Skip Navigation

Frame by Frame

Archive for the ‘Inside Stuff’ Category

Underwhelmed by Oscar Nods?

Thursday, January 14th, 2016

Leslie Reed of UNL News & Information interviewed me on the upcoming Oscars.

As she writes, “University of Nebraska-Lincoln film studies professor Wheeler Winston Dixon wants you to understand one key thing about the Oscar nominations unveiled Jan. 14: They don’t tell you much about movies today. Dixon, known internationally as an expert on modern film as well as its history, was among scholars and critics invited to submit a list of 2015’s ten best films to the web journal Senses of Cinema, which some maintain is the most influential web journal on film in existence. See Dixon’s choices here and the entire list of all critics’ picks here.

None of those picks were included in the list of Oscar nominees. ‘For me, this year the Oscars are increasingly irrelevant, as they are for many of my colleagues,’ he said. ‘These are a small set of films, picked by industry people to showcase the Hollywood film industry, and they really don’t give an accurate picture of what’s going on in the world of film, even nationally anymore.’

The Oscar nominees for best picture are The Big Short, Bridge of Spies, Brooklyn, Mad Max: Fury Road, The Martian, The Revenant, Room and Spotlight.

Meanwhile, Dixon’s top 10 for Senses of Cinema were Clouds of Sils Maria, Uncle John, Apollo 18, Queen of Earth, Chi-Raq, 99 Homes, Being Elizabeth Bishop, Infinitely Polar BearThe Gift and Pasolini. (Caveat: Dixon now says he’d boot Apollo 18 from his list and add No Home Movie, Maps to the Stars and The Lesson.)

He’s not surprised if you have heard of few, if any, of those films. ‘Only the big blockbusters get ad dollars behind them, and thus national theater screens, while the smaller more adventurous films simply don’t get the exposure they once did,’ he said. ‘Where once everything had to open in a theater to make its cost back, now smaller-scale films can easily be shunted to DVD, VOD, or digital HD downloads with little risk of losing ad dollars.’

Studios want to put the most ad dollars behind the films that cost the most and have the most to lose, he said, while leaving the rest to find whatever audience they can. Even marginally risky films like Carol, Trumbo and Spotlight got only a token release.

Dixon is also among film critics who predict that the Motion Picture Academy will get blowback for its all-white slate in the acting categories. Straight Outta Compton, directed by F. Gary Gray, was nominated for its screenplay, but Spike Lee’s Chi-Raq was nowhere to be seen.

‘There are many, many excellent films out there, and performances, that deserve attention, not least of which is Samuel L. Jackson for either Chi-Raq or The Hateful Eight,’ Dixon said. “And why didn’t Spike Lee’s film get a nomination? Sad.’ Dixon discusses who he thinks will win the 2016 Oscars in his Frame by Frame blog.”

Thanks, Leslie – now we’ll have to see how this plays out.

Nominees for 88th Academy Awards Announced

Thursday, January 14th, 2016

And the nominees are . . .

Best Picture

The Big Short, Brad Pitt, Dede Gardner and Jeremy Kleiner

Bridge of Spies, Steven Spielberg, Marc Platt and Kristie Macosko Krieger

Brooklyn, Finola Dwyer and Amanda Posey

Mad Max: Fury Road, Doug Mitchell and George Miller

The Martian, Simon Kinberg, Ridley Scott, Michael Schaefer and Mark Huffam

The Revenant, Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent and Keith Redmon

Room, Ed Guiney

Spotlight, Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust

Best Actor

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revneant

Michael Fassbender, Steve Jobs

Eddie Redmayne, The Danish Girl

Best Actress

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Best Supporting Actor

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Best Supporting Actress

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Best Directing

Adam McKay, The Big Short

George Miller, Mad Max: Fury Road

Alejandro González Iñárritu, The Revenant

Lenny Abrhamson, Room

Tom McCarthy, Spotlight

Best Film Editing

The Big Short, Hank Corwin

Mad Max: Fury Road, Margaret Sixel

The Revenant, Stephen Mirrione

Spotlight, Tom McArdle

Star Wars: The Force Awakens, Maryann Brandon and Mary Jo Markey

Best Foreign Language Film

Colombia, Embrace of the Serpent

France, Mustang

Hungary, Son of Saul

Jordan, Theeb

Denmark, A War

Best Original Score

Thomas Newman, Bridge of Spies

Carter Burwell, Carol

Ennio Morricone, The Hateful Eight

Jóhann Jóhannsson, Sicario

John Williams, Star Wars: The Force Awakens

Best Production Design

Bridge of Spies, Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo and Bernhard Henrich

The Danish Girl, Production Design: Eve Stewart; Set Decoration: Michael Standish

Mad Max: Fury Road, Production Design: Colin Gibson; Set Decoration: Lisa Thompson

The Martian, Production Design: Arthur Max; Set Decoration: Celia Bobak

The Revenant, Production Design: Jack Fisk; Set Decoration: Hamish Purdy

Best Visual Effects

Ex Machina, Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett

Mad Max: Fury Road, Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams

The Martian, Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner

The Revenant, Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer

Star Wars: The Force Awakens, Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould

Best Adapted Screenplay

The Big Short, Charles Randolph and Adam McKay

Brooklyn, Nick Hornby

Carol, Phyllis Nagy

The Martian, Drew Goddard

Room, Emma Donoghue

Best Original Screenplay

Bridge of Spies, Matt Charman and Ethan Coen & Joel Coen

Ex Machina, Alex Garland

Inside Out, Pete Docter, Meg LeFauve, Josh Cooley; Original story by Pete Docter, Ronnie del Carmen

Spotlight, Josh Singer and Tom McCarthy

Straight Outta Compton, Screenplay by Jonathan Herman and Andrea Berloff; Story by S. Leigh Savidge, Alan Wenkus and Andrea Berloff

Best Animated Feature Film

Anomalisa, Charlie Kaufman, Duke Johnson and Rosa Tran

Boy and the World, Alê Abreu

Inside Out, Pete Docter and Jonas Rivera

Shaun the Sheep Movie, Mark Burton and Richard Starzak

When Marnie Was There, Hiromasa Yonebayashi and Yoshiaki Nishimura

Best Cinematography

Carol, Ed Lachman

The Hateful Eight, Robert Richardson

Mad Max: Fury Road, John Seale

The Revenant, Emmanuel Lubezki

Sicario, Roger Deakins

Best Costume Design

Carol, Sandy Powell

Cinderella, Sandy Powell

The Danish Girl, Paco Delgado

Mad Max: Fury Road, Jenny Beavan

The Revenant, Jacqueline West

Best Documentary – Feature

Amy, Asif Kapadia and James Gay-Rees

Cartel Land, Matthew Heineman and Tom Yellin

The Look of Silence, Joshua Oppenheimer and Signe Byrge Sørensen

What Happened, Miss Simone?, Liz Garbus, Amy Hobby and Justin Wilkes

Winter on Fire: Ukraine’s Fight for Freedom, Evgeny Afineevsky and Den Tolmor

Best Documentary – Short Subject

Body Team 12, David Darg and Bryn Mooser

Chau, Beyond the Lines, Courtney Marsh and Jerry Franck

Claude Lanzmann: Spectres of the Shoah, Adam Benzine

A Girl in the River: The Price of Forgiveness, Sharmeen Obaid-Chinoy

Last Day of Freedom, Dee Hibbert-Jones and Nomi Talisman

Best Makeup and Hairstyling

Mad Max: Fury Road, Lesley Vanderwalt, Elka Wardega and Damian Martin

The 100-Year-Old Man Who Climbed Out the Window and Disappeared, Love Larson and Eva von Bahr

The Revenant, Siân Grigg, Duncan Jarman and Robert Pandini

Best Original Song

“Earned It,” Fifty Shades of Grey, Abel Tesfaye, Ahmad Balshe, Jason Daheala Quenneville and Stephan Moccio

“Manta Ray,” Racing Extinction, J. Ralph and Antony Hegarty

“Simple Song #3,” Youth, David Lang

“‘Til It Happens to You,” The Haunting Ground, Diane Warren and Lady Gaga

“Writings on the Wall,” Spectre, Jimmy Napes and Sam Smith

Best Animated Short Film

Bear Story, Gabriel Osorio and Pato Escala

Prologue, Richard Williams and Imogen Sutton

Sanjay’s Super Team, Sanjay Patel and Nicole Grindle

We Can’t Live Without Cosmos, Konstantin Bronzit

World of Tomorrow, Don Hertzfeldt

Best Live Action Short Film

Ave Maria, Basil Khalil and Eric Dupont

Day One, Henry Hughes

Everything Will Be Okay (Alles Wird Gut), Patrick Vollrath

Shok, Jamie Donoughue

Stutterer, Benjamin Cleary and Serena Armitage

Best Sound Editing

Mad Max: Fury Road, Mark Mangini and David White

The Martian, Oliver Tarney

The Revenant, Martin Hernandez and Lon Bender

Sicario, Alan Robert Murray

Star Wars: The Force Awakens, Matthew Wood and David Acord

Best Sound Mixing

Bridge of Spies, Andy Nelson, Gary Rydstrom and Drew Kunin

Mad Max: Fury Road, Chris Jenkins, Gregg Rudloff and Ben Osmo

The Martian, Paul Massey, Mark Taylor and Mac Ruth

The Revenant, Jon Taylor, Frank A. Montaño, Randy Thom and Chris Duesterdiek

Star Wars: The Force Awakens, Andy Nelson, Christopher Scarabosio and Stuart Wilson

My choices, not to say that these entries will win, just a personal opinion – and remembering that there were many worthy films not nominated – Best Picture: Spotlight; Best Actor: Bryan Cranston; Best Actress, Charlotte Rampling; Best Supporting Actor: Mark Ruffalo; Best Supporting Actress, Rachel McAdams; Best Directing: Tom McCarthy; Best Film Editing: Tom McArdle; Best Foreign Film: Son of Saul (which will win); Best Original Score: Ennio Morricone (for a lifetime of work); Best Production Design: Mad Max: Fury Road; Best Visual Effects, Star Wars: The Force Awakens; Best Adapted Screenplay: none of the nominees; Best Original Screenplay: Spotlight; Best Animated Feature Film: Inside Out (which will win); Best Cinematography: Robert Richardson, for bringing 70mm film back to life; Best Costume Design: none of the nominees; Best Documentary Feature: What Happened, Miss Simone?; and the rest I’ll leave for the moment.

However, I predict that The Revenant will pretty much sweep the major awards, at least at this stage of the game.

All of this subject to change without notice; it’s the annual Oscar race again!

Twenty British Films – A Guided Tour by Brian McFarlane

Tuesday, January 12th, 2016

British film specialist Brian McFarlane has an excellent new book on British cinema, old and new.

Here’s a remarkable new book from the seemingly indefatigable Brian McFarlane, Honorary Associate Professor, School of English, Communication and Performance Studies, Monash University, Melbourne, and Visiting Professor, Film Studies, University of Hull.

In choosing twenty films, many of them classics of their kind – think of Brief Encounter, The Third Man, Genevieve – as well as some less well-known titles, Brian McFarlane communicates his enthusiasm for the sheer range of British cinema as well as a keenly critical interest in what has made these films stay in the mind often after many decades and many viewings.

The book ends in the present day with titles such as Last Orders and In the Loop and it is intended to provoke discussion as much as recollection. Though it is rigorous in conducting its “guided tour” of these films, it does so in ways that make it accessible to anyone with a passion for cinema.

“Brian McFarlane is one of the best friends British cinema has ever had. An Autobiography of British Cinema, an assembly of his enthusiastic interviews with British filmmakers, is valuable, informative and enjoyable. An Encylopedia of British Film is indispensible and without equal.

Now, in Twenty British Films: A Guided Tour, a highly personal but carefully argued choice of ‘twenty films to cherish,’ McFarlane takes us into the heart of a lifelong obsession that became an academic pursuit without losing any of its passion.” — Philip French

You don’t have to be a specialist to enjoy this tour.

Calum Marsh: Ten Movies Not To Miss in 2016

Tuesday, January 12th, 2016

Village Voice critic Calum Marsh picks ten must-see movies in 2016.

The Village Voice, once an indispensable source for film reviews in the 1950s through the late 1990s, fell on hard times when critics Andrew Sarris and Jonas Mekas retired, followed by the departure of Jim Hoberman, and then the Voice itself went from being a paid newspaper to a freebie distributed throughout Manhattan in giveaway boxes. But now it seems to have found itself again in the 21st century with a new group of sharp, perceptive critics, one of whom is Calum Marsh.

In this brief article, Marsh picks out ten films to look forward to in 2016 which are outside the normal fare one might find at the local multiplex, such as Karyn Kusama’s The Invitation, Athina Rachel Tsangari’s Chevalier, Jodie Foster’s Money Monster, Ana Lily Amirpour’s The Bad Batch – which Amirpour, the director of the highly acclaimed vampire thriller A Girl Walks Home Along at Night describes as “‘Road Warrior meets Pretty in Pink” – Kelly Reichardt’s Certain Women, Lorene Scafaria’s The Meddler (shown above) and several other interesting films.

These are all films that absolutely deserve your attention in the New Year, and this brief, informal overview is a great way to think about what you’re going to spend your time watching in 2016. Look beyond the local first-run theaters. Look for more interesting stuff, and you’ll find it. And while you’re exploring this article, click on some of the other links to see The Village Voice’s increasingly interesting film coverage, as we move towards the second decade of the new century.

There’s great filmmaking going on out there – you just have to find it.

David Bowie 1947-2016

Monday, January 11th, 2016

One the world’s most influential pop /music / film/ performance artists has died at the age of 69.

As Jon Pareles wrote in The New York Times, “David Bowie, the infinitely changeable, fiercely forward-looking songwriter who taught generations of musicians about the power of drama, images and personas, died on Sunday, two days after his 69th birthday. Mr. Bowie’s death was confirmed by his publicist, Steve Martin, on Monday morning.

He died after an 18-month battle with cancer, according to a statement on Mr. Bowie’s social-media accounts. ‘David Bowie died peacefully today surrounded by his family,’ a post on his Facebook page read. His last album, Blackstar [produced by Bowie's long time associate Tony Visconti] a collaboration with a jazz quintet that was typically enigmatic and exploratory, was released on Friday — on his birthday . . . He had also collaborated on an Off Broadway musical, Lazarus, that was a surreal sequel to his definitive 1976 film role, The Man Who Fell to Earth.

Mr. Bowie wrote songs, above all, about being an outsider: an alien, a misfit, a sexual adventurer, a faraway astronaut. His music was always a mutable blend: rock, cabaret, jazz and what he called ‘plastic soul,’ but it was suffused with genuine soul. He also captured the drama and longing of everyday life, enough to give him No. 1 pop hits like Let’s Dance . . .

Mr. Bowie earned admiration and emulation across the musical spectrum — from rockers, balladeers, punks, hip-hop acts, creators of pop spectacles and even classical composers like Philip Glass, who based two symphonies on Mr. Bowie’s albums Low and Heroes. Mr. Bowie’s constantly morphing persona was a touchstone for performers like Madonna and Lady Gaga; his determination to stay contemporary introduced his fans to Philadelphia funk, Japanese fashion, German electronica and drum-and-bass dance music.”

David Bowie crossed nearly every boundary in popular culture and art, appearing in films, creating a multitude of characters such as Ziggy Stardust and The Thin White Duke, and then abandoning them when they were no longer of interest. Bowie was also much underrated as a singer, and in this era of auto-tuning, it’s interesting to listen to this isolated vocal track for the song Under Pressure, in which Bowie belts out the lyrics to the song with both skill and passion.

Bowie also has a surprisingly long and effective film career, appearing in a wide variety of films, from Labyrinth, The Man Who Fell to Earth, The Prestige (in which he played the equally visionary Nikola Tesla) the biopic Basquiat, as well as The Hunger, The Last Temptation of Christ, and David Lynch’s Twin Peaks: Fire Walk with Me. In all these films, the persona he projected was very much like his stage presence; distant, but absolutely in the moment, whatever that moment might be.

Two years ago, the BBC produced an excellent documentary on one of Bowie’s most creative periods, Five Years, and as columnist Paul Morley observed in The Telegraph, Bowie “was the human equivalent of a Google search, a portal through which you could step into an amazing, very different wider world – if he mentioned in an interview, or referenced in his work, someone like Andy Warhol, Jean Cocteau, Antonin Artaud or Marcel Duchamp, I would immediately want to find out what he was talking about.

He flooded plain everyday reality with extraordinary, unexpected information, processing the details through a buoyant, mobile mind, and made intellectual discovery seem incredibly glamorous. He helped create in my own mind a need to discover ways of making sense of both the universe and the self by seeking out the different, the difficult and the daring.”

David Bowie – one of the art world’s major figures – now no longer with us.

Kodak’s New Super 8mm Camera – The Return of Film

Thursday, January 7th, 2016

Just like vinyl records vs. mp3s and CDs, actual film is making a comeback in cinema.

Still, I was surprised by this news item; Kodak is re-introducing a Super8mm camera that shoots actual film, which at this point is being marketed at much too high a price point for the average consumer, but is rather aimed at those who want to use film as a medium for artistic expression.

The last Super 8mm camera I owned, many years ago, was a Kodak Super 8mm sound camera, which used 50 ft. cartridges of film with a magnetic sound strip on the side – it worked well enough, particularly when one used high speed Ektachrome film, but it was almost instantly superseded by the advent of video cameras – and that, for the moment, was the end of that.

However, as Don Clark notes in The Wall Street Journal, “Eastman Kodak Co., the photography pioneer that was disrupted by the digital revolution, is placing a new bet on a gadget from a simpler time. The company is using the Consumer Electronics Show to lay out plans for a film camera based on the Super 8 design launched 50 years ago. Kodak stopped producing Super 8 units in 1982, after video cameras savaged the market for home movies made with film.

Jeff Clarke, Kodak’s chief executive, isn’t ignoring the changes in the market now that billions of consumers own mobile phones with digital cameras. But he believes professional filmmakers and serious amateurs will appreciate the subtle qualities of an analog medium that many Hollywood veterans used to learn their trade.

Mr. Clarke cites the preference among many Hollywood directors to shoot on 35-millimeter or 70-millimeter film. He also sees a parallel in the way some audiophiles prefer the analog medium of vinyl records.

Kodak plans to play on some of the conveniences of digital technology. Just as movies shot on film are usually converted to digital files for editing and projection, buyers of the new camera that turn to Kodak for processing will get a digital copy of their imagery as well as eight-millimeter film to use in projectors.

The new camera will feature a digital viewfinder, he said. ‘This is no longer the classic script of a war of digital versus analog,’ Mr. Clarke said. ‘What it really is now is the complementary characteristics of both.’ . . .

The first Super 8 camera was launched at the 1964 New York World’s Fair and went on sale the next year. It featured a pistol-style grip and packed eight millimeter film in a cartridge, an advance that avoided the need to thread film through the camera in the dark.

Kodak’s effort to revive Super 8 is aimed in large part at film schools, where many students no longer get a chance to experiment with analog footage, Mr. Clarke said. He also expects some people making commercial or experimental films–who have sometimes used eight- or 16-millimeter footage–to try the new product.

Mr. Clarke said Kodak has received expressions of support for the new camera by many Hollywood directors, including Steven Spielberg and Star Wars director J.J. Abrams, who directed a 2011 film called Super 8 and was famously hired by Mr. Spielberg as a 14-year-old to work on the older director’s Super 8 film archive.”

I would also venture to say that a lot of old Super 8mm cameras will now be brought back to life, assuming that Kodak makes enough raw stock. And as one commenter on the article noted, “Dwayne’s in Parsons, KS (notable as the final Kodachrome shop) will process a 50ft super-8 cartridge for $12. Just saying.” Hmmmm . . .

So – this is interesting – another sign of the celluloid backlash. We’ll have to see what happens.

Frame by Frame Video: Film Noir

Thursday, January 7th, 2016

Here’s a brief Frame by Frame video, directed by Curt Bright, in which I discuss Film Noir.

The scene above is from Jacques Tourneur’s noir classic Out of the Past (1947), and in this video I briefly discuss some of the more dominant characteristics of noir, in a video which was produced roughly at the same time my book Film Noir and The Cinema of Paranoia came out. Oddly enough, I never blogged directly on this video, and it’s too good to pass up, so here it is.

When Choice: The Library Journal reviewed Film Noir and The Cinema of Paranoia, they noted that “Dixon seeks to broaden the scope and definition of film noir by focusing on its most dominant motif–paranoia. Concentrating on that impulse, and also on fear and violence, the author demonstrates that these all-encompassing aspects of film noir are found not only in gangster/detective films of the 1940s but also in such genres as science fiction and horror.

Beginning with the pre-Code era, Dixon guides the reader through a comprehensive overview of the evolution of film noir to its present form, along the way presenting an enlightening examination of American and British society and politics and revealing the role film noir has played during certain periods.

[Dixon] demonstrates how film noir serves to contradict the false “feel good” images mediated to the public through movies and television programming. [Dixon]’s observations illustrate how paranoia, as constructed through the lens of film noir, proves more relevant than ever in lieu of the veil of fear that envelops every aspect of post-9/11 life.”

And that’s still true today – noir tells us how things really are.

Public Domain Collections: Free to Share & Reuse

Thursday, January 7th, 2016

The New York Public Library has just released an amazing collection of Public Domain materials.

As Shana Kimball, Manager of Public Programs and Outreach at the New York Public Library announced on January 5, 2016, “Today we are proud to announce that out-of-copyright materials in NYPL Digital Collections are now available as high-resolution downloads. No permission required, no hoops to jump through: just go forth and reuse!

The release of more than 180,000 digitized items represents both a simplification and an enhancement of digital access to a trove of unique and rare materials: a removal of administration fees and processes from public domain content, and also improvements to interfaces — popular and technical — to the digital assets themselves.

Online users of the NYPL Digital Collections website will find more prominent download links and filters highlighting restriction-free content; while more technically inclined users will also benefit from updates to the Digital Collections API enabling bulk use and analysis, as well as data exports and utilities posted to NYPL’s GitHub account.

These changes are intended to facilitate sharing, research and reuse by scholars, artists, educators, technologists, publishers, and Internet users of all kinds. All subsequently digitized public domain collections will be made available in the same way, joining a growing repository of open materials.”

So, as Shana Kimball says, “go forth and reuse” – an incredible resource.

Video: Things to Come (1936) – H.G. Wells’ Vision of the Future

Wednesday, January 6th, 2016

H.G. Wells’ Things To Come is one of the most prophetic visions of the future ever created for the screen.

H.G. Wells wrote many novels about the possible future of mankind, all of which have been filmed in various adaptations, but he wrote only one futuristic vision with a film adaptation directly in mind; his 1933 magnum opus The Shape of Things To Come, which Wells then adapted into the screenplay for the film Things to Come in 1936.

The production designer and director of the film, William Cameron Menzies, is lately having a run on this blog, with posts on his film Invaders from Mars and James Curtis’ book William Cameron Menzies: The Shape of Films to Come, but it’s only right that this film, perhaps the only time that Menzies really had a decent budget at his disposal as a director, gets its own entry here.

The collaboration between Wells and Menzies – as well as the actors, including Raymond Massey, Sir Cedric Hardwicke, and Sir Ralph Richardson – was stormy at best, with the major stumbling block being that Wells, who had almost no visual or dramatic sensibility for the cinema, kept insisting that his long, declamatory speeches remain intact on the screen, despite Menzies’ and the cast’s insistence that judicious cuts to the material would make the end product more effective.

But Wells wouldn’t hear of it, and so there are, in truth, about thirty minutes of the film that could easily be cut – something that all the contemporary reviewers of the film readily pointed out – and Wells, disappointed with the film’s initial reception, amazingly blamed Menzies for this – but it simply isn’t so.

Despite this problem, however, Things to Come remains an astonishing film, accurately predicting the onset on World War II, for one thing, as well as such technological advances as television, space travel, enclosed cities, social breakdown bordering on feudalism in some areas, and clearly posited science as the savior of mankind.

It’s essential, of course, to see Things to Come on a big screen; it’s one of those films that calls insistently for large scale projection – and for many years, when the film fell into the Public Domain, inferior 16mm and video copies circulated from a variety of sources, none of which approached the scope and grandeur of the original film. However, in recent years, the film has come back under copyright.

Legend Films has thus brought out a superb DVD and Blu-ray of the film, completely restored, which can be seen either in its original black and white version (my choice), or in a remarkably good colorized version, supervised by the late special effects master Ray Harryhausen. So, thanks to Curt Bright, here’s a short video essay on the film as part of the Frame by Frame series, and now, you can see the film for yourself.

Don’t miss a chance to see this classic if you can; click here for a video essay on the film.

Why Women Are Underrepresented in Hollywood

Thursday, December 31st, 2015

Director Lois Weber, a true cinema pioneer, directing in Hollywood in 1916.

Critic Manohla Dargis zeroes in on why women are so poorly represented in Hollywood today, even more so than in the past. Notes Dargis, “The movie industry is failing women. And until the industry starts making serious changes, nothing is going to change . . . American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now.

The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.”

What will it take to break the logjam?

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.

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of film, media and other topics in the past month - http://newsroom.unl.edu/inthenews/

RSS Recent Frame by Frame Videos