shuffled on screen for some marquee time, and then moved off into the shadows, waiting for the next franchise entry. But we’ll find out soon enough whether or not it works. And meantime, when is the Wonder Woman film going to come out – were going to have to wait until 2017 for that – long overdue!

Coming in March 2016 to a theater near you: Batman v Superman: Dawn of Justice.

Terence Stamp – An Actor’s Unusual Life

Sunday, September 20th, 2015

Terence Stamp and Julie Christie in the 1967 version of Far From The Madding Crowd.

Though most people know him today almost solely as General Zod in the Christopher Reeve Superman movies, Terence Stamp has had a long and deeply varied career. On March 12, 2015, Stamp sat down with Andrew Pulver of The Guardian for a detailed interview, which makes for fascinating reading, both as an overview of the actor’s life, but also as a reminder of the whimsical nature an acting career – one moment you’re hot, the next moment, nothing.

As Pulver notes, “It’s funny how things work out. Now 76, Stamp had a fantastic 1960s, during which he starred in a handful of imperishable classics (Billy Budd, Ken Loach’s Poor Cow, Pasolini’s Theorem) and consorted with some of the era’s most beautiful women (Julie Christie, Jean Shrimpton, Brigitte Bardot). His career fell off a cliff at the start of the 1970s, the drought ending with an improbable offer to play General Zod in the first two Superman movies.

A peripatetic revival followed, with occasional juicy roles (The Hit, Wall Street, The Adventures of Priscilla – Queen of the Desert, Song for Marion) alternating with pay-the-bills Hollywood (Young Guns, Elektra, Wanted). Retro fetishism started in 1999 with the Steven Soderbergh-directed The Limey, in which Stamp played a Get Carter-ish avenging gangster, and has continued to the present day, with Stamp currently lionized by another 60s-fetishising film-maker, Tim Burton, with roles in Big Eyes (as a snooty art critic) and the yet-to-be-completed Miss Peregrine’s Home for Peculiar Children.

But cinema has a habit of folding back on itself; this week sees the reissue of one of those imperishable 1960s films, Far From the Madding Crowd, an adaptation of the Thomas Hardy novel, in which Stamp plays the coldly raffish Sergeant Troy opposite Julie Christie’s Bathsheba. Spruced-up and spring-cleaned, and just less than half a century old, Far From the Madding Crowd is something else: they really don’t make them like this any more.

Almost three hours long, smeared with mud and sheep dung in its grimly realistic recreation of early 19th-century Dorset, and benefiting from performances from actors at the top of their games, it glows on the screen exactly the way it must have when first released in 1967. At the time, however, it was considered a disaster: poor reviews, especially in the US, and a general inability to see past the with-it celebrity personas of Stamp and Christie, translated into underwhelming box-office and a severe career misstep for its director, John Schlesinger.

These days, Stamp is sanguine about the film, which has regained some cultural currency with the impending release of another adaptation, featuring Carey Mulligan in the Julie Christie role and Tom Sturridge in Stamp’s. [Said Stamp,] ‘It was the first really commercial project I got involved with, and I was rather shocked by the reaction. I thought it had everything.’”

An excellent interview; read the entire piece by clicking here, or on the image above.

Frame by Frame on Star Wars – The Force Awakens

Friday, September 18th, 2015

I have a new Frame by Frame video on Star Wars: The Force Awakens.

Amazingly, this episode in the Star Wars series will actually be shot on film, rather than digitally. As director J.J. Abrams told Ben Fritz of The Wall Street Journal, “I appreciate how that technology opens the doors for filmmakers who never had access to that level of quality before. However, I do think film itself sets the standard for quality. You can talk about range, light, sensitive, resolution — there’s something about film that is undeniably beautiful, undeniably organic and natural and real.

I would argue film sets the standard and once it’s no longer available, the ability to shoot the benchmark goes away. Suddenly you’re left with what is, in many cases, perfectly good but not necessarily the best, the warmest, the most rich and detailed images. Especially on movies like Star Trek and Star Wars, you have so much that will be created or extended digitally, and it’s a slippery slope where you can get lost in a world of synthetic. You really have to keep away from that, especially with Star Wars, which I wanted very much to feel like it is part of another era.

I’m very grateful to Kodak for keeping the lab open for now. As a filmmaker, you want to have every tool available. That doesn’t mean digital doesn’t have huge advantages, nor that I wouldn’t want to experiment and shoot digitally on something. I would hope filmmakers who are just getting started will be able to have this as an option as they continue in their careers because movies are nothing if not a romantic experience and film is a big part of that.”

The result should be quite interesting; slated to open December, 2015.

New Book Published – Black & White Cinema: A Short History

Tuesday, September 15th, 2015

I have a new book out today from Rutgers University Press – Black & White Cinema: A Short History.

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir’s moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones. Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers’ appreciation of them is similarly waning.

Black and White Cinema is the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and global overview of the era when it flourished, from the 1900s to the 1960s. Acclaimed film scholar Wheeler Winston Dixon introduces us to the masters of this art, discussing the signature styles and technical innovations of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist.

Giving us a unique glimpse behind the scenes, Dixon also reveals the creative teams—from lighting technicians to matte painters—whose work profoundly shaped the look of black-and-white cinema. More than just a study of film history, this book is a rallying cry, meant to inspire a love for the artistry of black-and-white film, so that we might work to preserve this important part of our cinematic heritage. Lavishly illustrated with more than forty on-the-set stills, Black and White Cinema provides a vivid and illuminating look at a creatively vital era.

Here are some early reviews:

“Dixon covers the entire history of black and white movies in one volume, and talks about the films and cinematographers who created these films, and often got little credit for their work. Fascinating and compelling, this is essential reading for anyone who loves movies.”—Robert Downey Sr., director, Putney Swope

“Dixon has an encyclopedic knowledge of film history, and a subtle and well-honed aesthetic sense. He rescues important films from oblivion, and finds fresh angles of approach to films that are already familiar.” —Steven Shaviro, Wayne State University

“Wheeler Winston Dixon’s colorful study of black-and-white cinema reaffirms yet again his unfailing expertise as a critic, historian, and dazzlingly fine writer. Indispensable for students, scholars, and movie buffs alike.”—David Sterritt, author of The Cinema of Clint Eastwood: Chronicles of America

“In his latest book, Black and White Cinema, Wheeler Winston Dixon rediscovers the art of cinematography in those glorious black-and-white movies from Hollywood’s classic age.” –Jan-Christopher Horak, Director, UCLA Film & Television Archive.

My thanks to all who helped with this very complex project.

Behind The Scenes of Fritz Lang’s Metropolis (1927)

Sunday, September 13th, 2015

This fantastic behind-the-scenes photo shows workers on the set for the futuristic city of Metropolis.

As Wikipedia aptly notes, “Metropolis is a 1927 German expressionist epic science-fiction drama film directed by Fritz Lang. Lang and his wife Thea von Harbou wrote the silent film, which starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G.. It is regarded as a pioneering work of the science-fiction genre in movies, being among the first feature length movies of the genre.

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city’s ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Filming took place in 1925 at a cost of approximately five million Reichsmarks, making it the most expensive film ever released up to that point. The motion picture’s futuristic style shows the influence of the work of the Futurist Italian architect Antonio Sant’Elia.

The film met with a mixed response upon its initial release, with many critics praising its technical achievements and social metaphors while others derided its ’simplistic and naïve’ presentation. Because of its long running-time and the inclusion of footage which censors found questionable, Metropolis was cut substantially after its German premiere, and large portions of the film went missing over the subsequent decades.

A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2001, and the film was inscribed on UNESCO’s Memory of the World Register in the same year, the first film thus distinguished. In 2008 a damaged print of Lang’s original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010.”

Personally, I find the shorter cut preferable; the scenes found in Argentina were from a deeply scratched 16mm dupe negative, and even the most advanced digital technology made the sequences barely watchable. And it also seems to me that Lang more than makes his point in the previously existing 2 hour version, released by Kino in the US.

Nevertheless, no matter how you look at it, there would be no Blade Runner, no Star Wars, or any other Dystopian 99% vs. the 1% sci-fi film without the example of Metropolis, one of the most influential and socially significant films ever made, and one of Fritz Lang’s undisputed masterpieces.

If you haven’t seen it, check it out now!

The 4 Adventures of Reinette and Mirabelle

Saturday, September 12th, 2015

The 4 Adventures of Reinette and Mirabelle is a minor but enchanting Eric Rohmer film . . .

. . . and it’s too bad there won’t be any more, as even the slightest of Rohmer’s film is a tonic in the oversaturated, hyper-edited CGI world of the present, harking back to a time when humanistic concerns, were more important than the latest mobile gadget. As Aaron Goldberg wrote of the film when it first appeared in the web journal Senses of Cinema, “while not highly regarded (by some) in the expansive Rohmer canon, The 4 Adventures of Reinette and Mirabelle stands as one of Rohmer’s most playful, if not hilarious features.

Filmed quickly on 16mm while Rohmer was waiting to get decent sunset shots for his sublime Le Rayon vert (1986), The 4 Adventures of Reinette and Mirabelle features mainly non-professional actors who improvised most of the witty and frank dialogue . . .  Rohmer’s old-school (cinematic) ‘new wave’ chops are working in full effect here. From the shaky vérité camerawork, to long discussions about morality and art, his romantic heart is working in cruise control, delivering a film that ably stands it’s own ground.”

Added Caryn James in The New York Times, “as if making a joke about the famous talkiness of his films, Eric Rohmer’s latest work begins and ends with silence – or at least the idea of silence. In the first of the connected episodes in Four Adventures of Reinette and Mirabelle, the voluble Reinette treasures silence so much she wakes her friend Mirabelle before dawn to hear ‘the blue hour,’ which is not an hour but a second, not a sound but a brief silence between darkness and light, when the night birds stop singing and the day birds have not yet begun.

Four Adventures is more conspicuously comic, more overtly ethical, more pointed in its action than most of his recent works . . . Part of Rohmer’s genius, of course, is that he keeps creating such lives – ordinary and rarefied at once, almost but not quite beyond our grasp. No one actually lives in the world of a Rohmer film, where the name of a specific television show or rock star never mars a character’s timeless dialogue, where his characters’ heightened sense of everyday life seems absolutely adventurous.

But the deep lure of his work is the suggestion that it is possible to be as articulate or as witty or even as extravagantly morose as a Rohmer character, to stumble across those undramatic moments of perfect grace on some beach or in some meadow.”

Indeed, while the film may appear to be slight, it is in fact a resonant and uplifting work; it just seems effortless, but then again, when you’re a genius, you can knock films out like this in your sleep. But the saddest part about The 4 Adventures of Reinette and Mirabelle is that it isn’t available on DVD; there’s so much junk trolling about the web, but here’s a sublime and joyful film that really deserves a DVD release. But there is a VHS release, and since I still have a VHS player for such emergencies, I ordered one of the last copies available – used – on Amazon for about $10. You should do the same.

Every Eric Rohmer film is worth seeing, and this is one of his most playful, and joyful films.

Russell Hicks – Hollywood Professional

Saturday, September 12th, 2015

“I want to show you I’m honest in the worst way!” – Russell Hicks in The Bank Dick

Russell Hicks, the consummate Hollywood professional character actor, is seen above in one of his most memorable roles as the astonishingly corrupt con man J. Frothingam Waterbury in W.C. Fields’ The Bank Dick (1940, directed by Edward F. Cline), who successfully unloads some worthless shares in “the Beefsteak Mines” (whatever that is) on Fields in a rundown bar with some memorably shady hard-sell dialogue.

As Waterbury tells his mark, Egbert Sousé (Fields) in the film, “Waterbury’s my name, J. Frothingham Waterbury. I’m in the bond and stock business. Now, I have five thousand shares of the Beefsteak Mines in Leapfrog, Nevada, that I want to turn over to your bank. I like this little town and I want to get some contacts. I think you’re the very man.

Now, these shares are selling for ten cents a share. The telephone company once sold for five cents a share. These shares are twice as expensive, therefore, consequently they’ll be twice as valuable. Naturally, you’re no dunce. Telephone is now listed at one seventy-three and you can’t buy it. Three thousand, four hundred and sixty dollars for every nickel you put into it.

It’s simple arithmetic — if five’ll get you ten, ten will get you twenty. Sixteen-cylinder cars, a big home in the city — balconies upstairs and down. Home in the country — big trees, private golf course, stream running through the rear of the estate. Warm Sunday afternoon, fishing under the cool trees, sipping ice-cold beer.  And then this guy comes up the shady drive in an armored car from the bank, and he dumps a whole basket of coupons worth hundreds of thousands of dollars right in your lap.

And he says, ‘Sign here, please, on the dotted line.’ And then he’s off, to the soft chirping of our little feathered friends in the arboreal dell. That’s what these bonds mean. I’d rather part with my dear old grandmother’s paisley shawl or her wedding ring than part with these bonds. Gosh! Oh, pardon my language. . . I feel like a dog. But it’s now or never. It must be done. So take it or leave it.”

“I’ll take it!” Fields responds, thereby setting off a chain of events that makes The Bank Dick one of the handful of films that has been selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. But Hicks’ work in The Bank Dick is just one of more than 320 feature films and television programs the actor appeared in, including, among many other projects, such significant films as Scarlet Street,  Blood and Sand, The Great Lie, Sergeant York and The Black Arrow, racking up no less than 19 credits in 1942, and another 25 films in 1941.

For all of this, Hicks received comparatively little remuneration, as this employment card from for The Little Foxes from 1941 shows; he was a day player, with a rate of just $150 per day with a weekly guarantee for $600, and remained in constant demand because of his absolute professionalism, the fact that he could remember reams of dialogue and almost never blew a take, and could be relied on to essentially “direct himself,” so that even when the film he was appearing in fell apart, or the director had no idea what he was doing, Hicks would emerge unscathed, ready for his next assignment.

Russell Hicks’ employment contract for The Little Foxes, dated May 1, 1941.

Hicks worked right up until his death, and as you can see, he had to; for his entire professional career, Hicks was a perennial freelancer, moving from studio to studio, from the majors to the minors, without hardly missing a beat. With his sonorous voice, photographic memory, and dignified bearing, Hicks could move from playing a shady mob lawyer (in Hold That Ghost), to a judge (Tarzan’s New York Adventure), or an army colonel (They Died With Their Boots On), or a CIA “handler” (The Flying Saucer) without missing a beat.

Amazingly, he even took on the role of an aging Robin Hood – surely a stretch – in the 1946 film The Bandit of Sherwood Forest, and managed to pull it off in style. Some of his roles took just a day; others a week or so, but Hicks could always be relied to show up, say his lines, and wrap up his portion of the project with smooth assurance.

Indeed, his career stretched all the way back to 1915, and his work on D. W. Griffith’s horrifically racist Birth of A Nation, as well as Intolerance in 1916, and he was never out of work for more than few weeks before the next job came along.

Hicks’ last work was in Betty White’s pioneering television fantasy sitcom Date With The Angels in 1957; he died of a heart attack at the relatively young age of 61 that same year. So his career truly spanned cinema from almost the medium’s inception straight through until the modern sound era. It’s always fun to watch him at work; no matter how small the part, he never disappoints, and plays each new role with conviction and style.

Nicholas Ray’s The Lusty Men (1952)

Friday, September 11th, 2015

Robert Mitchum and director Nicholas Ray on the set of Ray’s film The Lusty Men.

Last night, unable to sleep, I switched on TCM and caught about 40 minutes of Nicholas Ray’s brilliant modern day western, The Lusty Men – sort of a forerunner to John Huston’s The Misfits – which deals with life on the rodeo circuit, and features one of Robert Mitchum’s best performances.

As Roger Fristoe writes on the TCM website, “Mitchum plays a banged-up former rodeo star forced into retirement after being gored by a bull. He’s hired by Arthur Kennedy to train him so he, too, can become a champion. Once the sparks fly between Mitchum and the headstrong Susan Hayward, Kennedy challenges his mentor to a showdown in the rodeo ring.

To give the film its gritty, semi-documentary feeling, Ray spent months shooting on the rodeo circuit. He reportedly had only the bare outline of a script when filming began, so that scenes were written one night and shot the following day. Despite the hectic pace, Ray took so much time with individual scenes that Mitchum nicknamed him ‘The Mystic’ because of his habit of staring silently at the actors as he led them to probe the complexities of their characters . . .

Mitchum, who usually pretended indifference to his own performances, responded well to Ray’s painstaking direction and requested to see the film when it was two-thirds complete. Ray later recalled that Mitchum was so proud of what he saw that the two went to a bar to celebrate. Ray’s final memory of a drunken evening was Mitchum encountering a pair of FBI agents, borrowing a gun from one of them and firing it into a stack of dirty dishes.”

Using a great deal of location footage, and enhanced by Hayward’s reluctant participation in the project – which fits her character perfectly – the film is sharp, brutal, and offers a glimpse into the hard edged world of 1950s Western America, where modern day cowboys travel from one rodeo to the next in broken down trailers, in endless pursuit of prize money, won for punishing rides on bucking broncos, while their wives and girlfriends suffer on the sidelines – grateful for a cup of coffee or a hot shower offered by a friend, drifting from one honky-tonk bar to the next in search of momentary escape.

Most people know Ray, of course, from his most famous film, the iconic teen drama Rebel Without A Cause, which is a brilliant film, but so is this, and In A Lonely Place – arguably the best and most acidic film ever made about the Hollywood dream factory – and in the end, Ray emerges as one of the most important, and influential filmmakers of the 1950s, who the saw truth of an era in every American social strata, and brought that truth to the screen.

The Lusty Men is now available on DVD, and well worth checking out.

Trailblazing Women Directors on TCM in October

Thursday, September 10th, 2015

Here’s an amazing series of films that you simply can’t miss.

As Cynthia Littleton reports in Variety, “Turner Classic Movies has teamed with Women in Film, Los Angeles, for a programming initiative designed to highlight the work of women behind the camera in the movie business.

In the month of October, actress-director Illeana Douglas will host a twice-weekly Trailblazing Women series featuring movies directed by women. Douglas’ wraparound segments will feature interviews with filmmakers and discussion of statistics compiled by Women in Film about gender disparity in the film business, notably the 5-to-1 ratio of men working in film production compared to women.

TCM and WIF LA are building out a dedicated section of the TCM website focusing on the history of women in the film biz, WIF LA’s studies on gender issues and links to various resources for aspiring female filmmakers.

Trailblazing Women grew out of TCM’s effort to curate a month’s worth of movies directed by women. The idea was sparked when Charlie Tabesh, TCM’s senior VP of programming, saw that TCM had obtained rights to 2008’s The Hurt Locker, the movie that made Kathryn Bigelow the first woman to win an Oscar for directing.

‘We were pondering what preceded Bigelow and The Hurt Locker,’ TCM general manager Jennifer Dorian told Variety. ‘Our job at TCM is to think about the long view and the entire spectrum of film history. (Tabesh) put together a look at women pioneers going back to 1906.’

As the package came together, Dorian realized that there was an opportunity to add a ‘pro-social’ layer to the effort, which prompted her to reach out to Women in Film LA. ‘We recognized that this is a timely and topical issue, and that we could not only create awareness of women’s historical contributions but shine a light on today’s issues and bring resources and information to today’s generation of filmmakers,’ Dorian said.

Trailblazing Women will be a multi-year project for TCM, with a similar monthly showcase planned for 2016 and probably 2017, Dorian said. The inaugural effort is focused on the work of female directors, but future showcases will delve into other disciplines such as writing and producing.

The series launches Oct. 1 and will air Tuesdays and Thursdays in primetime, encompassing more than 50 films. The series begins with film historian Cari Beauchamp discussing the work of pioneers including Alice Guy-Blaché, Dorothy Arzner, Agnès Varda and Lina Wertmuller. Other directors who will co-host nights alongside Douglas are Allison Anders, Julie Dash, Connie Field, Amy Heckerling, as well as producer and WIF LA president Cathy Schulman.”

This is an something really special – get the schedule by clicking here, or on the image above.

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 or

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  • Frame by Frame: Science Fiction Futurism
    UNL Film Studies Professor Wheeler Winston Dixon discusses the 2015 Ridley Scott film "The Martian," and the accuracy (and often inaccuracy) of science-fiction films at predicting real advancements in science and technology. […]
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    UNL Film Studies Professor Wheeler Winston Dixon discusses the genre of comic book movies in the context of "Batman v Superman."  […]

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