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Frame by Frame Chosen As Blog of the Month By ProfNet

Wednesday, May 6th, 2015

Frame by Frame has been chosen as Blog of the Month for May, 2015 by ProfNet.

ProfNet, the academic news professional network, has chosen Frame by Frame as the Blog of the Month for May, 2015. As Melissa Ibarra, writing for ProfNet, noted when she interviewed me about the Frame by Frame blog, every month “I’ll be highlighting one successful blogger on The Blog Blog. By ’successful,’ I mean someone who has been blogging for at least three years and has seen their audience engagement grow significantly. For this month’s feature, we conducted a short interview with Wheeler Winston Dixon, creator of Frame by Frame, a film and media blog:

1. What is your name and title?

Wheeler Winston Dixon, James Ryan Professor of Film Studies, University of Nebraska, Lincoln

2. What is the name and URL of your blog?

Frame by Frameblog.unl.edu/dixon/

3. Which audience does your blog cater to?

People interested in film history, theory, and criticism; media trends; streaming; film preservation; trends in viewing; cultural studies; pop culture; and classic films.

4. What inspired you to create your blog?

It offers a daily outlet to comment on the current film and related media subjects of the day. I keep it loaded with new material on a nearly daily basis. It seemed like there was nothing quite like it out there, and still isn’t.

5. What makes your blog so unique?

I cover everything related to film, television, the Web, streaming, changing patterns of distribution, classic cinema, from an informed perspective rather than a fan based one. It’s academic, but accessible, with multiple links to related materials. And best of all, it’s ad free.

6. What is your ultimate blogging goal?

To keep blogging and writing for as long as I can.

7. If you could choose one piece of advice to give to new bloggers, what would it be? Have you made any mistakes and learned from them?

You must put up fresh material every day. Every. Single. Day. You can take a day or two off for vacation, but you should keep abreast of current media and cinema trends, and blog on them as often as possible. Also, rather than always offering my opinion on something, my real goal is to expose people to as many new and interesting films as I can.

8. How successful has your blog grown to become versus when you first started it? If you could provide simple metrics, that would be great.

I started with only a handful of viewers; now I am used as a source throughout Wikipedia; there are multiple links to my blogs in various other articles; and on good days I get up to 20,000 hits on various stories.

9. How does blogging benefit you?

It provides me with a platform to get my ideas and concepts out on a regular basis, without having to go through regular editorial schedules, in a timely and positive fashion.

10. Any other interesting stories or information you would like to provide?

I’m both surprised and pleased at the success of the blog. It’s listed on blogrolls in major newspapers throughout the world, and I regularly get requests to comment on news stories from members of the traditional media.

Dixon took his expertise in film and media and transformed it into a successful blog. Not only is he extremely knowledgeable in his field, but his passion keeps his blogging fire burning. It’s great to find inspiration through the success of others.

Thanks, Melissa, and all those at ProfNet – much appreciated!

“Fans Don’t Want Change – They Want The Illusion of Change”

Monday, May 4th, 2015

Graeme McMillan, writing in the May 3, 2015 issue of The Hollywood Reporter, has these thoughts.

As McMillan writes, “Throughout Age of Ultron, the specter of death looms heavily. Characters repeatedly tell each other that it’s unlikely that they’re going to make it through what’s happening alive, and Hawkeye practically gets awarded the Most Likely to Die prize when his wife tells him that she just wants him to come home alive, damn it, right before the final showdown . . . it should, by all rights, be something that makes the final battle feel even more dangerous, with everything up for grabs. But the very nature of the Marvel Cinematic Universe undercuts the tension entirely.

After all, the audience knows that none of the big name characters are going to die [emphasis added]. Most of them are already announced to appear in next year’s Captain America: Civil War, or subsequent movies down the line (Thor: Ragnarok, for example, if not Avengers: Infinity War). Along the same lines, the very existence of those movies means that there’s never any possibility of Ultron’s plan succeeding even a little bit . . .

I’m reminded of a line often attributed to Stan Lee, when talking about what comic book fans look for in stories. Reportedly, as the common wisdom goes, he explained that fans don’t want change; they want the illusion of change [emphasis added].

It’s an attitude that makes sense, as much as it seems dispiriting to hear. With the many moving parts of the Marvel comic book universe, in which multiple series are published simultaneously, many of them sharing concepts if not characters, there needs to be a default status quo to which characters return to allow the toys to be used by as many creators as necessary at any given point. The same, it seems, is starting to become true of the Marvel Cinematic Universe.

In a way, it was unavoidable; there are only so many stories you can tell in a shared universe before they start, if not contradicting, then at least overlapping each other. When you promote, as Marvel has, the interrelatedness of your stories (‘It’s all connected,’ as the tagline goes), that’s a selling point, instead of a bug — until the existence of those other stories starts limiting what you can achieve with each individual movie or television series.

The question then becomes, at what point does your audience realize that you’re standing in place in terms of narrative momentum, and are you doing so in such an entertaining way that they don’t care?”

Fascinating stuff – read the whole story by clicking here, or on the image above.

68th Cannes Festival 2015 – The Final Film Line Up

Thursday, April 30th, 2015

Here’s the final line up of films for the upcoming Cannes Film Festival, as reported in The Guardian:

Opening Night Film

La Tête Haute (Emmanuelle Bercot, France)

Closing Night Film

La Glace et le Ciel (Luc Jacquet, France)

In Competition

The Assassin (Hou Hsiao-hsien, Taiwan)

Carol (Todd Haynes, US-UK)

Cronic (Michel Franco, Mexico)

Erran (Jacques Audiard, France)

The Lobster (Yorgos Lanthimos, Greece-UK-Ireland-Netherlands-France)

Our Little Sister (Hirokazu Kore-eda, Japan)

Louder Than Bombs (Joachim Trier, Norway-France-Denmark)

Macbeth (Justin Kurzel, UK-France-US)

Marguerite and Julien (Valerie Donzelli, France)

Mon Roi (Maiwenn, France)

Mountains May Depart (Jia Zhangke, China-Japan-France)

My Mother (Nanni Moretti)

The Sea of Trees (Gus Van Sant, US)

Sicario (Denis Villeneuve, US)

A Simple Man (Stephane Brize, France)

Son of Saul (Laszlo Nemes, Hungary)

The Tale of Tales (Matteo Garrone, Italy-France-UK)

The Valley of Love (Guillaume Nicloux, France)

Youth (Paolo Sorrentino, Italy-France-Switzerland-UK)

Out of Competition

Inside Out (Pete Docter, Ronaldo Del Carmen)

Irrational Man (Woody Allen, US)

The Little Prince (Mark Osborne)

Mad Max: Fury Road (George Miller, US)

Alias Maria (José Luis Rugeles Gracia)

AN (Naomi Kawase)

Cemetery of Splendour (Apichatpong Weerasethakul)

The Chosen Ones (David Pablos)

Fly Away Solo (Neeraj Ghaywan)

The Fourth Direction (Gurvinder Singh)

The High Sun (Dalibor Matanic)

I Am a Soldier (Laurent Lariviere)

Journey to the Shore (Kiyoshi Kurosawa)

Lamb (Yared Zeleke)

Madonna (Shin Suwon)

Maryland (Alice Winocour)

Nahid (Ida Panahandeh)

One Floor Below (Radu Muntean)

The Other Side (Roberto Minervini)

Rams (Grimur Hakonarson)

The Shameless (Oh Seung-uk)

Taklub (Brillante Mendoza)

The Treasure (Corneliu Porumboiu)

Midnight Screenings

Amy (Asif Kapadia, UK)

Office (Hong Won-chan, South Korea)

Love (Gaspar Noé, Argentina)

Special Screenings

Amnesia (Barbet Schroeder)

Asphalte (Samuel Benchetrit)

L’esprit de l’escalier (Pabla Lucavic)

Hayored lema’ala (Elad Keidan)

Oka (Souleymane Cisse)

Panama (Pavle Vuckovic)

A Tale of Love and Darkness (Natalie Portman)

Critics’ Week Competition

Dégradé (dir: Arab and Tarzan, Palestine)

Krisha (dir: Trey Edward Shults, US)

Mediterranea (Jonas Carpignano, US/Italy)

Ni le Ciel, Ni la Terre (Clement Cogitore, France)

Paulina (Santiago Mitre, Argentina)

Sleeping Giant (Andrew Cividino, Canada)

La Tierra y la Sombra (Cesar Acevedo, Colombia)

Special Screenings

Opening film: The Anarchists (Elie Wajeman, France)

Les Deux Amis (Louis Garrel, France)

Une Histoire de Fou (Robert Guédiguian, France)

Closing film: La Vie en Grand (Mathieu Vadepied, France)

Directors’ Fortnight

Opening film: In the Shadow of Women (Philippe Garrel, France)

Allende, Mi Abuelo Allende (Marcia Tambutti, Chile)

Arabian Nights (Miguel Gomes, Portugal)

The Brand New Testament (Jaco Van Dormael, Belgium)

The Cowboys (Thomas Bidegain, France)

Embrace of the Serpent (Ciro Guerra, Colombia)

Fatima (Philippe Faucon, France)

My Golden Years (Arnaud Desplechin, France)

Green Room (Jeremy Saulnier, US)

The Here After (Magnus von Horn, France)

Much Loved (Nabil Ayouch, Morocco)

Mustang (Deniz Gamze Erguven, France)

Peace to Us in Our Dreams (Sharunas Bartas, Lithuania)

A Perfect Day (Fernando Leon de Aranoa, Spain)

Songs My Brothers Taught Me (Chloe Zhao, US)

Special screening: Yakuza Apocalypse: The Great War of the Underworld (Takashi Miike, Japan)

Closing film: Dope (Rick Famuyiwa, US)

An eclectic line-up, dominated by French cinema, but with a very interesting jury – Joel & Ethan Coen – Presidents; Rossy de Palma (Actress – Spain); Sophie Marceau (Actress, Director – France); Sienna Miller (Actress – United Kingdom); Rokia Traoré (Composer, Singer-songwriter – Mali); Guillermo del Toro (Director, Writer, Producer – Mexico); Xavier Dolan (Director, Writer, Producer, Actor – Canada); and Jake Gyllenhaal (Actor – United States).

The only thing that’s sad here is that most of these films will never make it into general distribution around the world, with the obvious exception of things like George Miller’s Mad Max reboot; the rest will be seen and savored by a select few, while the rest of the world will have to settle for Paul Blart: Mall Cop 2 or The Avengers: Age of Ultron. As far as most of the world is concerned, the films in the list above might just as well not exist, simply because they’ll never get the distribution they need.

This is one of the major problems of the digital universe; these excellent films are essentially being shuttled off to oblivion, and of all the films listed here, perhaps two or three will make their money back.

And, of course, this is just the line-up; beyond this, all the backstairs wheeling and dealing that goes on will determine the future of international cinema, especially Hollywood cinema, as deals are cut for and endless series of franchises, reboots, sequels, and prequels.

The New Audience: Moviegoing in a Connected World

Sunday, April 26th, 2015

The Academy is also running this interesting evening on May 12, 2015, on the future of cinema in the digital era.

As the program notes explain, “The Academy looks at the past, present and especially the future of moviegoing in this discussion moderated by Krista Smith, Vanity Fair’s executive West Coast editor.  Oscar-nominated producer and Academy member Michael Shamberg conceived and helped shape the program in consultation with the Academy.

Just as the television boom of the 1950s inspired filmmakers to expand the size and shape of the movie screen, today’s filmmakers and studios want to take advantage of the wide variety of platforms on which contemporary audiences view films.

Everything from portable devices to streaming videos competes with the traditional movie theater as the preferred ways to watch films for much of the current generation. The evening will include notable media-savvy contributors who will first offer their unique perspectives on the topic and then participate in a panel discussion moderated by Smith.

Professor Henry Jenkins, the Provost’s Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California, will discuss key historic shifts in motion picture viewing and fandom, describing how our social experiences in and around cinema have shifted over time, and what they look like in today’s networked era.

The president of BuzzFeed Motion Pictures and web pioneer Ze Frank will compare the way today’s digitally oriented audiences relate to content with the more traditional relationship between moviegoers and the theatrical experience.

Team Oscar winner Tayo Amos will speak about what it means to grow up as a digital native filmmaker and media consumer in the world of social media, and explain how social media and the Internet are changing storytelling for her generation.

The final speaker will be Oscar-winning filmmaker John Lasseter, the chief creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor for Walt Disney Imagineering. The evening will also include archival footage, courtesy of the Academy Film Archive, showcasing early audiences interacting with movies and a look at past predictions of moviegoing in the 21st century.

Again, admission is just $5, and this promises to be an informative and deeply interesting evening.

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.

Patty Jenkins Is The New Wonder Woman Director

Saturday, April 18th, 2015

Warner Bros. made a real “tone switch” on this one – can’t say I agree.

As Justin Kroll reports in Variety, “While Warner Bros. made a swift decision this week to hire Patty Jenkins as its new Wonder Woman director, industry insiders are still chattering about why original helmer Michelle MacLaren suddenly vanished from the project. The studio is declining to elaborate on the clichéd ‘creative differences’ joint statement that was issued when the two parted ways. But, according to multiple sources close to the project, the director’s vision for the movie was vastly different from the studio’s view.

MacLaren envisioned the DC Comics-based Wonder Woman movie as an epic origin tale in the vein of Braveheart, whereas Warner wanted a more character-driven story that was less heavy on action. Warner executives, these insiders said, became increasingly concerned about MacLaren directing a large-scale, action-packed production when her experience was limited to the small screen, where she made her name directing episodes of Game of Thrones, Breaking Bad and The Walking Dead.”

While Jenkins has directed episodes of The Killing and the excellent feature film Monster, somehow, I think this is a mistake. Wonder Woman needs the epic sweep MacLaren was going for, and as strong as Jenkins’ resumé is, Game of Thrones, Breaking Bad and The Walking Dead seem like excellent calling cards to me — we’ll have to see what happens, but I think I would have preferred MacLaren’s version.

Read Kroll’s entire article by clicking here, or on the image above.

Wonder Woman Loses Director Michelle MacLaren

Tuesday, April 14th, 2015

This is really bad news for a number of reasons.

As Scott Mendelson writes in Forbes, “The Hollywood Reporter is, uh, reporting that director Michelle MacLaren has left Wonder Woman. The usual ‘creative differences’ are being offered as the reason, and I’m sure there will be more details in the coming days. Her coming aboard the project was something of a big deal last December, as it would have been the first time that a female director had been handed the reins to a major comic book/superhero blockbuster title. And no, I’m not forgetting Lexi Alexander, who helmed the $30m R-rated Punisher: War Zone for Lionsgate back in 2008, but I think she’d be the first to tell you it’s not entirely the same thing. Nonetheless, as of moments ago, MacLaren has dropped out of the project, leaving its future, or at least its June 23rd, 2017 release date, in potential jeopardy [. . .]

As you recall, Marvel brought on Patti Jenkins (Monster) to helm Thor: The Dark World, but she and Marvel quickly parted ways and she was replaced by television director (Mad MenHomicide: Life of the StreetGame of Thrones) Alan Taylor, who it should be noted did just fine with the fantasy sequel. Couple that with Catherine Hardwicke, who directed the first Twilight to blockbuster success only to part ways with the franchise and have the other four installments be directed by men, and Sam-Taylor Johnson, who directed Fifty Shades of Grey to $565m+ worldwide success only to leave the project, presumably over clashes with original author E.L. James, and we have what I would argue is a statistically improbable pattern of female directors either not making it to the finish line with high profile projects or not making it to the sequel when the finished film becomes a blockbuster.

The so-called glass ceiling for female directors helming major studio pictures is thick enough that an exception to the rule qualifies as news whenever it occurs. Without speculating about what said creative differences there might have been, one can hope that this doesn’t further the myth that female filmmakers can’t handle big-scale studio tent poles. For the sake of the project and for everything else involved in this now knotty situation, I can certainly hope that Warner Bros. doesn’t back down from its original intentions and find a female director as a replacement. Yes, it may be tokenism, and yes it may be about ‘the principle.’ But considering how hard it is for female filmmakers to get their foot in the door in comparison to their male peers, the worst thing that can happen for the perception of the project is for a male director to take over for MacLaren.

In the meantime, Michelle MacLaren is now available in case Marvel wants her for Captain Marvel. Otherwise, there are plenty of other talented female filmmakers who could use the gig and the profile boost. Beyond that, whatever ‘deep thoughts’ I might have about this will have to wait at least until we get a little more information. But come what may, this is frankly terrible news.”

This is a very disturbing pattern, and something that should be addressed - now.

Web Changes Everything for Indie Films and TV Series

Monday, April 13th, 2015

This is a key moment – Netflix and other web providers are producing both “TV” series and theatrical films.

As Dina Gachman reports in Studio System News, “Netflix is buying feature films, Woody Allen is making an Amazon show, and A-list Oscar winners have no problem taking a role in a TV show or miniseries, even at the height of their career. In other words, it’s an exciting time for television. The landscape is changing so rapidly it’ll give you whiplash.

That’s all great news for actors, writers, and producers – and maybe not-so-great news for theater chains, whose owners were recently up in arms about Netflix buying Cary Fukunaga’s feature film Beasts of No Nation for a reported $12 million. Features and television are experiencing an indie revolution – just look at the Best Picture Oscar nominees this year. The vast majority of the nominees were made outside of the studio system, with Warner Bros. American Sniper being the oft-cited exception.

In television, the traditional process of getting a pilot made is still the norm, but there are more channels, more online platforms, and more opportunities for writers and producers to get their project made than ever before. Going the independent route and shooting the pilot yourself is one option, and the stigma of making a pilot DIY-style is quickly becoming a thing of the past [and] while it hasn’t become the norm, indie pilots are definitely becoming an increasingly common route for creators who want to get their passion project off the ground, by any means necessary.

Former House EP Katie Jacobs and veteran indie producer Nick Wechsler (Drugstore Cowboy, Reservation Road, Magic Mike) have recently teamed to produce an independent pilot called Dr. Del, with John Hawkes starring and John Sayles writing. They’ll shoot the pilot on their own, with total creative freedom, and then take it to cable and broadcast network.”

As she puts it, “there really is no excuse not to make your pilot anymore.”

230 Cars Destroyed for Furious 7

Wednesday, April 8th, 2015

Give the public what they want, and they’ll come out for it.

According to Steve Knopper in The Wall Street Journal, roughly 230 cars were destroyed during the making of the latest, wildly successful film in the Fast and Furious franchise, Furious 7. Interesting, at least to me, that the series got its name from a Roger Corman film in 1955 – see Corman’s explanation of how Universal got him to agree to the use of that title for their series by clicking here – but no matter how you slice it, this is one franchise that goes through a heck of lot of cars to achieve the mind-blowing effects you see on the screen.

As Knopper writes, “not long after stuntpeople for Vin Diesel, Michelle Rodriguez and the rest of the Furious 7 crew filmed their usual death-defying car chases on a twisty mountain road west of Colorado Springs, Colo., Richard Jansen received a call. Somebody from the movie had seen his ‘we buy junk cars’ highway sign, and wondered if the owner of Bonnie’s Car Crushers could haul away 20 or 30 vehicles smashed beyond repair, including several black Mercedes-Benzes, a Ford Crown Victoria and a Mitsubishi Montero. ‘Sure,’ Mr. Jansen said.

Then Mr. Jansen and his crew, based in nearby Penrose, spent several days loading the cars onto a semitrailer truck to haul them away. Filmmakers insisted he shred or crush them all, to prevent anyone from fixing one up and getting hurt in a damaged movie car. So today, a large, black, scrap-metal Benz cube once driven in a Furious 7 car chase exists somewhere in the world. ‘It was kind of unusual, to see some relatively late-model Mercedes-Benzes, all crunched up and good for nothing,’ Mr. Jansen says.

How cars are built and prepped for action movies has been well documented: The process involves mechanics, roll cages, drag tires and fuel cells. But after the movie ends, what happens to the cars that parachute out of planes, plunge off cliffs and get run over by tanks? ‘It’s pretty easy,’ says Dennis McCarthy, picture car coordinator for the Fast and the Furious franchise, whose latest installment, Furious 7, premiere[d] in theaters this week. The film crew has to follow a specific protocol, documenting every step for both accounting and liability reasons, he says. ‘We have to account for every single car destroyed in each film.’

Fast and Furious filmmakers wreck hundreds of cars every movie—more than 230 alone for Furious 7. For 2013’s Fast & Furious 6, when a tank bursts out of a military transport and flattens numerous cars on a highway in Tenerife Island, Spain, Mr. McCarthy’s people made deals with local junkyards and used-car lots. ‘We’d wreck 25 cars a day, they’d come out at night, scoop ‘em up and bring us 25 more,’ he says. ‘It was a round-the-clock process, with multiple tow trucks and car carriers’ . . .

After filming the Furious 7 mountain-highway chase on Colorado’s Monarch Pass, the car crew stowed its crashed cars in the parking lot of the small nearby Monarch Ski Resort. Mr. Jansen had two days to remove them so the resort could prepare for its opening season. ‘We probably destroyed 40-plus vehicles just shooting that sequence,’ Mr. McCarthy says.”

Such is modern action filmmaking; read the whole article by clicking here.

Manoel de Oliveira – Greatest Living Filmmaker – Dies at 106

Thursday, April 2nd, 2015

Manoel de Oliveira shooting his film The Magic Mirror in 2005.

Since we’re all mortal, it had to happen, and now it has; Manoel de Oliveira, to my mind the greatest living filmmaker – without question – has finally died at age 106. His second to last feature film, Gebo and the Shadow, was an austere masterpiece, and he adapted readily to digital cinema, but remained a master of the quiet, patiently constructed image, creating films that always ended with an unexpected twist, but on a metaphorical level rather than being a mere plot shift.

Not that Oliveira was without humor – far from it – as evidenced in this great clip in which he does a Chaplin imitation for filmmaker Agnes Varda. And of course, the Tweets are piling in – as well they should. Since he picked up the pace of production in his late 80s, Oliveira has emerged as the most innovative, deeply moral, and absolutely humanist filmmaker of the late 20th and early 21st century. There’s really no one else like him – before, or now, after his death.

As Ali Jaafar perceptively writes in Deadline, “Manoel De Oliveira, the Portugese filmmaker who for so many years appeared to defy the laws of gravity and physics, has died at the age of 106. He was, by some measure, the world’s oldest active filmmaker, working up until last year when his latest — and last — film, The Old Man Of Belem premiered at the Venice Film Festival.

Born in 1908, De Oliveira’s productivity — he directed 29 films in all — is all the more remarkable given he had only made two films by the time he was 55. The latter half of his long, and critically acclaimed, career would see him earn a dozen career achievement prizes from major film festivals, including two career Venice Golden Lions (in 1985 and 2004) and a special jury prize for 1991’s The Divine Comedy. In 1999, he took home the Cannes jury prize for The Letter.

Unapologetically art house and cerebral in taste, De Oliveira confounded his peers with both his longevity as well as the consistency of his output in his latter years.  He got better with age, making a film a year once he turned 80 until his death. He might not even be finished just yet: He is reputed to have insisted that one of his films, Memories And Confessions, not be shown publicly while he was alive.

De Oliveira was born into privilege. His industrialist father, amongst other things, produced Portugal’s first electric light bulb. Finding himself out of favor under the iron rule of Portugul’s Prime Minister António de Oliveira Salazar from 1932-1968, De Oliveira found it similarly difficult under the socialist government in the early 1970’s as his upper class roots counted against him. Nevertheless, he persisted with his dream to become a filmmaker, even while he managed his family’s factory well into middle age.

In time De Oliveira moved from the neorealist verité style that categorized his early work — his debut feature was Aniki-Bobo in 1942 about the slums of his hometown Porto — eventually gave way to a more formal, literary approach often dealing with themes of unrequited and unfulfilled love. He often adapted literary works, including four books by Agustina Bessa-Luis.

He worked with many fine actors, including Catherine Deneuve, John Malkovich, Michel Piccoli, Jeanne Moreau, Claudia Cardinale and also Marcello Mastroianni in the iconic Italian actor’s final role in Voyage To The Beginning Of The World.” His other standout films include Acto de Primavera, The Strange Case of Angelica, The Convent, A Talking Picture, and numerous other works – Oliveira was one of a kind, and his films – as well as his life – serve as an inspiration to all who love and cherish the cinema.

As Cahiers du Cinema said of Oliveira’s work, “He is sovereign, free, unique, perched high on a tightrope no one else can reach, defying the laws of gravity and above all the rules of cinematic decorum and commerce.” I try to avoid obits in this blog, but this is just too major a passing to omit – our greatest living filmmaker is now gone.

All day long, I have had the feeling something was terribly wrong – now I know why.

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

RSS Frame By Frame Videos

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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/