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Archive for the ‘Humanities’ Category

The Day The Earth Caught Fire (1961)

Monday, October 20th, 2014

The British Film Institute has just released Val Guest’s The Day Earth Caught Fire on DVD; click here to see the trailer.

The BFI, which has always been way ahead of American archival efforts, has just announced the release in DVD and Blu-ray format of Val Guest’s classic science fiction film The Day The Earth Caught Fire. This was an “A” level science fiction film, in which atomic testing knocks the earth off its axis, and sends it hurtling towards the sun. The film’s ending is unresolved; while scientists scramble to set off yet another atomic blast to correct the tilt, there’s no assurance that it will succeed. Shot in near documentary style, with real newspaper writers and editors in the cast, including one Fleet Street editor in a major speaking role in the film, the Day The Earth Caught Fire is not only effective filmmaking; it’s also a trenchant commentary on how science can lead us astray when we start things, but can’t really know the what the consequences will be.

I was lucky enough to interview Guest at length in 2003, an interview which is collected in my book Film Talk: Directors at Work (Rutgers UP, 2007), and shortly after our interview, to attend a 35mm CinemaScope screening of the film at The Egyptian Theater in Los Angeles, with Guest in attendance. For that screening, the theater used a print which has been out of circulation since the film’s initial release, with a color opening, and ending, with the rest of the film framed as a flashback. Guest was shocked that the print had been found; in his opening remarks, he lamented the fact that this original version had been his intent all along, but that we were about to see yet another straight black and white print. When the opening section came up in red-hued color, the entire theater could hear Guest’s shout of delight – and I’m sure the BFI version will use this cut of the film.

Here’s a detailed look at the making of this excellent film; the BFI has once again performed a real public service with the release of this film.

Why Pan and Scan Wrecks Films – Watch This Video And See

Sunday, October 19th, 2014

Pan and scan wrecks movies when you see them on TV – click here, or on the image above, to see why.

When American Movie Classics, as it was then known, first went on the air, it had a half-day schedule, and split its satellite time with another network, and had a somewhat limited playlist. Nevertheless, all the films it ran were uncut, commercial-free, and presented in their original aspect ratio, whether Academy, widescreen, or CinemaScope (and their related formats). In time, American Movie Classics became a 24 hour network, running commercial free, uncut classic films, and I watched it all the time.

Then, as everyone who loves movies know, American Movie Classics “rebranded” itself as AMC, started running commercials, and hacking their films to ribbons (they’re all still complete, mind you, just intercut with hundred of commercials to completely ruin the film’s impact). I never watch AMC anymore, and in fact, regret it when I see a film I love advertised as forthcoming on the channel; I know I won’t watch it, I know it will be shredded with hundreds of ads, and I know it won’t be a movie at all, but rather an excuse to sell commercial time.

The Independent Film Channel, for many years, also ran films uncut and commercial free, but then they recently began running ads — while still advertising the films they present as “uncut” — but once again, you’re not seeing the movie you want, but rather the movie you wanted to see intercut with ads urging to you to buy this or that product, and so now, I don’t watch IFC anymore.

This could be because IFC wants consumers to move to their IFC in Theaters service, which I use quite frequently anyway; first run films presented on cable for a per-film fee the same day they open in theaters in “selected cities.” These commercials are uncut and commercial free, and presented in their original aspect ratios, and you pay for each one, but that seems fair; it’s cheaper than going to a theater to see them, especially when the nearest theater running the film is 1,000 miles away or so.

But now, there is only one basic cable service left that really runs feature films uncut and commercial free, in the original aspect ratio their makers intended; Turner Classic Movies, or TCM.

Robert Osborne and Alec Baldwin on the set of TCM’s The Essentials

TCM runs classic feature films and shorts 24/7, with absolutely no commercials (except for DVDs of the films they screen, promos for upcoming films, and self-promotional blurbs, inbetween the films, but never during), and, as hosted by Robert Osborne, who is insanely knowledgeable about films, is arguably the finest “repertory house” the cinema has ever known, with an enormous collection of MGM and UA films, and a lease on numerous Columbia titles as well, to say nothing of their excellent catalogue of foreign films.

And one other, very important thing: TCM nearly always runs the films they screen in their original aspect ratio. If it was shot in CinemaScope, you see it in CinemaScope, with the signature black bars at the top and bottom of the screen; if in widescreen, then with slightly smaller bars; and if in Academy, in full frame. This is something you can’t say of HBO, Showtime or the other so-called “premium” channels, who as a rule screen “pan and scan” versions of CinemaScope and widescreen films, so that up to one half of the original image is lost, all in the name of “filling the entire screen” with an image, even if it’s only half of the original image the director photographed.

Demo: Seven Brides for Seven Brothers in “pan and scan” format

“Pan and scan” is, as Martin Scorsese has said (see this link here), tantamount to “redirecting the movie” — the sides of the frame are cut off, backgrounds eliminated, characters chopped out of the frame, all in the service of presenting a “full screen” image. But as Scorsese and others have pointed out over the years, with “pan and scan,” while you get a “full frame” with no black bars at the top and bottom, you’re not seeing the whole film. You get less, not more. HBO and the other “premium” channels do offer what they term “wide” versions of the some of their films in their on-demand section, but for their regular offerings, pan and scan is the rule.

When you watch a film in pan & scan format, you’re not seeing the whole movie!

History, Cultural Memory, and the Digital Dark Age

Wednesday, October 15th, 2014

Paolo Cherchi Usai’s clearly polemical book nevertheless raises many serious questions.

First published by The British Film Institute in 2001, when the digital revolution was just beginning, with a preface by Martin Scorsese, and subsequently republished in 2008 by Palgrave Macmillan, Usai’s text asks a number of deeply important questions about the headlong rush to digital, for as he writes, “it is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there was just above forty minutes of moving images to be seen, and most of them are now preserved.

Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, public and private institutions are struggling to save the film heritage with largely insufficient resources and ever increasing pressures from the commercial world. Are they wasting their time? Is the much feared and much touted “Death of Cinema” already occurring before our eyes? Is digital technology the solution to the problem, or just another illusion promoted by the industry?” – this, of course, is the crux of the problem.

In my recent article on the increasing global reach of Netflix, “Netflix and National Cinemas,” published in Film International, I noted that “under the headline ‘Netflix Will Rip the Heart Out of Pre-Sale Film Financing,’ Schuyler Moore wrote in Forbes that: ‘Netflix is working mightily to expand its reach worldwide, so far including Latin America, Canada, and the U.K., with Europe next up at bat. When Netflix is done, people in every part of the world will be its customers, and those customers will be able to toggle what language they want to watch a film in.

This trend corresponds to the shrinking of the piracy window (the time between the theatrical window and the home video window), so by the time Netflix has a worldwide reach, it will also probably be available day and date with the theatrical release. This trend will have a huge effect on how independent films are financed.  Right now, independent filmmakers raise funds by selling their films through ‘pre-sales’ on a country-by-country basis to local distributors, but a worldwide VOD reach will rip the heart out of these sales, because it will destroy the value of DVD and pay TV rights to the local distributors.

The net result will be that independent films will be financed by pre-sales to Netflix, not the local distributors.  Instead of going to the Cannes Film Festival, filmmakers could be going to Las Vegas for a digital convention in order to pre-sell VOD rights to Netflix.  Indeed, Netflix will likely expand from creating original series to creating its own large budget films, with the initial premiere on-line.  Netflix may be a vibrant, important source of new financing that disrupts the studio system and bypasses standard distribution channels.’

The title of the article here tells all; it’s such an apt metaphor that it’s frightening. Netflix will indeed ‘rip the heart’ out of pre-sale film financing, but what Moore fails to consider here is the impact that this will have on national cinemas on a worldwide basis. Of course, Forbes is a bottom-line publication, a self-proclaimed ‘capitalist tool,’ and really isn’t interested in artistic concerns, or empowering anyone other than the already dominant global media forces. This is the voice of mainstream Hollywood cinema talking here, and it admits to the existence of nothing beyond that.

What happens to filmmaking in Sweden, France, Germany, Spain, Nigeria, Morocco and elsewhere is no concern of Moore’s, who seems to think that cinema is more a spectator sport than anything else. He embraces the Hollywood model of filmmaking – ruled entirely by commerce, and nothing else – and that’s that. It’s probably true, as Moore says, that ‘worldwide VOD reach will rip the heart out of these sales, because it will destroy the value of DVD and pay TV rights to the local distributors’ but the problem with this of course is that it’s more concentration in the hands of a few – everyone wants the “master switch” as Adolph Zukor put it, and Tim Wu so effectively explored in his book of the same title.”

And as Daniel Lindvall, editor of Film International wrote me on this issue, “Netflix was introduced on the Swedish market in 2012 and apparently has 1 million users in Sweden already (out of a population of 9.5 million). The most noticeable result so far is that the last of the non-chain ‘art house’ video rental shops here in Stockholm have closed down. But at the same time many thousands of the films that were available in these shops are not yet available on Netflix in Sweden, since they still have to buy rights for every country separately, which is too expensive for a small market when it comes to films that few people are likely to see.

Thus you can see some Bergman films on Netflix in the US but not in Sweden. I guess this will change given Netflix’s interest in changing it to further dominate the global market. As always, we are left with a choice between plague and cholera within the market system. And, again, the Internet proves to be a tool for concentrating media, not the dreamt-of opposite.”

It’s obvious that I agree more with Lindvall than with Moore, but beyond that, it’s also disconcerting to note that in the end, Moore is probably correct in his prognostications for the future of cinema on a worldwide basis. 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.

But beyond this, the problem, as many have noted, is that while Netflix pushes into streaming only territory, literally hundreds of thousands of films on a worldwide basis are simply not being distributed at all. The dream of having acesss to everything in the digital era is being steadily undermined by a bottom-line mentality that focuses on profits and nothing else.

This is the “blockbuster only” model of filmmaking, which has effectively defined the marketplace for the future – indies shifted off to the side on VOD, and for the mainstream, mass merchandising, saturation booking, and literally endless franchising. And for the classics – maybe Casablanca, Gone With the Wind, The Wizard of Oz – mainstream Hollywood films all – but for Antonioni, Fellini, Ozu, Dreyer, Godard, Lupino, Arzner, Blaché, Akerman, and too many others – it’s marginal distribution, or none at all.

As John Talbird, a former student of mine who now teaches in New York, wrote me in response to my article, “at first, I liked Netflix, but now I’m beginning to realize it’s just another evil empire. Who cared about the demise of Blockbuster? But all three of the quirky independent video stores in my neighborhood have shut down in the ten years I’ve lived in Brooklyn. And Netflix isn’t even as good as it used to be. A lot of the Criterion titles which used to be available for streaming are no longer available. Also, their DVD titles aren’t as extensive as they at first appear. I’ve got six titles in my cue with ‘Very Long Wait’ next to them. More and more, the only alternative to Netflix is the public library or buying the DVD.”

To which I responded, “but the kicker is that soon DVDs and BluRays will be obsolete, as everything goes streaming. Netflix and the rest of the conglomerates don’t want you to own anything; they just want you to rent from them, eternally. And the visual quality is much, much poorer. My students are running into this problem too. Netflix doesn’t even have Jean Renoir’s Rules of the Game – [universally acknowledged as one of the indisputable classics of the cinema] on streaming.”

So the issue here has multiple dimensions. As I discussed at length in my book Streaming: Movies, Media and Instant Access, the very idea that there is such a thing as digital archiving is a myth. Nothing could be more unstable, or more uncertain. The major studios routinely make 35mm fine grain negatives as backups for all their productions, and store them in their film vaults, because they know – as I document in the book – that digital archiving simply isn’t reliable – there are too may ways that files can become corrupt. As Michael Cieply wrote in The New York Times in 2007, “time was, a movie studio could pack up a picture and all of its assorted bloopers, alternate takes and other odds and ends as soon as the production staff was done with them, and ship them off to the salt mine. Literally.

Having figured out that really big money comes from reselling old films — on broadcast television, then cable, videocassettes, DVDs, and so on — companies like Warner Brothers and Paramount Pictures for decades have been tucking their 35-millimeter film masters and associated source material into archives, some of which are housed in a Kansas salt mine, or in limestone mines in Kansas and Pennsylvania. It was a file-and-forget system that didn’t cost much, and made up for the self-destructive sins of an industry that discarded its earliest works or allowed films on old flammable stock to degrade. (Indeed, only half of the feature films shot before 1950 survive.)

But then came digital. And suddenly the film industry is wrestling again with the possibility that its most precious assets, the pictures, aren’t as durable as they used to be. The problem became public, but just barely, last month, when the science and technology council of the Academy of Motion Picture Arts and Sciences released the results of a yearlong study of digital archiving in the movie business. Titled The Digital Dilemma, the council’s report [offered this] startling bottom line: To store a digital master record of a movie costs about $12,514 a year, versus the $1,059 it costs to keep a conventional film master.

Much worse, to keep the enormous swarm of data produced when a picture is ‘born digital’ — that is, produced using all-electronic processes, rather than relying wholly or partially on film — pushes the cost of preservation to $208,569 a year, vastly higher than the $486 it costs to toss the equivalent camera negatives, audio recordings, on-set photographs and annotated scripts of an all-film production into the cold-storage vault.”

That was in 2007. Now, in 2014, everything is digital. But the problem remains the same. There are more movies being made than ever, but they’re not being shot on film — they’re digital. How are you going to archive them? What do you do when a digital platform is phased out, as DVDs now seem to be heading for their final spin? And what about the relentless mercantilism and Hollywoodization of filmic culture?

What do we do when physical materials disappear, and independent visions with them, to be replaced by a wilderness of solely commercial content? Wikipedia defines the term “Digital Dark Age” as “a possible future situation where it will be difficult or impossible to read historical electronic documents and multimedia, because they have been in an obsolete and obscure file format.”

But I would argue that this is only a very, very small part of the problem. A more pressing concern, it would seem to me, for books, films and music, is that the works of the past created in analog fashion won’t survive in the future because they’re not deemed to be commercial enough. If there’s only a niche market, then why bother? The digital databases of the past can be retrieved, but what happens when a nitrate negative decomposes – as 50% of all films before 1950 already have. That’s 50% – a shocking number.

This is an issue that will continue to expand in the years to come, and something to seriously think about.

Ida Lupino Gets A Retrospective – At Last!

Tuesday, October 14th, 2014

Film director Ida Lupino, pictured above, is finally getting a retrospective of her work.

As critic Guy Lodge notes in Variety, “now in its third year, the Lumière Festival’s ongoing Permanent History of Women Filmmakers section isn’t a series of disconnected annual retrospectives — its three editions thus far build a chronological narrative of female innovation behind the camera. In 2012, the festival appropriately began at the beginning, celebrating narrative cinema pioneer Alice Guy; 2013 kept the focus French, as Impressionist filmmaker Germaine Dulac was put under the spotlight.

This year’s Lumiere fest expands the gender conversation beyond its own borders, with Hollywood feminist trailblazer Ida Lupino the subject of 2014’s section. British-born actor and filmmaker Lupino’s onscreen work alone would earn her a place on the historical honor roll of American studio cinema: Her intelligent, decidedly modern star presence was put to memorably flinty use in such films as Raoul Walsh’s High Sierra and Sam Peckinpah’s Junior Bonner.

Yet it was as a helmer that Lupino did her most influential work. The first actress to seize creative control of her screen legacy by developing and directing her own independent projects, she subverted a studio system that otherwise stage-managed its stars’ careers at every turn. After a decade with Warner Bros. — one that found her frequently on suspension due to her defiant streak — she took the reins from indisposed director Elmer Clifton on 1949’s Not Wanted, an illegitimacy drama that she also co-wrote and co-produced.

Her direction there went un-credited, but that same year, she made her solo helming debut with Never Fear, an unsentimental study of a dancer’s cruelly disrupted career. Both Not Wanted and Never Fear will be screened at the Lumière fest, as well as her landmark 1953 film noir The Hitch-Hiker, in which the erstwhile movie femme fatale strikingly revised the gender norms of the genre.Rounding out the Festival’s selection is another 1953 noir, The Bigamist (the first film in which Lupino directed herself as star), as well as two of her most famous vehicles as an actress, Raoul Walsh’s They Drive By Night and Jean Negulesco’s Road House.

It’s far from a complete retrospective — her seething, still-resonant rape drama Outrage is but one omission — but it’s a valuable snapshot of a career that astonishes today, in an industry where female filmmakers are still forcibly on the back foot. Later this year, another singular screen icon, Angelina Jolie, will shoot for directorial kudos with her sophomore feature Unbroken; whatever the outcome, it’s Lupino who paved the way for Jolie and others to take flight.”

Read more about this important artist in my essay on her work in Senses of Cinema, by clicking here.

Now, how about a DVD / Blu-ray combo box set of Lupino’s films as a director?

Tod Browning’s The Devil Doll (1936)

Monday, October 13th, 2014

“Once you’re in my shop, I’ll wager you’ll do anything I ask.”

With Halloween coming up soon, here’s a few thoughts on Tod Browning’s hypnotic 1936 thriller, The Devil Doll, all but forgotten today in the wake of his highly successful film Dracula (1931), which despite its undoubted influence, is much less interesting as a film than this later work from the director.

Working from a screenplay co-authored by the unlikely trio of Garrett Fort, Guy Endore (author of the classic horror novel The Werewolf of Paris) and none other than legendary director Erich von Stroheim – this last credit is a real surprise, given von Stroheim’s other work in his films as a director in his own right, to say nothing of von Stroheim’s work as an actor in Jean Renoir’s Grand Illusion just one year later in 1937 – based on the 1933 novel Burn, Witch, Burn! by Abraham Merritt (which subsequently served as the template for at least two other films in the 1940s and 1960s), Browning creates an eerie dream world of suspense, fantasy and mystery, aided in no small part by Franz Waxman’s gorgeous score, Lionel Barrymore’s bravura performance in the leading role, and the film’s then state-of-the art special effects.

As Michael Toole writes on the TCM website of the film, the film’s plot concerns “Paul Lavond, a falsely incarcerated businessman, and Marcel, a maniacal inventor, [who] escape from prison on Devil’s Island, and take refuge at the latter’s former laboratory where they are welcomed by Marcel’s wife, Malita (Rafaela Ottiano). The ailing scientist reveals to Lavond his secret formula for reducing living creatures to a fraction of their original size. Following Marcel’s death, Lavond returns to France to extract revenge on the three bankers who framed him and left his daughter [Maureen O' Sullivan] destitute. With the assistance of Malita, Lavond opens a toy shop where he poses as a kindly old woman and begins a campaign of terror [using a group of miniaturized humans as his weapons of destruction].

Few critics, if any, have ever commented on Tod Browning’s visual style, which could best be described as static and resembling a photographed stage play. This is certainly true of his most famous film, Dracula (1931) but The Devil Doll is another matter entirely. It’s a very smooth, visually accomplished piece of cinema that has earned it a cult following in recent years. The special effects are impressive for the era, particularly the scenes featuring oversized sets and ‘miniature’ people. Also part of the film’s cult appeal is Browning’s twisted sense of humor, which is most evident in the scenes with Malita who becomes addicted to miniaturizing humans. It’s actually surprising that the Hays Office didn’t have major censorship issues with The Devil Doll but they did dictate a moralistic ending in which the Barrymore character atones for his crimes.” Now available on DVD, it’s definitely a film worth checking out, and in my opinion, clearly Browning’s best work as a director.

Click here, or on the image above, to see a sequence from the film.

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.

The 15 Best Silent Horror Films You Can Watch On YouTube

Saturday, October 4th, 2014

Jake Walters of Taste of Cinema has compiled an excellent list – with videos – of fifteen classic horror films.

It’s getting closer and closer to Halloween, and Jake Walters of Taste of Cinema has thoughtfully compiled an annotated list of some of the greatest silent horror films that you can watch – for free – on YouTube. As he writes, “early cinema was less a known quantity bolstered up by professionalism and stately film-making than a playground of pure delight, a cavalcade of wonders experiencing the birth pains of newness to the world. In place of a defined set of filmic rules, men and women were free to exploit the unease of the medium to create works of wonder and awe that looked to all inspirations and mashed them together with cheerful abandon. Silent cinema, when traditional narrative film-making was still finding its legs, was a time of wild-man exploration, when film could descend to the pit of man’s fears and the heights of human desire. And all without too much of a pesky plot to get in the way.

Fittingly, the genre that saw the greatest fruits for silent cinema was horror. Horror was never particularly well fitted to narrative – perhaps tellingly the genre found its greatest and most consistent prestige during the silent era. A focus on story often only had the effect of distracting from the more primal, primordial haunted imagery and the raw, viciously oppressive direct sensation of experiencing a screen of demented wonders. Silent horror was a place for audiences to directly address the screen, to confront images placed before them, and for those images to imbue themselves less onto the thinking mind than the unconscious one. While it wasn’t busy trying to make logical sense, silent horror found time to capture the human soul in all its facets, laid bare and split open uncomfortably and given to us on a silver platter. Even when they don’t scare, silent horror films provoke in untold ways that often can’t be described through written word. To this extent, here are fifteen of the greatest silent horror films.”

You can see all fifteen films by clicking here, or on the image above.

Creative Tips from Legendary Directors

Friday, October 3rd, 2014

The website Film School Rejects has an excellent series of “tips” on the creative process in cinema.

Landon Palmer and Scott Beggs of the website Film School Rejects have assembled an excellent series of maxims and advice from key filmmakers around the world; everyone from David Lynch to Shirley Clarke to William Greaves to James Gunn to Jim Jarmusch to Alain Resnais to Abbas Kiarostami and all the stops inbetween, and archived it here – at this website. This is a really valuable resource not only for filmmakers, but also for those who want to understand the creative process in filmmaking, as outlined by the top practitioners, past and present, in the field. If there’s one theme running through all these condensed interviews, it’s to be true to yourself. As David Lynch put it, “there were very bad reviews [of Twin Peaks: Fire Walk with Me]. I was under a bad cloud during that time and it just didn’t go well. But I loved the film and when you do something you believe in and it doesn’t go well it’s okay. If you sell out like I did in Dune and it doesn’t go, well, then you really die.”

Lots of food for thought here; click here, or on the image above, to read more.

William Brown’s En attendant Godard (2010) – Zero Budget Feature Filmmaking

Monday, September 29th, 2014

No money? No problem! William Brown’s brilliant feature film was shot digitally on almost nothing at all.

Even in the era of lightweight digital cinema, I constantly hear the complaint that “I’d just make a movie if I had the money,” or “you can’t make a movie without any money” or words to that effect, but in fact, you really can. All it requires is a decent quality digital camera, some friends as actors, and an intelligent scenario shot on location, and – providing you know what you’re doing, can come up with an original concept, and that everyone involved knows that there’s going be no money for anything – very 1960s underground filmmaking – then you’ll be OK. Think of Ron Rice’s The Flower Thief, one of my favorite films, or Jack Smith’s Flaming Creatures, both shot in the early 1960s on non-existent budgets on 16mm film. Now, with digital video, you don’t even need that. You do, however, need a vision, and once you have that, you have it all.

When En attendant Godard was screened at the CPH PIX film festival in Copenhagen in 2010, the program notes commented that “one has to pay close attention if one hopes to capture the many references to the new wave icon Jean-Luc Godard in William Brown’s humorous tribute to the French film director, who already in 1967 declared that film was dead – and who has since continued undauntedly to revolutionize its formal language from the margins. And even if some knowledge about the French director would not be a disadvantage, it is far from obligatory.

Like a tour de force through the French director’s collected works, Brown has created a story, which is as hard-boiled as it is unrestrained, about the loners Alex and Annie, who set out to find Godard, and suddenly have a double homicide and a ménage à trois on their conscience. En attendant Godard is a funny tribute to one of the biggest geniuses of film history, and it also shows how one can make use film as film criticism – without in any way needing to be hyper-intellectual. ‘All you need is a girl and a gun’, Godard famously said about making films. With his impressive zero budget debut William Brown both pays tribute to and corrects his master – and subtly underlines what we perhaps already knew from the beginning, that all we really need is a girl and Godard.”

Critic Jonathan Rosenbaum agreed, citing En attendant Godard as one of the Top Five Films of 2009 in Sight and Sound magazine – alongside films by Abbas Kiarostami and Alain Resnais. Pretty impressive for a film made for practically nothing at all — just raw talent, determination, and the desire to make a feature film that isn’t a genre film, or another horror film, but rather something that’s both intellectually stimulating and adventurous – something that moves outside the boundaries of the known into a realm of endless possibilities.

Best of all, you can see the film right here, right now, by clicking here, or on the image above.

The Oldest Single Screen Movie House in New Orleans

Sunday, September 28th, 2014

René Brunet, at 93, runs the extremely successful Prytania movie theater in New Orleans.

As Matt Higgins reports, “it may seem incongruous that a one-screen neighborhood movie theater is thriving in the multiplex era. Or that a 93-year-old is still in charge of the place. But the 100-year-old Prytania Theater and its nonagenarian owner, Rene Brunet, seem happy enough as exceptions to the rules. Since 1996, Brunet and his son Robert have kept the Prytania in business at Prytania and Leontine streets with a canny mix of low-cost, throwback movie selections and cutting-edge technology.

In one sense, it’s a reminder of a time when dozens of similar theaters operated all over New Orleans — and every other U.S. city. Yet in other ways, the Prytania feels right at home in 2014, an era when young college graduates are leaving suburbs for cities and ‘walkability’ has become a watchword of urban development.

In fact, while it may be too soon to declare a revival of the neighborhood theater, at least one would-be imitator may appear soon, with a historic building in the 600 block of North Broad Street slated to be converted into a four-screen theater in the coming months. Robert Brunet admits he was against his father buying the Prytania, which he reopened in 1997 just a month before the AMC Palace opened in Elmwood with 20 screens. ‘We struggled in the beginning,’ he said, ‘but my dad’s passion was the single-screen theater. He grew up in it.’

Which is not to say the Brunets are strictly about nostalgia. In 2006, they invested $850,000 in a major renovation, installing the equipment necessary to show digital movies rather than film. In fact, Brunet claims the Prytania was the first theater in New Orleans to do so. Industry experts like Wheeler Winston Dixon, a professor of film studies at the University of Nebraska, say there is really no way to continue operating at this point without having made that transition. Studios no longer even provide new movies in any other format. ‘Film is dead,’ he said. ‘It’s digital all the way.’

Older films, combined with new releases and selections with a local flavor, such as The Curious Case of Benjamin Button and Beasts of the Southern Wild, attract an audience that a multiple-screen suburban theater would not, the Prytania’s owners say. ‘We cater to our neighborhood,’ Brunet said. ‘Our films are similar to Uptown. It’s a good cross-section.’ And then there are the less-tangible things about the place that let you know you’re in New Orleans. ‘Here, you can come five minutes late,’ he said. ‘You can walk in with a cocktail, and we’re not going to throw you out. It truly is a neighborhood experience.’”

See? If you do right, you can still fill the house night after night – thank goodness!

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 numerous books and more than 70 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.

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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/