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Film International — One of The Best Film Journals on The Web

Monday, January 13th, 2014

Film International is one of the best film journals on the web.

Click here, or on the image above, to read more.

As the journal’s mission statement notes, in part, “Film International covers film culture as part of the broader culture, history and economy of society. We address topics of contemporary relevance from historically informed perspectives. We wish to bridge the gap between the academy and the outside world, and encourage the participation of scholars from a variety of disciplines, as well as journalists, freelance writers, activists and film-makers.

We refuse the facile dichotomies of ‘high’ and ‘low’, Hollywood and independent, art and commercial cinema. We discuss Hollywood films seriously, and ‘art’ movies critically. We aim at becoming a truly international journal, recognising local specificities, but also the ultimate interconnectedness of an increasingly globalised world.”

FI covers international film, Hollywood film, independent cinema, and everything else in between. It features reviews, interviews, and festival reports on a regular basis, and has an egalitarian spirit which allows all critical voices to be heard, without forcing any of the writers to adhere to a particular philosophical, political, or artistic school of thought.

Commercial cinema, radical cinema, the past, present and future of the medium all meet in the pages of FI, which is absolutely free for online use with just the click of a button. I regularly contribute to FI, but I also savor the contents provided by all of the other writers for the journal, and I constantly find that FI discusses those films that other journals simply pass over, giving a well rounded perspective on the current cinema scene.

Ably edited by Daniel Lindvall, Film International is one of most indispensable film journals on the web today.

For more free articles and videos, visit my website at wheelerwinstondixon.com

wheelerwinstondixon.com

Thursday, January 9th, 2014

I’ve moved my website to wheelerwinstondixon.com – follow me there!

Take a look at the image above, and you’ll see how it works.

The new website is much cleaner, has more information, and works more smoothly.

At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.

This is where you will find me from now on; the old website is dead, so let’s move on into the future.

600 Legally Free Movies Online: Classics, Indies, Noir, Westerns and More

Monday, December 30th, 2013

Any of these films sound interesting? Here are just a few titles you can see right now, for free, entirely legally. Just click here, or on the image above, to access the full list.

Where to watch free movies online? Let’s get you started. We have listed here 600 quality films that you can watch online. The collection is divided into the following categories: Comedy & Drama; Film Noir, Horror & Hitchcock; Westerns & John Wayne; Silent Films; Documentaries, and Animation.

A Farewell to Arms – Free – Gary Cooper and Helen Hayes star in film based on famous novel by Ernest Hemingway. (1932)
A Matter of Life and Death – Free – Romantic fantasy film created by the British writing-directing-producing team of Michael Powell and Emeric Pressburger, and set in England during the Second World War. It stars David Niven, Roger Livesey, Kim Hunter, Marius Goring and Raymond Massey. (1946)
A Star is Born – Free – Janet Gaynor portrays Esther Blodgett, a starry-eyed small town girl dreams of making it in Hollywood. (1937)
Adventures of Robinson Crusoe – Free – The classic novel by Daniel Defoe gets adapted by the great Luis Buñuel. (1954)
Alexander Nevsky – Free – A historical drama film directed by the great Russian filmmaker Sergei Eisenstein. (1938)
An Occurrence at Owl Creek Bridge – Free – French short film directed by Robert Enrico; a hit at the Cannes Film Festival and the Academy Awards. (1962)
Andrei Rublev – Free – Andrei Tarkovsky’s film charting life of the great icon painter. Click CC for subtitles. Part 2 here. (1966)
Angel on My Shoulder – Free – A gangster comedy starring Claude Rains and Paul Muni. (1946)
As You Like It – Free – It’s Laurence Olivier’s earliest Shakespeare performance on film. (1936)
Becky Sharp – Free – The first feature film to use three-strip Technicolor film, or, put differently, the first real color film. (1935).
Bottle Rocket – Free – Wes Anderson’s first short film, which became the basis for his first feature film by the same name. (1992)
Breaking the Code – Free – A biography of the English mathematician Alan Turing, who was one of the inventors of the digital computer and one of the key figures in the breaking of the Enigma code. Stars Derek Jacobi. (1996)
Cannibal! The Musical – Free – Black comedy by Trey Parker and Matt Stone, the makers of South Park. (1993)
Captain Kidd – Free – Charles Laughton and John Carradine star in film with drama on the high seas (1945).
Castello Cavalcanti – Free – Wes Anderson’s short film takes place in a hamlet tucked away somewhere in Italy. Features Jason Schwartzman, star of Anderson’s 1998 breakout Rushmore. (2013)
Charade – Free – Starring Cary Grant and Audrey Hepburn. Part romance, comedy and thriller, this public domain film has been called “the best Hitchcock movie that Hitchcock never made. (1963)
Chimes at Midnight - Free – Directed by Orson Welles, the film focuses on Shakespeare’s recurring character Sir John Falstaff and his relationship with another character Prince Hal. (1966)
Cold Sweat – Free – Charles Bronson, Liv Ullman, James Mason, and Jill Ireland star in this action packed movie about a ruthless drug runner who holds a man’s family hostage. (1970)
Cyrano De Bergerac – Free – Michael Gordon’s film based on the classic French tale. (1950)
Darwin – Free – 53-minute exploration of the life and work of Charles Darwin by Peter Greenaway. (1993)
Diary – Free – Short film by Tim Hetherington (director of Restrepo) that reflects on his ten years of war reporting. (2010)
Doodlebug – Free – One of Christopher Nolan’s early short films. Made in 1997, released in 2003.
Dreams That Money Can Buy – Free – A surrealist film by Man Ray, Marcel Duchamp, Alexander Calder, Fernand Léger & Hans Richter. (1947)
Duet for Cannibals – Free – A tale of emotional cannibalism by Susan Sontag. A pair of psychological & sexual cannibals come close to devouring a younger couple. (1969)
Eat, Sleep & Kiss – Free – Three silent anti-films by Andy Warhol. (1963-1964)
Evidence – Free – From the maker of Koyaanisqatsi, a short film about kids watching cartoons (1995).
Fear and Desire – Free – An uncut print of Stanley Kubrick’s “lost” early film. (1953)
Five Minutes to Live – Free – Amazing bank heist movie stars Johnny Cash, Vic Tayback, Ron Howard, and Merle Travis. (1961)
Flamenco at 5:15 – Free – Oscar-winning short film about a flamenco dance class given to senior students. (1983)
and many more.

Check them all out here!

Audrey Totter

Saturday, December 14th, 2013

“If you haven’t got enough brains to agree with me, then keep your mouth shut. From here on in, I’m answering all the questions — got it?”

Audrey Totter, one of the great noir stars of the screen in the 1940s, has died; as Matt Schudel noted in The Washington Post, “Totter, an actress who specialized in playing temptresses, dangerous dames and women harboring dark schemes in a series of movies from Hollywood’s film noir period of the 1940s and ’50s, died Dec. 12 at a hospital in Woodland Hills, Calif. She was 95. She had congestive heart failure after a stroke, her daughter, Mea Lane, said.

Miss Totter first set the screen afire with a small but sizzling part in the 1946 noir classic The Postman Always Rings Twice [. . .] Over the next several years, Miss Totter was in demand as one of Hollywood’s sexiest and most alluring actresses, often playing cynical and malevolent women who, in the words of film historian Eddie Muller, ‘had a heart as big and warm as an ice cube.’ [. . .]

‘For years nobody bothered with me — didn’ t know who I was, didn’t care,’ she told the Toronto Star in 2000. ‘Now I’m recognized on the street, I’m asked for my autograph, I get loads of fan mail. Who knew these movies would be so popular 50 years later? Maybe it’s because the world isn’t like that anymore. The fantasy of it. They painted with light in those days, it’s a look that just isn’t done anymore.”

She acted in radio dramas before going to Hollywood and signing on as a contract player with MGM. After film noir began to fade in the 1950s, she acted in westerns and television, including a recurring role as a nurse on Medical Center in the 1970s. Miss Totter’s final acting role came in 1987, when she appeared on an episode of Angela Lansbury’s Murder, She Wrote. She continued to receive offers but seldom found anything that appealed to her.

‘What could I play?’ she asked in 2000. ‘A nice grandmother? Boring! Critics always said I acted best with a gun in my hand.’”

The Noir Vision of Max Ophüls, Romantic Fatalist

Friday, November 22nd, 2013

Here’s a new piece I wrote on the American noir films of the great Max Ophüls in Film International.

As I note at the start of my essay, “Max Ophüls, born Maximillian Oppenheimer on 6 May 1902, Saarbrücken, Germany, was a director known primarily for his romance films, often with sweeping tracking shots, and often taking place in the past. Ophüls’ luxurious camera style is evident in such superb romance films as Letter from An Unknown Woman (1948), with Louis Jourdan as Stefan Brand, a ne’er do well pianist who seduces and then abandons a young woman, Lisa Berndle (Joan Fontaine), and pays for his crime in a dueling match; La Ronde (1950), a sex comedy based on Arthur Schnitzler’s eponymous play, in which lovers float from one affair to the next with delightful abandon; Madame de… (1953), another romance film in which a spoiled Countess (Danielle Darrieux) engages in an extra-marital dalliance, highlighted by Ophüls’ trademark “waltzing camera” technique, and his penchant for long takes; and his final film, the Technicolor and CinemaScope extravaganza Lola Montès (1955), based on the life of a notorious courtesan who eventually winds up as the main attraction in a circus sideshow.

Ophüls started directing films in 1931, scoring an early success with his romantic drama Liebelei (1933), completing a total of eighteen films in Germany and France between 1931 and 1940. While these films, especially Liebelei, gesture towards his later, more mature work, Ophüls was still establishing himself. The director made only two true noir films in his long and distinguished career, back to back: Caught (1948) and The Reckless Moment (1949), both from his brief period in the United States. To this most European and continental director, for whom romance was a sacred trust, with the camera revealing the innermost workings of the hearts of his characters, these two noirs were a distinct departure from his earlier work, and stand out as near aberrations in the director’s long and illustrious career. But they were created out of necessity, not design, for Ophüls never really wanted to come to Hollywood in the first place.”

You can read the rest of the essay here; my thanks to Daniel Lindvall, editor of Film International.

The Last 3-D Film Expo?

Friday, August 30th, 2013

They say all good things must come to an end, and for classic 3-D films, this may be the last call; click here, or on the image above, to see the entire program for this one-of-a-kind festival.

This evening I got a very kind note from one of the organizers of the Third Annual World 3-D Film Expo at the Egyptian Theater in Los Angeles, one of the finest projection facilities for 35mm film left in the United States, in which he wrote,

“I just ran across an article of yours from two years ago, with the title “Real 3D (2011) vs. Natural Vision 3D (1953).” Very good, and very perceptive. Coincidentally, the very film which you mentioned (Dial M for Murder) is going to be shown again at the theater mentioned (the Egyptian) in a few days. The third (and likely final) World 3D Expo is going to take place here at the Expo from September 6 through September 15. It is likely the last one, since Jeff Joseph, the Expo producer is retiring. After that, it is unlikely that it will be possible to see these in their original form any more. 35 different 3D productions will be shown, most of which are from the 1950’s, being shown twin strip 35mm in the original format.

Already some of the 1950’s 3D productions are no longer available on film, so they will be shown in RealD digital, about a half dozen of the 35 screenings, if I recall. The upside is that it will now be possible to make a direct comparison of RealD to 35mm film twinstrip in the same venue. This is probably the only time that 35mm film 3D and digital are being shown on the same screen in the same auditorium at the same event. I remember actually seeing many of these films back in 1952 to 1955.

At that time they were even brighter, because now they are using xenon lamps, but back then they were using lamp houses equipped with the brightest light source ever used to illuminate a screen, white flame carbon arcs with blowers directly on the arc. These produced 16 ft./Lamberts through the polarizers on the screen, for a total of 32 ft./Lamberts with both projectors running. RealD is normally only 3 ft./Lamberts, or 5 in the so-called “bright” version.  I don’t know what the output of the xenon lamps are, but I am sure that they will be brighter than the digital, but not anywhere near as bright as the original full blown white flame carbon arcs.”

The amazing schedule includes such films as Hondo, House of Wax, the wildly eccentric thriller The Maze and Miss Sadie Thompson all from 1953, (the peak year for classic 3-D Matural Vision technology) along with many other classics; while it’s too late for me to make it out there, which I regret, especially since this sounds very much like the last hurrah — if you are in the Los Angeles area from September 6 through the 15th, you should really take advantage of the opportunity to view these films in their original format, as they were meant to be shown — double projection 35mm prints in perfect frame-for-frame sync, for an unforgettable viewing experience.

The World 3-D Film Expo; don’t miss it if you’re in the Los Angeles area. Last chance!!

Eclipse Series 38: Kobayashi Against the System

Sunday, July 14th, 2013

Criterion’s Eclipse series of unjustly overlooked masterpieces has just put out a superb set of films by the great Japanese filmmaker Masaki Kobayashi, who is almost unknown in the West.

As critic Michael Koresky notes in a superb essay on the Criterion website, “among all the important directors who emerged in Japan just after World War II, Masaki Kobayashi would distinguish himself as the most aggressively social-minded. He used cinema to speak eloquently against rigid and corrupt systems that denied or abused individual rights, and to indict a status quo that allowed amorality and venality to flourish. His three-part magnum opus, The Human Condition (1959–61)—an existential portrait of one man’s efforts to maintain his integrity in a rotten world, and a condemnation of the machine in which he is ultimately little more than a cog—marked the high point of the period early in his career when he began to grapple with these difficult themes, in a string of arresting, socially committed films set in contemporary Japan, none of the rest of which are widely known today. With these films, produced between 1953 and 1962, Kobayashi tried to make sense of a postwar nation that he believed had lost its bearings, and in the process became a mature morally and politically engaged cinematic artist.

Having studied philosophy and art history at Tokyo’s Waseda University, Kobayashi turned his attention to film after graduating in 1941, and got an assistant director position at Shochiku studios. Only eight months later, however, he was drafted into military service. While stationed in Manchuria and the Ryukyu Islands, the left-leaning, pacifist Kobayashi remained opposed to the actions of the Imperial Army, even declining to ascend past the rank of private when his superiors wanted to promote him. Deeply affected by his experiences in a war he would later call ‘the culmination of human evil,’ he returned to Shochiku driven to express his dissent on-screen. First, though, he assisted on his mentor Keisuke Kinoshita’s middle-class comedies and domestic dramas, exemplars of the studio’s preferred style at the time and which influenced the largely apolitical content of his own first films, My Sons’ Youth (1952) and Sincerity (1953).

Kobayashi’s third film, The Thick-Walled Room, completed in 1953, was a different story. It demonstrated the seriousness of the filmmaker’s intent, and it was among the first films in Japan to deal openly with the nation’s wartime legacy. It concerns a group of B and C (second- and third-tier) war criminals—rank-and-file military men who acted on orders—who have been imprisoned and treated cruelly by members of the American occupying force, though their superiors have gone unpunished.

The film, based on the diaries of real-life prisoners, treats the low-ranking soldiers not as innocents but as dupes of a system that will not assume responsibility for its actions. Rather than take a broad historical approach, Kobayashi turns this raw material into intimate drama, his immediate, exquisitely composed black-and-white images evoking his characters’ psychological anguish; meanwhile, the shadowy prison in which they’re held is effectively filmed as a looming character in itself. Though the American occupation had ended in 1952, the Japanese government feared that The Thick-Walled Room’s incendiary content would offend the U.S. and demanded that Shochiku either cut or withhold it. Kobayashi was unwilling to trim the film, so it was shelved until 1956.

The controversy surrounding The Thick-Walled Room didn’t do much to ingratiate Masaki Kobayashi with Shochiku head Shiro Kido. For decades, Kido had fostered a specific house style in shomin-geki (contemporary stories of everyday life)—lyrical films about love and family directed by such auteurs as Yasujiro Ozu and Keisuke Kinoshita, Kobayashi’s mentor. After The Thick-Walled Room was shelved in 1953, Kobayashi went back to this gentler mode of filmmaking, coming out with several sentimental films, including Three Loves (1954), Somewhere Under the Wide Sky (1954), Beautiful Days (1955), and The Spring (1956), works that in their affirmation of small-town values recalled Kinoshita’s megahit Twenty-four Eyes (1954), which regarded loneliness, war, and death from the perspective of a deeply moral schoolteacher. Kido was impressed by Kobayashi’s output, and the director eventually felt that he had enough support to set out again for the angrier, more political territory that was closest to his heart.

I Will Buy You (1956) was Kobayashi’s first step back in that direction. The subject matter—the machinations behind the scenes of professional baseball in Japan—may not initially seem particularly inflammatory. But this is hardly the kind of sports movie that we’ve become accustomed to in the West, with epic triumphs and last-minute redemptions, or even the kind that Japanese audiences were used to—the long popular supotsu-mono genre generally focused on disciplines like judo and karate. The suspense in this deliberately paced, scathing examination of the greed that drives the sports world is predicated not on how many home runs its star player will hit but on how much of his and his handlers’ souls will be lost in the process.

Baseball had been Japan’s favorite sport for decades by the time the film was released. Kobayashi fully intended to shock viewers with his takedown of the beloved institution. (The outrage his treatment of the subject conveys may seem quaint today, when we’re more cynical about sports’ corporate interests.) Adapted from a Minoru Ono novel, the film is told from the perspective of and narrated by Kishimoto (Keiji Sada), a ruthless scout hot to sign the up-and-coming college player Kurita (Minoru Ooki) to the major-league Toyo Flowers. Kurita, also being courted by the Handen Lilies, proves to be a tough sell, however, as the scout must appeal not only to him, his poor rural family outside Osaka, and his skeptical girlfriend, Fueko (Keiko Kishi), but also to his tough-minded and avaricious mentor, Kyuki (Yunosuke Ito), who acts as much out of slimy self-interest as Kishimoto does.

There’s little sports-film catharsis in I Will Buy You—and relatively little baseball. Most of the interactions are pitched like boardroom negotiations, shot by Kobayashi with clinical detachment and often in ominous shadow. The world Kobayashi depicts may be a hollow one (notwithstanding Kishimoto’s climactic crisis of conscience, when he states, ‘It is our job to be ruthless and unaccountable . . . Because we see people like Kurita not as players but as commodities’), but there’s an exhilaration to the film’s truth-seeking. In bearing witness as he saw his country losing its moral way, Kobayashi also demonstrated how trying times can serve as a crucible for art.”

This is a brilliant analysis of the film, and a brilliant film, as well. Kobayashi is absolutely unforgiving in his portrayal of the potentially corrupting influence on money in big time sports, and as with the other films in this Criterion set, particularly The Inheritance, his view of the world is bleak indeed, yet all too accurate in the final analysis. Far from being punished for their actions, the protagonists of both films occupy a world in which cunning and deception are the norm, and which almost rewards evil – there’s no sincerity of thought or action here, only sheer self-interest. As one might expect, the transfers of the films here are absolutely flawless, with meticulous subtitles, and an absolutely essential part of any cineaste’s collection.

It’s disconcerting to think that Kobayashi thought that he was making these films for posterity, as his testament to the world, and how black and white filmmaking has all but vanished, as well as film itself, and were it not for the efforts of Criterion, these films would never see the light of day. Kobayashi is a superb filmmaker, and his pitless vision of social commerce rings all too true in the current 99%/1% landscape of society on a worldwide basis. All of the films in this set are remarkable, but for me, I Will Buy You, beginning with the unambiguous directness of the film’s title, is a one-of-a-kind indictment of greed and human weakness, and makes American noir sports films like Champion seem weak tea indeed.

This is a box set that any serious film aficionado should get immediately.

The Disquieting Aura of Fabián Bielinsky

Monday, April 29th, 2013

I have a new article today on the late director Fabián Bielinsky in Film International.

As I note, “the roots of [Bielinsky's film] The Aura go way back in Bielinsky’s childhood, to a screening of John Boorman’s Deliverance (1972), which so mesmerized the young cineaste that he refused to leave his seat until the management gave him a poster of the film as a souvenir. Over the years, Deliverance occupied almost the entire space in the young director’s mind, and it’s worth noting that even as he suggested after the success of Nine Queens that he might next like to try his hand at ‘a psychological thriller,’ the first draft of the script for The Aura was written in 1983, the year he directed the short film La Espera, and graduated from the national film school. The film was in every way darker and more fatalistic than Nine Queens; as he declared from the outset of the film’s production, The Aura was designed to please no one but its maker.

As Bielinsky told Jorge Letelier in the film journal Mabuse, ‘the [film’s] theme is crime, but its structure allows for more discussions because […] I decided to accept a series of brutal and dangerous breaks in the structure, because in a genre film audiences expect a certain type of structure and rhythm according to the rules of the genre in question. I opted to go on breaking those rules, so that things wouldn’t happen when they were supposed to happen.’ And this, indeed, is precisely what sets The Aura apart from more traditional crime ‘thrillers’ – it is, at its heart, a study in psychological penetration, gesturing back to the director’s early studies in psychology, and his examination of the ethos of machismo in Latin American society.

And it’s clear that as an omnivorous moviegoer, Bielinsky knew, much better than most of the people who interviewed him, that Nine Queens had been a work of precise calculation, every bit the same sleight-of-hand trick that the film itself celebrated. Make The Aura first? Not likely. Make a crowd pleaser first, designed to appeal to the widest possible audience, and then, if you were lucky and worked hard, you just might get a shot at a script that had been kicking around in your file drawers since your 24th birthday – a work so dark, so uncompromising, so willfully designed not to please, that it might as well have been Godard’s Le Petit Soldat or Les Carabiniers (both 1963), films which represented an outright assault on their respective audiences. And when an unsuspecting critic suggested that someone like David Mamet might be an influence on Bielinsky’s work, the director was quick to disabuse them of that mistaken notion.

When David Edwards ventured that Mamet might perhaps have been ‘a particular influence,’ Bielinsky good naturedly, but firmly, put Edwards in his place, saying that, ‘well, you know I was writing ideas like this before I even knew David Mamet existed! Of course, it’s flattering to be compared to him because he’s such a great scriptwriter and playwright. But, you know, Mamet didn’t invent this. There’s a whole history of con man movies before he came on the scene. I mean, I think about films like The Sting, Paper Moon, The Flim Flam Man, House of Games, the films of Fellini and other Italian films I saw when I was a teenager.’

So the roots of both Nine Queens and The Aura run deeply into not only Bielinsky’s past, but the past of cinema as a whole, and now, with the immense success of his first film, and the American remake racking up acceptable grosses, producers who were formerly unwilling to take a chance on Bielinsky’s pet project now agreed to participate. True, he had to cobble together financing from a variety of sources, and especially in the wake of Argentina’s financial collapse, everything – not just filmmaking – was a daily struggle, but at length, all was in place, and Bielinsky was allowed to embark upon the dark journey of The Aura which, though he did not know it at the time, would be his last testament as a filmmaker.

If Nine Queens presents the picture of a world becoming undone, a picture, in the words of Michael Chanan ‘of a corrupt society, where everyone is conning everyone else, a metaphor for a dangerous political situation on the verge of coming to a head, with a closing scene – as a bank puts up its shutters and depositors clamor for their money – that is nothing short of prophetic,’ then The Aura shows the aftermath of that society’s collapse, which is now no longer a joking matter, but rather a deadly serious fight for survival.

You can read the entire article by clicking here, or on the image above.

A Short History of Film, Second Edition

Saturday, October 6th, 2012

A Short History of Film

Second Edition

Wheeler Winston Dixon and Gwendolyn Audrey Foster

Rutgers University Press

A history of world cinema that makes its past as vibrant as its present—now revised and updated through 2012.

Praise for the previous edition:

“This is the film history book we’ve been waiting for.” —David Sterritt, Chairman, National Society of Film Critics

“Highly recommended for all collections.” —Library Journal (starred review)

The second edition of A Short History of film provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black and white stills—including photographs of some of the industry’s most recent films—the new edition is unmatched in its panoramic view of the medium as it is practiced in the United States and around the world as well as its sense of cinema’s sweep in the 20th and early 21st centuries.

Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of film in general as well as the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium.

The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s.

Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts.

Engaging and accessible, this is the best one-stop source for the history of world film available for students, teachers, and general audiences alike.

WHEELER WINSTON DIXON is the James Ryan Professor of Film Studies at the University of Nebraska, Lincoln. His many books include Death of the Moguls: The End of Classical Hollywood, 21st-Century Hollywood: Movies in the Era of Transformation (co-authored with Gwendolyn Audrey Foster), A History of Horror, and Film Noir and the Cinema of Paranoia (all Rutgers University Press).

GWENDOLYN AUDREY FOSTER is a professor of film studies in the Department of English at the University of Nebraska, Lincoln, and with Wheeler Winston Dixon, Editor in Chief of Quarterly Review of Film and Video. Her many books include 21st-Century Hollywood: Movies in the Era of Transformation (co-authored with Wheeler Winston Dixon) and Class-Passing: Social Mobility in Film and Popular Culture.

Second edition available in paper, hardcover and Kindle March, 2013 from Rutgers University Press.

The Unguarded Moment (1956)

Monday, August 6th, 2012

I have a new article on The Unguarded Moment in Noir of the Week.

Here’s the opening paragraphs: “Harry Keller’s The Unguarded Moment is a lost gem from the 1950s, which reveals the real dark side of the American dream, and the nightmare behind the seemingly pleasant facade of Eisenhower America. Esther Williams, usually more at home in aquatic roles, had just been dismissed by MGM, and was looking around for an interesting project to help her establish a new screen identity.

Universal suddenly, and unexpectedly, stepped in and offered her $200,000 to appear in The Unguarded Moment — more than $1.5 million in 2012, adjusted for inflation — which was more than MGM had ever paid her for any of her many films for that studio. The film was described to Esther Williams as a suspense thriller, which it manifestly is, and it was a complete change of pace from the roles she had spent her lifetime playing; essentially the same role over and over again, in a series of Technicolor swimming extravaganzas. Williams was sick of them, and sick of the genre as a whole; she wanted something different. Seeing the role as a challenge, Williams accepted the assignment.

Williams plays Lois Conway, a small town high school music teacher living in well-manicured suburbia — actually the Leave it to Beaver / Desperate Housewives street on Universal’s back lot — whose life is turned into a nightmare when one of her pupils, an unbalanced high school football star, Leonard Bennett (John Saxon, in a very early role) starts sending her love notes, physically attacks her after a football practice underneath the bleachers, breaks into her house and steals her possessions, all without leaving a shred of evidence against him.”

You can read the entire essay 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. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu. Visit him at his website wheelerwinstondixon.com.

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