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Archive for the ‘Film Theory’ Category

Media Services at UNL – An Incredible Resource!

Wednesday, October 8th, 2014

Media Services at UNL are an often overlooked and invaluable resource for students and faculty.

As reporter Jack Forey wrote in the Daily Nebraskan on October 8, 2014, “Student fees cover plenty of things students themselves may not know about. Few students realize that one of those services allows them to rent a select variety of movies and video games, for free. ‘I had no idea we could get movies and video games from the library,’ said Matt Mejstrik, former University of Nebraska-Lincoln student. ‘The first thing I checked out was Jean Cocteau’s Orpheus trilogy and also his original version of Beauty and the Beast.

Paying student fees gives UNL students access to the wide range of materials provided by Media Services, located on the 2nd floor of the Love Library’s south building. Students can check out DVDs, video games, camcorders, laptops and board games. Items can be checked out anywhere from three to seven days. ‘Students should realize that there is an incredible collection of materials on film and video that are readily accessible to them through Media Services,’ said Wheeler Winston Dixon, professor of Film Studies at UNL. ‘A huge DVD collection, a remarkable library of books and online media sources can all be readily accessed through Media Studies. Students should take advantage as an essential resource and part of their education.’

The Criterion Collection is included in Media Service’s DVD and Blu-Ray collection. Director of Media Studies Richard Graham said Criterion DVDs can go out of print quickly, making them a rarity. ‘Criterion is renowned for their meticulous attention to digital transfer, interviews and the supplementary materials that they produce, as well as the films or directors they spotlight,’ Graham said. ‘So they certainly are a treasure.’

Graham guides the mission of Media Services and helps to grow the collection of available media. ‘I consolidate student and faculty requests for non-print materials or media materials and see what fits the current curriculum and research needs of the university,’ he said. ‘“Browsing the area and recommending purchases also lets us know that people are using the services and materials we provide.’

The wide selection of Criterion films, as well as a select offering of local Nebraska films, presents a unique opportunity for Film Studies majors, as well as students generally interested in cinema. ‘Under Richard Graham, director of Media Studies, the DVD library has grown exponentially and now includes classic films by nearly every major director, most of which aren’t available on Netflix or Amazon Prime,’ Dixon said. ‘Films by such directors as Cocteau, Fassbinder, Dyerer, Bergman, Rossellini, Fellini and others are now available directly to students. The collection keeps growing every day.’

Outside of the English department, Media Services serves as a study space for students of all colleges and majors. Study rooms can be reserved for hours at a time as students utilize the many resources available to them. Dixon comments, ‘Media Services provides an invaluable link to not only the arts, but also to all literature on everything from astrophysics to contemporary painting—literally all subjects, creating a database for students to use, which is an incredible resource.’

‘The arts are an essential part of everyone’s life,’ Dixon said when asked about the role media plays in the average person’s everyday life. ‘The books, films, music and art of the 20th century are deeply influential in 21st century society, and one can’t really understand the present without knowing the precedence – and importance – of the classics. Some of the material is pop art, some of it is high art, but a thorough understanding of the classics – in film, art, literature and other allied fields – is an essential part of a well-rounded college education.’”

Media Services at Love Library – an amazing opportunity for UNL students and faculty.

Netflix and National Cinemas

Monday, August 25th, 2014

I have a new article in Film International, on the effects of Netflix on national cinemas.

As I write, in part, “People would much rather watch from the comfort and safety of their living rooms than trek out to the theater for anything other than the most immersive spectacle; the clearest evidence of this is the complete collapse of video rental stores, even in such major cities as New York, a metropolis of eight million people, which seemingly can’t sustain more than few revival houses, and only one or two video rental locations, even though they offer the kinds of films you’re not likely to find on Netflix.

Why go out when you can have the images delivered with a touch of a button? Why bother to seek out anything new when there’s seemingly so much product – all of it pretty much the same, even the supposed ‘indies’ – available on demand? You don’t need to do any exploring. We’ll do it for you, and not only that – we’ll put the films in nice little slots like ‘foreign’ or ‘indie,’ thus ensuring a miniscule audience. Along these lines, the Amazon ’suggestion’ feature on their website continues to amaze me, because of its utter lack of discrimination.

If you order one DVD of a French film, suddenly they recommend nothing but French films for you; order one Barbara Stanwyck film, and they think you’re only interested in films in which she stars; order a gothic thriller, and you’re inundated with offers for like material. Erase all of these possible options, and the suggestion engine comes up blank – it can’t figure you out. How come you like so many different kinds of films? Where’s the thread here that they can track? Why won’t you stick to a predictable pattern? And why do you want a DVD anyway, when there are these great films to stream, so easily, at the touch of a button?”

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

Great Advice from Great Directors

Tuesday, July 15th, 2014

Here are some excellent tips from directors past and present; above, director Claire Denis.

As Alison Nastasi, who compiled these quotes, writes in Flavorwire, “artistic expression is an assertion of individuality, and all artists compose their work differently. In the case of filmmaking, there are numerous approaches to translating a story to celluloid. Inspired by director Wim Wenders’ recent advertising short, Wim Wenders’ Rules for Cinema Perfection, we’ve collected the golden rules of filmmaking employed by 100 famous directors. These tips and tricks are a wonderful source of advice and inspiration — even for the most seasoned professionals. The rules also serve as a fascinating snapshot of each directors’ filmography, capturing the spirit of their work.”

Click here, on the image above, to see the entire collection of quotes; interesting reading.

Frame by Frame Videos on Film History, Theory, and Criticism

Tuesday, June 24th, 2014

Here’s a carousel of more than sixty videos in my Frame by Frame series; click here, or above, to play!

Frame by Frame is a series of short videos I made with Curt Bright on film theory, history, and criticism — each is about 3 minutes long or so. Episodes of Frame by Frame cover The Hollywood Blacklist, Ridley Scott, Commercials in Movie Theaters, Inception, 3-D, Film Critics, War Movies, Film Composers, Buster Keaton, Charlie Chaplin, Subtitles vs. Dubbing, The Aura, John Ford, Remakes, Special Effects, John Huston, Ridley Scott, Fritz Lang, Howard Hawks, Alice Guy Blaché, Oscar Micheaux, Horror Movies, Deep Focus, Pan and Scan, Jean-Luc Godard, Camera Movement, Metropolis, Psycho, Movie Trailers, Laurel and Hardy, The Three Stooges, Minorities in American Film, The King’s Speech, Alfred Hitchcock, The Great Gatsby in 3-D, Digital Cinema, Special Effects, John Huston, Manoel de Oliveira, Orson Welles, Martin Scorsese, Westerns, Nicholas Ray, Busby Berkeley, Claire Denis, Woody Allen, Film Archives, George Cukor, Roger Corman, Billy Wilder, trailers, the Hollywood Ratings System, and many other topics.

Check it out! Useful for your classes; feel free to download as you see fit; use as you wish.

The Trouble With Hitchcock

Saturday, June 7th, 2014

I have a new article in Film International on the films of Alfred Hitchcock; above, Hitchcock directs Marnie.

In my essay, “The Trouble With Hitchcock,” I note in part that “Alfred Hitchcock is routinely regarded as one of the most profound and technically adept directors in the history of cinema, but I would argue that only the latter half of that statement is accurate. Starting in his American period, if one picks Hitchcock up with Shadow of A Doubt (1943) and then continues up to his final film, Family Plot (1976), the cumulative effect is both traumatizing and disappointing. No doubt Hitchcock would find this amusing, as one who explored the darkest regions of the human psyche – particularly his own.

But Hitchcock only understood the dark side of existence. In the end, he emerges as the ultimate anti-humanist, in love with nihilism and the emptiness it represents. After one strips away the numerous displays of technical virtuosity that are his cinematic trademarks, one is left with a barren landscape of despair, madness, and obsession. And it’s clear, at least to me, that as Hitchcock grew older, his obsessions took hold of him to the point that he couldn’t control them – or perhaps, he simply didn’t want to anymore.

From Uncle Charlie (Joseph Cotten) in Shadow of a Doubt to Mark Rutland (Sean Connery) in Marnie (1964) to the appalling Robert Rusk (Barry Foster) in Frenzy (1972), whenever Hitchcock has, as his protagonist, not the “wrong man,” but rather a deeply “wrong” man, that person is the character he most identifies with. The most compelling sections of his films nearly always center on a disturbed, usually homicidal man who is driven by compulsions beyond his control to destroy those around him, as if they were phantoms to be dispatched on a whim.”

You can read the rest of this essay by clicking here, or on the image above.

Hoarders, Doomsday Preppers, and the Culture of Apocalypse

Tuesday, June 3rd, 2014

Gwendolyn Audrey Foster has a new book out July 10th, in a cutting edge series from Palgrave Pivot.

As the official website for the book notes, “the culture of twenty-first century America largely revolves around narcissistic death, violence, and visions of doom. As people are bombarded with amoral metanarratives that display an almost complete lack of empathy for others on television, in films, and on the internet, their insatiable appetite for excessive pain and routine death reflects an embrace of an endlessly warring culture. Foster explores this culture of the apocalypse, from hoarding and gluttony to visions of the post-apocalyptic world.”

“Gwendolyn Audrey Foster writes passionately about the debased media-scape of our death-worshipping culture. She probes into our collective fascination with an Earth without us, even as we continue activities that are sure to lead to yet more ecological devastation and mass extinction. Hoarders, Doomsday Preppers, and the Culture of Apocalypse is not a comforting book, but it is an eloquent call from a voice crying in the wilderness: a warning that we ignore at our peril.” – Steven Shaviro, DeRoy Professor, English, Wayne State University

“In this urgent and important book, Gwendolyn Audrey Foster exposes and explores the multiform obscenities – of violence, wealth, consumption, ownership, avarice, aggression, and more – that infect the politics, businesses, entertainments, and mentalities of today’s narcissistic, fear-peddling, death-celebrating culture, shining a laser-sharp spotlight on excesses of sexism, neo-liberalism, speciesism, capitalism, and nationalism in the contemporary media.” – David Sterritt, Columbia University

“In her newest book, Hoarders, Doomsday Preppers, and the Culture of Apocalypse, Gwendolyn Audrey Foster explores the excesses of late-capitalist American consumerism; her exploration of media representation of gluttony, hoarding, waste, and debt is compelling reading for anyone interested in contemporary popular culture.” – Patrice Petro, Professor, English, Film Studies, and Global Studies, University of Wisconsin-Milwaukee

“Gwendolyn Audrey Foster challenges us to confront the apocalyptic narratives of our time in her engaging and thought-provoking book. Through our desire for what she terms ‘apocotainment’ – the apocalypse as entertainment for the masses – we eagerly digest the mediatized horrors of our planet’s ecological destruction on screen as we continue to deny it as reality in our own front yards. Foster’s book is a wakeup call to take notice of the preciousness of our common humanity, before we confront the death of our planet in real life.” – Valérie K. Orlando, Professor, French and Francophone Literature and Film, University of Maryland

Click here, or on the image above, to go to the book’s official website.

Some Final Thoughts on Reviewing Godzilla (2014)

Sunday, May 18th, 2014

This image of the Hollywood sign in collapse seems sadly appropriate for this post.

My review of the new Godzilla film seems to have sparked some real response, and in the comments section, I added these thoughts, which I think should be repeated here. In response to a number of people agreeing with my assessment of the film, and some people disagreeing, I added these final comments on both the film, and on reviewing films that I’m not fond of – something I don’t enjoy doing.

“I took no particular pleasure in doling out a bad review of the film — and I really went in expecting a genuine return to the roots of Godzilla, so to speak. But we have to keep these things in perspective. On one level, the whole thing is ridiculous – I mean, who really cares if a Godzilla reboot works? On the other, the original film was such a serious and potent metaphor for the nuclear decimation of Japan in 1945 that to see the whole concept turn into just another monster movie is a real betrayal of the 1954 original.

Pop thought it may be, the first Gojira had depth, which this film lacks; then again, I wish Edwards would go back to smaller, more thoughtful projects, but now that Hollywood has him in its grasp, there’s little likelihood of that. The 2014 Godzilla reminded me most strongly of Ataque de Pánico! (Panic Attack!; 2009), a short film made by another spfx wizard, Fede Alvarez on a dimestore budget, which also led to another Hollywood deal.

So it’s like this; make one good film with no money, then Hollywood snaps you up, and you make one bad film after another which is totally compromised by studio/exec interference, but they’re still hits because the studios have sunk so much money into them that they can’t afford to let them die, so they promote the hell out of them, and thus they become ’successes,’ and so you do another.

So I’m waiting for Manoel de Oliveira’s next film, which will have no money, lots of ideas, and will no doubt challenge and engage me more than this — but circling around all of this for me is my conviction that the 1954 Gojira and Oliveira’s The Strange Case of Angelica (2011) are roughly approximate in seriousness of intent, and that a stronger case needs to be made for Ishirō Honda in the first film. The genre really doesn’t matter here; it’s seriousness of intent.” As Honda himself famously noted, “monsters are born too tall, too strong, too heavy—that is their tragedy,” and that’s the tragedy of this film, too.

And that’s more than enough on that topic.

The Cinema of Agnès Varda: Resistance and Eclecticism

Thursday, May 8th, 2014

Delphine Bénézet’s new book on Agnès Varda is a superb piece of work.

Agnès Varda never seems to get enough credit. The fore-mother of the French New Wave, long before Godard, Truffaut and the rest of the Cahiers du Cinéma crowd picked up a camera, Varda was making feature films from 1954, employing Alain Resnais as her editor, and pretty much setting out the basic precepts of simplicity, communality, and originality that her colleagues would later follow. But while Godard and Truffaut became art house darlings in the 60s – and certainly their work deserves the attention it got – Varda was somehow overlooked, although such films as Cleo from 5 to 7, Les Creatures, and Le Bonheur remain absolutely daring in their approach to the film medium, as well as dynamics of relationships between men and women, and particularly in affairs of the heart.

As the volume’s website notes, “Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director’s multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.”

In five succinct chapters, detailing Varda’s place within cinema history, her “ethics of filming,” and the aesthetic and technical concerns that inform her films, Bénézet, who teaches comparative literature in the School of Languages, Linguistics, and Film at Queen Mary, University of London, offers a compelling case for Varda as a major filmmaker of not only 20th century, but also 21st century cinema, and one of the most successful at embracing digital cinema in her newer films, such as the transcendent documentary feature The Gleaners and I, shot entirely on a small home digital camera. Bénézet makes it clear that Varda has never stopped evolving as both a filmmaker and an artist in general, embracing new technology and the changing culture of France to create work of stunning resonance and beauty with absolutely minimal resources.

Varda has survived many of her contemporaries, and she keeps on working to this day; in the end, Varda is finally managing to get some measure of the respect and care she so clearly deserves simply by the act of sheer survival – she has outlived her detractors, mostly male, who really couldn’t see the value in her work. Dismissed or marginalized when first released, her films, now lovingly restored by Varda herself in DVD editions available throughout the world, have finally taken their place in the cinematic canon along with those of her male counterparts. There have been other excellent books on Varda, but this particular text, neatly illustrated with frame blow-ups, and graced with a detailed filmography, is one of the best, and also has the virtue of being the most complete.

In short, this is an excellent book from Wallflower Press / Columbia UP; pick up a copy now.

The Most Important Film Book of 2014: Film Manifestos and Global Cinema Cultures

Monday, April 28th, 2014

I have a new review on this remarkable book in today’s issue of Film International.

As I note in my review, “literally hundreds of film books cross my desk every year; I review books on every imaginable genre, director, movement or filmic era on an almost daily basis for a variety of publications, but every so often, a book appears that instantly commands my attention as a work of inescapable importance. Film Manifestos and Global Cinema Cultures: A Critical Anthology is such a volume. Running to a staggering 680 pages, and yet priced in hardcover for a mere $85 on Amazon, this collection of film writings from the dawn of cinema to the present day, edited by Scott MacKenzie, is one of the most inspirational and informative volumes I’ve ever come across, because it highlights the constant need for renewal which typifies the cinema, potentially that most compromised of art forms. It is, indeed, one of the most important volumes on the history, theory and practice of the cinema ever compiled.

The struggle between capital and creation is an ongoing one, even with the advent of digital cinema, and yet it is more than ever vitally important that artists reclaim the cinema, making films that challenge and enlighten the viewer, and break away from established orthodoxies of cinema production. Most of the texts here were written by filmmakers, actual practitioners of the cinematic arts, and they are direct calls to action, even if they (blessedly) contradict each other, and often insist that only “they” are correct in their approach to the cinema. This is the sort of conflicting chaos that creates the most interesting and lasting films in cinema history; films born not out of the studio system, but out of warring, marginalized factions, working with outdated equipment, insufficient funds, no distribution, and nothing more than a vision, and a desperate desire to get the vision recorded by any means available.”

You can read the rest of my review on this absolutely essential volume by clicking here, or on the image above.

The DGA Visual History Archive – Director Interviews Online Here

Sunday, April 27th, 2014

The DGA Visual History Program offers an excellent collection of free video interviews with directors.

As the Directors Guild of America website notes, “founded in 2000, the DGA’s Visual History Program has conducted more than 160 interviews with directors and director’s team members discussing their careers and creative processes in film, television and other media.” These include such luminaries as Agnes Varda, Constantine Costa-Gavras, Claude Lelouch, Robert Altman and many, many others. You can see the interviews by clicking on the image above, and then searching the data base, or clicking on the images of some of the directors featured this month. My friend Dennis Coleman brought this to my attention; many thanks, Dennis! This is is an incredible resource.

Click here, or on the image above, to access these remarkable video interviews.

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

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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/