Skip Navigation

Frame by Frame

Archive for the ‘Film Industry’ Category

Maggie Gyllenhaal “Too Old” To Play A Romantic Lead – Hollywood

Monday, June 1st, 2015

Maggie Gyllenhaal speaks out on an issue of real concern in Hollywood, and actually, in cinema worldwide.

As Margarita Noriega, Jonathan Allen, and Javier Zarracina report in Vox, “Maggie Gyllenhaal rapped Hollywood last week by revealing she was turned down for a role as the love interest of a 55-year-old leading man because she was ‘too old.’ She is 37. Her experience frustrated and surprised many, and we wanted to know just how typical it is of the way Hollywood really works.

A woman’s sex appeal sunsets on Sunset Boulevard in remarkably shorter time than its genetic reality, and Gyllenhaal’s story is part of a trend of female leads disappearing from romantic roles in top box office films after the actors turn 30. The average age of a romantic female lead is about 30.

In a review of the top-grossing romantic films since 1978, among the two primary romantic subgenres (comedies and dramas) the average age of female leads is about 30 [see the complete chart here].

Only a handful of actresses over 30 played romantic leads in these films, and usually as older seductresses of young men. And if they’re women of color, forget it. On the big screen, women go from Lolitas to Yentes so fast it seems like they’re living in dog years.

Just 12 percent of the 100 top-grossing films last year had female protagonists, says Patricia White, chair of film and media studies at Swarthmore College: ‘The disparity corresponds to erroneous market wisdom that only films by, about, and targeted to men (especially young ones) make money. Films are judged by opening weekend grosses with worldwide releases now common.’”

As Gyllenhaal told Sharon Waxman in The Wrap, “there are things that are really disappointing about being an actress in Hollywood that surprise me all the time. I’m 37 and I was told recently I was too old to play the lover of a man who was 55. It was astonishing to me. It made me feel bad, and then it made me feel angry, and then it made me laugh.”

Read the entire article by clicking here, or on the image above – essential reading.

Behind The Scenes – San Andreas Without Special Effects

Sunday, May 31st, 2015

Click here, or above, to see some great “raw” footage from the disaster film San Andreas, courtesy of Sploid.

The tagline on this video is how “ridiculous” San Andreas looks without the finished special effects work, but I think that’s completely off the mark. Just a casual look at this video – with intensive under water work, harnesses pulling stunt performers into the air, gigantic crowd scenes, helicopter stunts and the like, demonstrates once again that movie making is brutally hard work – something that most people simply don’t understand.

You want to experience a really tough work environment? Then crew on a feature film. Every day, day after day, you have to get up, create complex set pieces, haul tons of equipment from place to place, deal with meal penalties, overtime, safety regulations which are more than necessary, all in the service of creating a series of images that will pass by fleetingly on the screen, and then be forgotten. With the typical crew for a film such as this in the hundreds simply during physical production, and a great deal of genuine risk involved, this is nothing to fool around with.

The movie “is what it is,” in one of my least favorite phrases – it’s a big budget disaster movie directed by Brad Peyton, whose other credits include the “aggressively unambitious” Journey 2: The Mysterious Island (2012), which I actually suffered through on Pay Per View in a hotel in California, appropriately enough – and the whole enterprise is designed to do precisely one thing: make money.

But despite that, there’s a considerable amount of craftsmanship that went into the final film, and this video will give you a glimpse of that. Really, it’s a remake of Mark Robson’s 1974 film Earthquake, and in every way an improvement on the original. The special effects are better, and while The Rock is certainly no Sir Laurence Olivier, he doesn’t pretend to be – he’s an action star, and proud of it.

It really isn’t so easy to shoot such an ambitious spectacle – try it sometime, and see for yourself.

Víctimas del pecado

Thursday, May 28th, 2015

Ninón Sevilla was one of the greatest stars of the Mexican cinema.

As Wikipedia notes, “Emelia Pérez Castellanos (born in Havana, Cuba 10 November 1921; died in Mexico City 1 January 2015), better known as Ninón Sevilla, was a Cuban born Mexican film actress and dancer who was active during the golden age of Mexican cinema. She was considered one of the greatest exponents of the Rumberas film in the 1940s and 1950s.

Sevilla was born and raised in Centro Habana, a popular section of Havana. As a youth, she thought about becoming a missionary nun, but after she started dancing with success in nightclubs and cabarets, she opted for a career in show business. She adopted her stage name in tribute to the legendary French courtesan Ninon de Lenclos and began to work in the chorus of the Cuban comedians Mimí Cal and Leopoldo Fernández, respectively known as ‘Nananina’ and ‘Tres Patines.’

Sevilla came to Mexico as part of a show starring the Argentinean singer Libertad Lamarque. Her number in the show was so successful that she was soon booked in other spectacles in Mexico City. While performing in the Teatro Lírico, producer Pedro Arturo Calderón saw Sevilla on stage and offered her a film contract. Her debut in cinema was in 1946 in Carita de Cielo with María Elena Marqués and Antonio Badú. From that moment, Sevilla became the exclusive star of Producciones Calderón, and although she had offers from Metro-Goldwyn-Mayer and Columbia Pictures, she turned them down, not being interested in working in Hollywood.

Although from the beginning Sevilla was marked by the eccentricity of her hairdos and gowns, it was director Alberto Gout who established her as one of the ultimate erotic figures of Mexican cinema, leading her in legendary films as Aventurera (1949), and Sensualidad (1950). Besides being directed by Gout also in Mujeres sacrificadas (1952) and Aventura en Río (1953), she also worked with Emilio ‘El Indio’ Fernández. who directed her in one of the best films of her career, the classic Víctimas del Pecado (1951).” When work in films dried up, Sevilla went straight into television, becoming a regular in telenovelas, and thus continued to work in the industry in one form or another from 1946 up until 2014 – the year before her death.

In the deliriously over-the-top Víctimas del pecado, she plays nightclub dancer Violeta, who impulsively rescues an abandoned infant who has literally been thrown in the trash by its mother, and raises the boy as her own, despite the machinations of two rival club owners, resorting to prostitution at one point simply to keep food on the table for herself and her informally adopted son. However, the boy’s father, the brutal Don Rodolfo (Tito Junco) does everything he can to destroy Violeta’s fragile existence, leading to a suitably violent conclusion.

Too long neglected by American audiences, the films of Emilio Fernández offer an authentic view into the demimonde of mid-20th century Mexico City. Those who remember him solely as an actor at the end of his career in films such as Sam Peckinpah’s The Wild Bunch are missing the work of an impassioned artist, whose bleak mise en scene makes even a film like Luis Buñuel’s brilliant Los Olvidados – both films were photographed by the gifted Gabriel Figueroa, another major figure in the Mexican cinema – seem restrained by comparison.

Most of Sevilla and Fernández’s work has never reached English-speaking audiences, but a recent DVD transfer of excellent quality now makes this film available to a much wider audience. It’s just another example of an unjustly neglected film of real depth and power that has been overlooked by conventional cinema history, and definitely deserves re-evaluation. Once seen, never forgotten, Víctimas del pecado is a violent, sensual, almost surreal film that nevertheless remains firmly anchored in the world of the slums of Mexico City, where hope is in short supply, and violence – and the fates – are the ultimate arbiters of human affairs.

View the uncut Spanish language version, without English subtitles, by clicking here, or on the image above.

Cannes – The Final Wrap Up

Sunday, May 24th, 2015

The winners and losers, from Neil Curry of CNN. Above, director Yared Zeleke and the cast of his film Lamb.

As Curry wrote, “comeback stars, the darlings of the festival, standing ovations and incessant booing: the Festival de Cannes has delivered entertainment on and off screen for an astounding 67 years. French filmmaker Jacques Audiard took home the Palme d’Or for Dheepan, a crime drama about a Sri Lankan Tamil warrior who flees to France. Silver — the Grand Prix award — went to Laszlo Nemes’ Son of Saul. And the award considered the third prize of the film festival, the Prix Du Jury, was won by Yorgos Lanthimos for The Lobster.

These were the top award winners, though they don’t tell the whole story of the festival. What are this year’s success stories and who is left longing for a better ending? Here’s a run through of the frontrunners and the fiascoes: The winners: – Carol – Todd Haynes’ movie about two American women in love during the 1950s was a huge hit with critics and set the benchmark for the festival early in the program. Regardless of its success at Cannes, critics here have been talking breathlessly about a raft of Academy Awards come Oscar time next year . . .

Two of the best-received movies during the Cannes fortnight weren’t even in the competition. Mad Max showed Marvel’s Avengers that you don’t need CGI (computer-generated imagery) and green screen to create a thrilling, jaw-dropping action film. And Pixar’s Pete Docter — whose Oscar-winning animated epic “Up” opened the 2009 Cannes festival — returned to even greater acclaim with Inside Out, a charming and hilarious depiction of a testing chapter in a young girl’s life seen through the emotions inside her mind.

Ethiopia’s first ever entry into the Cannes competition came courtesy of director Yared Zeleke. Lamb was an engaging tale of a young boy seeking enterprising ways to save his fleecy friend. But it lost out to Rams by Icelandic director Grimur Hakonarson, who took the top prize in the Uncertain Regard section with a tale of two elderly brothers whose 40-year dispute is reluctantly put on hold by a threat to their sheep farms.

The losers: Gus Van Sant has long been a Cannes favorite, winning the Palme d’Or in 2003 with his film Elephant. But Cannes can make and break reputations and his latest film, Sea of Trees, was roundly panned by critics here — booed at the press screening and barracked in the reviews that followed [maybe it's because of all those car commercials].  The film features Matthew McConaughey and Ken Watanabe pontificating about life in a forest where people go to die. One particularly barbed commentator suggested the film was the worst ever to feature in the main competition . . .

[And then there was the "Flatgate" affair.] The media camped at Cannes had a field day with this scandal. The story was broken by Screen Daily, which reported that a number of women had been turned away from the movie Carol for wearing flat shoes instead of high heels. Documentary director Asif Kapadia (whose film Amy about the late singer Amy Winehouse was a big hit at the festival) revealed his wife had also been challenged about her footwear, but was eventually admitted . . .

A growing number of festivals, museums and visitor attractions are banning the selfie-stick, and Cannes entered the debate from the outset when Fremaux announced a campaign to discourage selfies on the red carpet, describing the practice as ‘grotesque.’ But his words fell on deaf ears as the stars ignored the advice and couldn’t resist the temptation to document their moment on the famous Cannes catwalk. On one night alone, there were more than 100 offenders.

While many critics lavished praise on Michael Fassbender and Marion Cotillard for their performances in Macbeth, the titular Scottish titan mumbled the Bard’s lines so much that English speakers complained they were forced to read the French subtitles to understand what he was saying. And Shakespeare took a hit in the opening credits, relegated to fourth place behind the film’s three screenwriters.”

Well, that was interesting – until next Spring, then!

Hrutar (Rams) Wins Un Certain Regard Prize at Cannes

Saturday, May 23rd, 2015

Hrutar (Rams) by Icelandic director Grimur Hakonarson was a surprise winner at Cannes.

As Michael Roddy reports for Reuters Canada, “An Icelandic movie about two sheepfarming brothers who have not spoken in 40 years but are brought together by an outbreak of a disease that threatens their flocks won the Un Certain Regard prize at the Cannes Film Festival on Saturday. Hrutar (Rams) by director Grimur Hakonarson took the top prize in the grouping of 19 films in the festival’s second most important competition. The films are chosen to display filmmaking techniques and trends in a variety of cultures and countries around the world. Jury president Isabella Rossellini said viewing the entries ‘was like taking a flight over the planet and seeing all the inhabitants and their emotions.’

Hakonarson said winning was a surprise, but he was delighted. ‘There are very good films in this program and very big directors,’ he said. ‘I didn’t expect this. I’m in heaven.’ The film is set in remote northern Iceland, among sheepfarmers whose livelihood is threatened by an outbreak of scrapie that is fatal to sheep and requires all their flocks to be put down, but the director thought it would strike a chord with anyone. ‘I think it’s a universal story, it’s a story about family conflicts, even though it’s an Icelandic film, it seems to touch the hearts of the audience, you know, but the film, it’s also entertaining, it’s also funny. It’s a mixture of drama and comedy and we seem to have, maybe, profited from that a little.’”

Congratulations! — now all the film needs is a US art house release, or at least, a DVD – or even VOD or streaming.

The Racket (1951) in Noir of the Week

Friday, May 22nd, 2015

Here’s a piece I wrote a while ago on the 1951 film The Racket for Noir of the Week.

“Who said I was an honest citizen? And what would it get me if I was?”

– Lizabeth Scott to Robert Mitchum in The Racket

Left to right above: Robert Ryan, John Cromwell, Lizabeth Scott and Robert Mitchum

As I wrote, “the traumatized figure of Robert Ryan as old-school rough and tough gangster Nick Scanlon towers over the wreckage of John Cromwell’s The Racket (1951), although the film has so many “punch up” scenes inserted after the completion of principal photography by director Nicholas Ray that it almost qualifies as a co-direction job. In addition, the actor/director Mel Ferrer, the film’s editor Sherman Todd, the film’s producer Edmund Grainger, and even director Tay Garnett (of The Postman Always Rings Twice) also took a hand in the proceedings, all under the overzealous and one might say hyper-controlling supervision of Howard Hughes, who at this point owned RKO Radio, the studio where this film was made, having acquired controlling interest in the company in 1948.

Hughes could never leave a project alone after it was finished shooting, in some cases scrapping whole elements of a film’s plot after principal photography. William Cameron Menzies’ delirious noir The Whip Hand comes immediately to mind; the film originally was about a plot devised by Adolf Hitler (Bobby Watson) to fatally poison America’s water supply, but after the film wrapped, Hughes decided that the villains should be Communists, who were suddenly much more trendy, and large segments of the film were reshot, at considerable added expense.

In the case of The Racket, the film was based on a silent film from 1928, also produced by Howard Hughes, and directed by a youthful Lewis Milestone, which was based in turn on a Broadway play by Bartlett Cormack, and starred Thomas Meighan, Louis Wolheim and Marie Prevost. Interestingly, the Broadway play version starred Edward G. Robinson, and, as an actor, a young John Cromwell, the director of the 1951 version, and the stage production subsequently toured throughout the country, winding up in Los Angeles, where Robinson was discovered by Warner Bros. and thrust into a series of gangster films that made him a star.

For many years, the 1928 version of The Racket was considered a “lost film,” but a print was finally located by Dr. Hart Wegner of the University of Nevada Las Vegas Film Department, and restored by Jeffrey Masino, with a new music track by Robert Israel. In 2004, the film was screened on Turner Classic Movies for the first time, but has yet to make it on to DVD; the 1928 version is certainly more coherent than the 1951 version, but the later version also has its merits – in a bizarre sort of way.

Chief among the pluses for the 1951 version are Robert Ryan, at his psychotic, raging best as outmoded gangster Nick Scanlon; Robert Mitchum somnolently strolling through his role as Captain Thomas McQuigg, an honest police captain in a city that has gone completely corrupt; the always dependable Lizabeth Scott as Irene Hayes, a nightclub singer who is predictably mixed up in the rackets; William Talman, surprisingly cast against type – he usually played murderers, thugs, and psychotic killers – as eager-beaver Officer Bob Johnson; Ray Collins as the exquisitely corrupt District Attorney Mortimer X. Welch; and last but far from least, William Conrad as Detective Sergeant Turk, another corrupt cop, who says almost nothing throughout the entire film but always seems to be hanging around the edges of the frame, chewing gum, and effectively stealing scenes from anyone who tries to upstage him.

Nor is this all; a gallery of pug-uglies, stoolies and other assorted noir characters round out the dramatis personae, from Walter Sande as a reliable sidekick cop to Mitchum’s Captain McQuigg, Les Tremayne as Harry Craig, head of the Crime Commission, the smooth heavy Don Porter as R.G. Connolly, front man for the never-seen “Old Man” who runs the entire corrupt enterprise, and noir regulars Harry Lauter, Don Dillaway, Howland Chamberlain, Tito Vuolo, Herb Vigran, Richard Reeves, Iris Adrian, Don Beddoe and others too numerous to mention. RKO had a heavy pool of talent to draw from in 1950s Hollywood, and even if these actors weren’t stars, they were solid professionals who could be counted on to show up on time, know their lines, and get through their scenes efficiently and with absolute conviction, even if the film’s script sometimes crumbled beneath them.”

That’s just an excerpt; read the entire article by clicking here, or on the image above.

Forthcoming Book – Black & White Cinema: A Short History

Wednesday, May 20th, 2015

Coming this Fall, 2015 from Rutgers University Press – the first history of black and white cinema.

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 40 on-the-set stills, Black & White Cinema provides a vivid and illuminating look at a creatively vital era.

“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 extremely complex and ambitious project.

Maze Runner: The Scorch Trials

Tuesday, May 19th, 2015

Click here, or on the image above, to see the first trailer for The Scorch Trials.

This is the second in the Maze Runner films, inspired by a group of science fiction novel novels by James Dashner, which will apparently conclude with Maze Runner: The Death Cure in 2017. The Maze Runner films, as well as the books, owe an obvious debt to William Golding’s classic 1954 novel Lord of the Flies, which was made into a brilliant film by Peter Brook in 1963, and a terrible film by Harry Hook in 1990, but despite the clear thematic links, the first Maze Runner film lingers in my memory far more than the less-inspired, and much more formulaic Hunger Games films, which are, of course, enormously successful, and to my mind, at least, owe a clear debt to Koushun Takami’s 1996 novel Battle Royale, which was made into an excellent film (sadly, his last, before his death from cancer) by director Kinji Fukasaku in 2000.

Director Wes Ball, just 29 years old, is the creative mind behind the Maze Runner series, and as of now, he looks set to direct all three films, and has revealed that the third novel will not, for once, be split into two segments to drag things out, but rather released as a final stand alone project. As the official 20th Century Fox release notes for the film state, “in this next chapter of the epic Maze Runner saga, Thomas (Dylan O’Brien, returning from the first film, along with many other cast members) and his fellow Gladers face their greatest challenge yet: searching for clues about the mysterious and powerful organization known as WCKD. Their journey takes them to the Scorch, a desolate landscape filled with unimaginable obstacles. Teaming up with resistance fighters, the Gladers take on WCKD’s vastly superior forces and uncover its shocking plans for them all.”

With a cast that includes the excellent actors Giancarlo Esposito, Lili Taylor and Patricia Clarkson, despite the recycled plot tropes, Ball’s vision the future is both fresh and convincing, and he’s clearly mastered the use of special effects and CGI imagery in an intelligent fashion, using them to enhance the story rather than to overwhelm the viewer. In the end, I found myself both caring about the characters, and curious as to what would befall them in subsequent installments of the trilogy, and so I look forward to the release of The Scorch Trials this September. I also think it’s a solid idea not to drag this out, and release the final film in 2017 – let’s say what we want, and then move on, to new projects and new ideas, which I’m hopeful that Ball will handle with equal restraint and economy.

However, it should be noted that Dashner has added two additional novels to the series; one published, and one forthcoming – The Kill Order (2012) and The Fever Code (coming in 2016). The trilogy has thus been stretched into a pentalogy, seemingly so as not to let a profitable franchise die, which is to my mind never a good reason for continuing anything. So we will probably see films of those books sometime in the future, but I don’t know if Ball will be directing them. For now, I’ll just be content with what we have on hand, and wish the cast and creators of the first three films the best.

I’m surprised that I liked the first film so much; let’s see how The Scorch Trials measures up.

Archie Panjabi as 007

Tuesday, May 19th, 2015

Am I the only one whole thinks that the 007 franchise needs a major overhaul?

Archie Panjabi, criminally underused on the television series The Good Wifeshe has now left the series – would be a great choice for the 007 character, and move it away from the thuggishness of Daniel Craig, even if Skyfall, the latest Bond installment, did make more than a billion dollars worldwide. But it was such a dreary film – isn’t it time we got over the attitudes of the 1960s and moved into the 21st century with an action star who could give the role a whole new dimension?

As Mike Hale said of Panjabi’s character, Kalinda Sharma, in The Good Wife, “just like Bogie — and just like Bacall: that’s the secret of Kalinda Sharma. She’s a mash-up of film noir archetypes (and gender roles), both gumshoe and femme fatale, tough broad and heartbroken sap. Panjabi takes a genre cliché — the combination of hard shell and tender interior — and redeems it by maintaining a constant but perfectly poised intensity, one whose tight control only emphasizes its operatic force.”

Apparently, she’s in line to play a “Bond girl” in the next 007 film – but why not the leading role instead?

Mike Fleming Jr. Interviews Woody Allen in Deadline

Thursday, May 14th, 2015

Mike Fleming Jr. of Deadline just published a fabulous interview with Woody Allen.

Even with his newest film, Irrational Man, at Cannes, Allen despairs of the current state of the movie business, and I must say I agree with him entirely. He has a deal for a series with Amazon, but doesn’t know what to do with it; he seems genuinely unhappy with all his work, and is only now turning to digital with a sort of “meh – why not?” attitude – “digital is really not cheaper and it’s not faster” – and he gets no pleasure from seeing his films – “I hate them all. None are different, and all are…unsatisfying, when you’re finished” – and never goes back to see them again.

But most of all, like all of us who love the cinema, he sees where Hollywood is heading, and he doesn’t like it one bit. Asked what he thought of the way the industry was heading, Allen responded flatly “well, I think it’s terrible. To me, movies are valuable as an art form and as a wonderful means of popular entertainment. But I think movies have gone terribly wrong. It was much healthier when the studios made a hundred films a year instead of a couple, and the big blockbusters for the most part are big time wasters. I don’t see them. I can see what they are: eardrum-busting time wasters.

I think Hollywood has gone in a disastrous path. It’s terrible. The years of cinema that were great were the ’30s, ’40s, not so much the ’50s…but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the ’50s and ’60s and ’70s. Then it started to turn.

Now it’s just a factory product. They can make a billion dollars on a film and spend hundreds of millions making it. They spend more money on the advertising budget of some of those films than all the profits of everything Bergman, Fellini and Bunuel made on all their films put together in their lifetimes. If you took everything that Bergman made in profit, everything Bunuel made and everything that Fellini made in their lifetimes and added it all together, you wouldn’t equal one weekend with the The Avengers and its $185 million to $200 million.

Hollywood is just commerce, and it’s a shame. There are all these wonderfully gifted actors out there that, as you said before, will be in a film of mine for virtually nothing, union minimum, for what you called validation. Really, it’s because they want to work on something that doesn’t insult their intelligence; they don’t want to have to get in to a suit and practice stunts for two months and then do stunts and then… they want to be in something that doesn’t demean their artistic impulses.”

Much more here in Deadline - read the entire interview – it’s essential.

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

  • War Movies
    UNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
  • Frame By Frame - Hollywood Composers
    UNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]

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/