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Archive for the ‘Humanities’ Category

The End of Film is Really Here

Tuesday, April 16th, 2013

I’ve been banging the drum on this for a long time, but now, it seems the end is really here.

As Carolyn Giardina and Adrian Pennington report in today’s Hollywood Reporter, “by the end of this year, distributors may no longer deliver film prints to theaters in North America. Cans full of reels of celluloid will be a thing of the analog past. When it comes to movies, and how they are distributed, the digital revolution will be complete. The signs are all there — and there have been plenty of warnings.

At Showest, the predecessor to CinemaCon, in 2011, National Association of Theatre Owners president John Fithian predicted that the domestic distribution of movies on celluloid could cease before the end of 2013. Fithian reported that Fox had already notified exhibitors of its intent to end film distribution in the U.S. within two years. He predicted, ‘No one should rely on the distribution of film prints much longer.’

By the end of 2012, 90,000, or 75 percent, of the world’s cinema screens had gone digital, according to Michael Karagosian, president of MKPE Consulting. He reports that 85 percent of the screens in North America had already made the digital switch, as have 67 percent in Europe. Studios welcomed the change, since it will ultimately be less expensive for them to distribute films digitally rather than have to ship cans of film around the country. Exhibitors, initially wary because of concerns about the expense of converting their auditoriums, ultimately came aboard once the studios agreed to virtual print fees that have helped subsidize the costs of the transition.

As a result, when a studio now releases a title wide in North America — sending it out to 2,000-2,500 theaters — they typically make just a small number of prints, maybe 300, according to Claude Gagnon, president of Technicolor Creative Services. But for those who still rely on film, from production companies to distributors to theater owners, the future is now uncertain. In fact, studios and filmmakers might not be in control of their own destiny.”

By the end of 2013, it seems, film will be gone; like it or not, it’s a digital world.

“Persistence of Vision: Reading the Language of Cinema”

Thursday, April 4th, 2013

Martin Scorsese recently delivered the 2013 Jefferson Lecture in the Humanities entitled “Persistence of Vision: Reading the Language of Cinema” at the Kennedy Center in Washington.

As reported in Dawn.com, Scorsese urged his listeners to preserve our shared cinematic heritage before it disappears, a sentiment which I am in absolute agreement with. As Scorsese noted, “I believe we need to stress visual literacy in schools. Young people need to understand that not all images are out there to be consumed like, you know, fast food and then forgotten. We need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.”

As Dawn.com’s anonymous correspondent added, “to fully comprehend the language of moving images, it is essential to ‘preserve everything’ from blockbusters to home movies by way of films that may not look like works of art on first showing, [Scorsese] said. To prove his point, Scorsese screened a clip from Vertigo – hailed today as a work of genius, but at the time of its release in 1958 regarded as just another in a string of crowd-pleasing Alfred Hitchcock psycho thrillers.

‘[Vertigo] came very very close to being lost to us,’ he said, adding that over time, viewers can identify and appreciate elements in a film that might not be evident upon its initial release. ‘Just as we learned to take pride in our poets and writers, and in jazz and blues, we need to take pride in our cinema, a great American art form. It’s a big responsibility, and we need to say to ourselves that the time has come to look beyond weekend box office numbers and start caring for films as if they were the oldest book in the Library of Congress,’ [Scorsese] said.”

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

2013 PCA/ACA Conference, Washington DC

Wednesday, April 3rd, 2013

I just got back from the 2013 National Conference of the Popular Culture Association / American Culture Association in Washington, DC, and all I can say is, it was a blast.

What made the conference so refreshing is that it covered so many different disciplines, including — to name just a few of the many subject areas — Academics and Collegiate Culture; Adaptation in Film, TV, Literature and Videogames; African-American Culture; American Indian Literature and Cultures; Animation; Appalachian Studies; Black Music Culture and Hip Hop; Body and Physical Difference; Border Studies, Cultural Economy and Migration; Brazilian Popular Culture; Film, in all its various historical, genre, and theoretical aspects; Eastern European Studies; Ecology and Culture; Education, Teaching, History and Popular Culture; Eros, Pornography and Popular Culture; Fairy Tales; Fan Culture and Theory; Journalism and Media Culture; Language Attitudes and Popular Linguistics; Latin American Film and Media; Latin American Literature and Culture; Law and Popular Culture; Literature and Madness; Literature and Politics; Material Culture — and the list goes on and on.

The conference program was more than 500 pages long, and each of the disciplines above had multiple panels, with a nice mix of newcomers and established scholars to keep things on the cutting edge. The hotel itself was the perfect venue for the event, offering reasonably priced rooms, excellent conference facilities with great technical backup, and a superb location just minutes from the Smithsonian and the National Gallery, which by the way was hosting a superb show of Pre-Raphaelite art, staggering in its complexity and aggressive Romanticism — and, of course, free and open to the public.

The panels themselves were lively and informative, the book room was bursting with interesting new volumes from a wide range of publishers on every discipline under the sun, and there was even a “paper exchange” where scholars left ten copies of their papers for others to peruse, and perhaps publish in journals — an excellent idea more conferences should adopt. I was continually impressed with how smoothly the conference ran, and although most of the participants stayed in the main hotel, things never seemed crowded or out of hand — the whole process was clean, professional, and very well managed.

We spent four nights of engaging intellectual discussion with friends old and new, and I think the PCA/ACA National Conference has been underestimated by a lot of people, who may only be familiar with the regional PCA/ACA conferences, which are interesting but necessarily more modest. Here, there were literally thousands of people exchanging ideas, opinions, discoveries, presenting papers of the highest standard, and in an atmosphere of marked egalitarianism that made the entire conference all the more engaging and attractive. I wouldn’t have missed it for the world.

The 2014 National Conference is in Chicago from April 16 – April 19. Perhaps I’ll see you there.

Esther Eng, Pioneering Feminist Director

Tuesday, April 2nd, 2013

Wai Kim-Fong, Esther Eng and Beal Wong on the set of Eng’s film Heartache

Esther Eng, a pioneering feminist director, is the subject of a new documentary. As Elizabeth Kerr notes in a review of the documentary, Golden Gate Silver Light, which premiered at the Hong Kong International Film Festival, in The Hollywood Reporter, “Wei’s feature doc is clearly a labor of love — she also edited, produced, wrote, shot and narrated — and the workload often shows. The voice-over (difficult under dramatic circumstances) is academic and frequently stilted, the subtitles are riddled with inconsistencies and spelling errors, and Wei is given to hyperbole (there are many “masters” and “legends” referred to in the film). The HDV photography is functional and efficient and nothing more, and the film is heavy on stock footage and archival photos (though that is likely beyond Wei’s control). Despite the technical and cinematic shortcomings, festivals should provide Golden Gate Silver Light a healthy life on the strength of its subject, and the film could find a place on specialty cable and even in academic circles.

Wei begins her search for details on Eng’s life in the city of her birth, San Francisco, and follows her footsteps to Hollywood, then Hong Kong and finally back to the United States where she died in New York in 1970. Along the way Wei tracks down the bystander who found Eng’s personal journals and photos in a dumpster (which he donated to the Hong Kong Film Archive) and as many surviving family and co-workers — many former Cantonese opera stars fleeing the war in the 1930s — as she could to paint a rough sketch of the unconventional woman. The conversations with Eng’s now-elderly peers complement the material supplied by periodicals and Hollywood biographers and film critics (including The Hollywood Reporter critic Todd McCarthy). The fact that Wei found two with a semblance of knowledge of Eng speaks to just how unjustly she’s been disregarded.

One of Golden Gate’s strengths is its seamless ability to weave history, Sino-U.S. relations and social standards together to allow for inference and context. When the Chinese Exclusion Act kept Eng from pursuing her chosen career, she left for Hong Kong, where the same individualist streak made her a local celebrity, which stemmed as much from the success of the five films she made there to the exotic lesbianism no one seemed to care about. When she returned to the United States, she was a successful filmmaker — who cast Bruce Lee as an infant girl in one of her last films, Golden Gate Girl (1941).”

This is a fascinating look at a neglected artist; click here for another essay on Eng’s work from China Daily, by Frank Bren.

Some Thoughts from Flannery O’Connor

Tuesday, March 26th, 2013

Click here, or on the image above, for more information on Flannery O’Connor.

“Where you come from is gone, where you thought you were going to never was there, and where you are is no good unless you can get away from it.”

“Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it.”

― Flannery O’Connor, Mystery and Manners: Occasional Prose

La decima vittima (The Tenth Victim, 1965)

Sunday, March 17th, 2013

I have a new article out today on Elio Petri’s The Tenth Victim in Senses of Cinema.

As I write, “in the early to mid 1960s, the Italian cinema was going through a sort of renaissance, as it not only produced important films by such renowned cineastes as Federico Fellini, Bernardo Bertolucci, Luchino Visconti, Pier Paolo Pasolini and many others, but also works by more ‘populist’ filmmakers like Sergio Leone and Mario Bava. Elio Petri was a director who straddled both worlds. An avowed leftist, Petri nevertheless pursued commercial projects when he felt that they could also make a social statement within the content of supposedly escapist entertainment.

Having begun his apprenticeship in the cinema working as an assistant to director Giuseppe De Santis on several projects, most notably the neorealist drama Roma ore 11 (Rome 11 O’Clock, 1952), Petri then directed a number of shorts before helming his first feature, L’assassino (The Lady Killer of Rome, 1961), which starred Marcello Mastroianni in a straight dramatic role as an antique dealer unjustly accused of murder.

L’assassino was a critical and commercial success, and Petri continued on with several other projects, including one segment of the omnibus film Alta infedeltà (High Infidelity, 1964) entitled “Peccato nel pomeriggio”, before getting his first shot at a major international production with the film considered here, La decima vittima (The Tenth Victim, 1965). Petri got the idea for the film from a 1953 short story by science fiction author Robert Sheckley entitled “The Seventh Victim”. When La decima vittima opened and became an international hit, Sheckley wrote a “novelisation” of the film under the title The Tenth Victim, in 1966. It was Petri, however, who wrote the script for the film itself.”

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

Death of the Moguls: An Interview with Wheeler Winston Dixon

Sunday, March 17th, 2013

Here’s a new interview with Daniel Lindvall in Film International on my book Death of the Moguls.

With his new book, Death of the Moguls: The End of Classical Hollywood, Wheeler Winston Dixon has performed no mean feat in finding a new and illuminating perspective on what is probably the most written about phenomenon in film history, the Hollywood studio system. By placing the stories of the moguls, from Louis B. Mayer at MGM to the likes of Herbert J. Yates at Republic, one next to the other Dixon captures simultaneously the tremendous impact they had through sheer force of personality on the film culture of their era, but also how they ultimately were, one and all, products of their time, of a specific economic and cultural period. That is, Dixon’s book captures the dialectical interplay between individual and structure. In the end, not just the moguls, but their way of running an industry had to die. “[N]o one came along to take their place, because their kingdom itself had vanished,” as Dixon puts it, eventually to be replaced by today’s corporate media empires. The email interview that follows was completed in March 2013.

Daniel Lindvall: How did you come up with this perspective? What was it that suggested it to you?

Wheeler Winston Dixon: Most conventional histories of the studio era either focus on the “golden age of Hollywood” aspect, in which the producers become heroic figures bending ordinary mortals to their collective wills, or else they become dry statistical surveys with box office tabulations and production schedules. In this book, I set out to concentrate on the late 1960s as the era in which the reign of the great moguls came to an end, as a result of unionization, anti-monopoly decisions, and also the fact that in each case, during the 1930s to the late 1960s, the major studios were run by one or two key people who held unquestioned authority, and believed they were immortal, and irreplaceable.

Thus, it was during the collapse of the studio system that the inherent flaws, inequities, and dictatorial aspect of the Hollywood production machine became most apparent. At the same time, while these men – and they were all men – were monsters, not benevolent despots as some would have us believe, they also made some absolutely superb movies, by exploiting their employees as much as they possibly could. Thus, it seemed to me that to focus on the “end days” of the system could tell us much about the entire mechanism that created the studio system, revealed in full detail as it unravelled.

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

Frame by Frame Video: Film Composers

Sunday, March 10th, 2013

Composer John Barry in his London studio, working on a film score, mid 1960s.

I have a new Frame by Frame video, brilliantly edited by Curt Bright, which briefly examines some of the key film composers who worked in Hollywood and abroad from the 1930s through to the present; above, John Barry, famous for his many scores for the James Bond series, as well as the score for The Knack… and How to Get It, The Ipcress File, and many other classics. I can only touch here on some of the many, many figures who worked in film music, such as Bernard Herrmann, Ennio Morricone, Max Steiner and John Williams, but there are many others who could easily be included, if time and space permitted. See if your favorite makes the cut!

Click here, or on the image above, to see this short video.

Robert Heide’s The Bed — March 14th in NYC

Thursday, March 7th, 2013

This poster says it all — if you’re in Manhattan this coming Thursday, be there!

Want an authentic slice of Warholiana? Then get thee to the The Gershwin Hotel, 27 East 27th Street, at 8PM on Thursday, March 14th, where for a mere $10 — what is this? 1965? — you get to see footage by Andy Warhol associate Danny Williams of Warhol shooting his film The Bed, based on Robert Heide’s play of the same name, plus John Gilman and Tim Cusack performing a segment of the play, one of the authentic classics of the avantgarde, as well as James Dean’s first screen test, and music by the Dave Clark Five. Plus, Robert Heide chats about The Bed with an all-star panel of experts. It’s all just too good to miss if you’re in The Big Apple this coming Thursday, so come on out and meet some authentic survivors of one of the most vibrant eras in American art history. You won’t get this chance again, so really — be there!

Donny Miller Interview in Film International

Wednesday, March 6th, 2013

I recently did an interview with the artist Donny Miller for Film International.

As I wrote in that issue of FI, “Donny Miller is one of the more interesting visual artists working today; he’s active not only in graphics and painting, but also video art, performance art, and site-specific installations. He is best known for his book Beautiful People with Beautiful Feelings (2006), which juxtaposes near-advertising images of glamorous men and women culled from clip out art with sardonic commentaries on the human condition. But there’s much more to Miller than that, as a brief tour of his work on the web illustrates. Intrigued by Miller’s take on contemporary society, and also by his turn towards more optimistic work in his recent Universe series, and other new works, I interviewed him by telephone at his home in Los Angeles on February 24, 2013; what follows is an edited transcript of that conversation.”

And you can read the entire interview 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 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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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/