Skip Navigation

Frame by Frame

Archive for the ‘Inside Stuff’ Category

Jean-Marie Straub and Danièle Huillet Retro at MoMA

Sunday, May 15th, 2016

Jean-Marie Straub and Danièle Huillet finally get a complete retrospective at The Museum of Modern Art.

As the program notes for the retrospective announce, “MoMA presents the first complete North American retrospective of the films of Jean-Marie Straub and Danièle Huillet, who together formed one of the most intense, challenging, and controversial collaborations in the history of cinema. Straub (French, b. 1933) and Huillet (French, 1936–2006) were inseparable partners from 1954 until Huillet’s death, working intimately on every aspect of film production, from script writing to direction to editing.

Straub-Huillet created highly personal film interpretations of profoundly ambitious art: stories by Böll, Kafka, Duras, and Pavese; poems by Dante, Mallarmé, and Hölderlin; a long-forgotten Corneille play, an essay by Montaigne, a film by D. W. Griffith, a painting by Cézanne, an unfinished opera by Schöenberg; and the biography of Johann Sebastian Bach as told through the (fictionalized) letters of his wife Anna Magdalena.

They sought to make what Straub called ‘an abstract-pictorial dream’ while remaining rigorously sensitive to the letter and spirit of the text, and to the relationship between sound and image. At the same time, all of Straub-Huillet’s films are political, whether obliquely, in reflecting on the lessons of history and advancing a Marxist analysis of capitalism and class struggle; or overtly, in considering ancient and contemporary forms of imperialism, militarism, and resistance, from Ancient Rome to colonial Egypt to wartime Germany. They aspire to nothing short of a revolution in political consciousness, especially among workers and peasants, the colonized and the exploited.

At 83, Straub continues to make films that never waver from his commitment to the subversion of all forms of cinematic convention, whether through the use of direct sound, disjunctive editing, amateur actors, and a foregrounding of the natural landscape; fragmentary and elliptical narratives spoken in various languages; Brechtian estrangement; on-location shooting of ancient texts in contemporary, anachronistic settings (for example, on the ground where the Circus Maximus once stood); and a privileging of musical and poetic rhythms and structures over the decorative, the spectacular, the psychological, and the satirical. Dialogue is shorn of emotion, and images are deliberately unflashy. ‘The work we have to do,’ Straub insists, ‘is to make films which radically eliminate art, so that there is no equivocation.’

Introductions by noted Straub-Huillet collaborators take place during the retrospective’s opening weekend. Unless they are listed as 35mm, films are presented in new digital preservations overseen by Straub, Olivier Boischot, and Barbara Ulrich. The series is organized by Joshua Siegel, Curator, Department of Film.” This once in a lifetime chance to see the work of these master filmmakers, most of which is unavailable on DVD, is simply not to be missed in one is in the New York area.

My own favorites of their work include The Chronicle of Anna Magdalena Bach (1968), starring harpsichordist Gustav Leonhardt as Bach (whom I once had the pleasure of meeting and talking with about the making of the film, after he presented an organ concert in Amsterdam); the 16mm color feature History Lessons (1972), and the 35mm short The Bridegroom, The Comedienne and The Pimp (1968), featuring a young Rainer Werner Fassbinder as the pimp, but these are just a few of their many brilliant films. A chance to see these gorgeous, transcendent films should not be passed up if at all possible.

Click here, or on the image above, to see the entire schedule for the series.

Special Issue of Cinephile – Visions of the 60s

Sunday, May 15th, 2016

This came out in 2015, but somehow it slipped past my radar.

I have an essay in this issue of the excellent journal Cinephile on experimental cinema in the 1960s, Cinephile 11.1, “Visions of the Sixties.” As the journal’s website notes, “marking the tenth anniversary of the University of British Columbia’s Film Journal, this issue features articles by Wheeler Winston Dixon, David E. James, Victoria Kennedy, Andrew Marzoni, and Emma Pett, with an introduction by Timothy Scott Brown. For more information, please click here.”

It was a pleasure working with the editors of the journal, Molly Lewis and Angela Walsh, on the essay. I love the cover, which really captures the spirit of the era. As Timothy Scott Brown notes in an introductory essay for the issue, “if one theme or question emerges from the essays in this issue, it is about the status of popular culture as a field for the creation, elaboration, and consumption of the 1960s cultural revolution.

Wheeler Winston Dixon’s essay, ‘The End of the Real: 1960s Experimental Cinema, and The Loss of Cinema Culture,’ calls to mind the now (in some cases, literally) lost world of 1960s independent filmmaking, a world in which the notion of making art outside of normal channels of production and distribution was understood by its protagonists as its own form of radical praxis.

It is difficult to call to mind now, in an era of almost unlimited access to the cultural means of production—no further away than one’s laptop—the radical imperative at work in the artistic initiatives Dixon examines. Against the backdrop of our current and seemingly endless horizon of digital possibility, the technical inaccessibility of this earlier wave of underground art reads as particularly ironic.”

If you get a chance to pick up a copy, do so – it’s an excellent issue all around.

Still Not On DVD – “They Won’t Believe Me” (1947)

Friday, May 13th, 2016

Irving Pichel’s They Won’t Believe Me is a noir masterpiece that still doesn’t have a US DVD release.

As Steve Eifert wrote in part in his blog Noir of the Week way back in 2012, “Let’s get the bad news out of the way first. TCM for all the good it does for classic films – airs a butchered version of the RKO noir They Won’t Believe Me! Instead of the 95 minutes watching a man behave badly we’re stuck with a neutered lead not really doing anything all that wrong. The cut 80-minute one turns a top-shelf film noir into a watered-down flim flam. Cutting 15 minutes from a film can do that . . . the 80-minute cut should be shown before the full version to film students as a lesson on how a bad edit can ruin a film.

[The film] fits nicely with “A” pictures like Double Indemnity and The Postman Always Rings Twice but retains that RKO look and feel (slightly cheap and gritty with familiar actors peppering the edges). That would include Out of the Past released 1/2 a year after They Won’t Believe Me! Robert Young plays Larry Ballentine — a young playboy who marries rich. He finds himself bored with is wife and begins an inappropriate relationship with one of his wife’s friends (Jane Greer). When we first are introduced to Larry and Janice it’s in a courtroom with Larry on trial for murder.

It quickly moves to a flashback showing the two on a Saturday afternoon meetup at a New York City bar. They drink crazy frozen drinks that you’d never think about ordering when you’re alone. They’re flirty and touchy – as they discuss their plans to build a boat together. Larry – after downing a few drinks – stumbles home to be confronted by his wife, her aunt, and some friends who think he’s a heel.

Things happen and the next week he tells her he’s leaving her for Janice. Greta (Rita Johnson) convinces him otherwise and Janice is out of the picture. Larry continues to work for his wife’s company. He’s only there because his wife owns a sizable share of it. He is lazy –as expected –and not liked by his partner Trenton (familiar face Tom Powers.)

Underling Verna Carlson (Susan Hayward) catches Larry’s eye one day. Before he can finish a voice over talking about how he’s been ‘too close to the flame and is now power shy when it comes to beautiful women’ he’s asking her what kind of perfume she likes.

I would guess you could credit camera man Harry J. Wild for most of the film’s look – he certainly shot his share of noir including Pitfall, Nocturne, Station West, The Threat, His Kind of Woman and many, many more. Director/actor Irving Pichel didn’t do anything remarkable in the film-noir world outside of this one (which is great), but turned out the enjoyable Quicksand in 1950.

The cast of They Won’t Believe Me! Is strong. Robert Young is remembered by those of a certain age as Marcus Welby, M.D. Here he’s quite good as the playboy with a wandering eye. Jane Greer is only months away before Out of the Past is released. She’s at the height of her beauty. Finally Susan Hayward is given some of the best lines. She’s quite something when she’s trying to reel in Larry by cutting down his rich wife and flashing a smile that is so suggestive it should be illegal – only Gilda’s hair flip is more powerful.”

That was four years ago, and as I wrote in the comments section when Steve’s article appeared, “this is one of the greatest noirs of all time, and you’re absolutely right — the 80 minute cut is a disaster. Luckily for me, I was able to see it uncut at the Thalia Theater in NYC many years ago in 35mm, and it made an indelible impression.

Irving Pichel’s direction is immaculate, and Robert Young is very interestingly cast against type as the ne’er do well husband. It’s sad that this isn’t available on DVD; and you’re right about the Italian DVD – it’s still cut. This truly is, from first frame to last, an absolutely superb film — not just an excellent noir, but a brilliant, tough piece of filmmaking, easily in the same class as Jacques Tourneur’s Out of the Past.

I can only hope that the WB Archive follows through with putting this out, even with potentially damaged footage. It’s a missing gem in American film history. If anyone out there has a decent copy of the uncut version, I sure would like to hear from them.”

This was when the WB Archive was considering releasing the film, but that came to nought – and so we have only a VHS, and two foreign versions, one of which is out of sync, and another with Castilian subtitles that you can’t turn off during viewing. Neither DVD does the film any sort of justice, to say nothing of the 80 minute cut down job; this deserves a Criterion version all the way, but why on earth isn’t it getting one? I just watched the butchered Spanish version this evening, poorly transferred and with unwanted subtitles, and it still knocked me out.

Another classic “lost in the cosmos” as Jean-Luc Godard would put it – see it uncut if you possibly can.

An Essential 5 DVD Set: Pioneers of African-American Cinema

Saturday, April 30th, 2016

A restoration of these films has been a long time coming – get this set when it comes out in July.

This incredible collection – coming out shortly on DVD and Blu-ray, is a must for any serious library of American cinema, featuring some of the most historically vital works of America’s legendary first African-American filmmakers, and is the only comprehensive collection of its kind. There have been DVD releases of many of the individual films included here, but in cheap editions, without digital restoration, and now, finally, we can see them as they were meant to be seen.

Funded in part by a highly successful Kickstarter campaign, the packaged set includes no fewer than a dozen feature-length films and nearly twice as many shorts and rare fragments. Subject matter includes race issues that went unaddressed by Hollywood for decades. The directors include Oscar Micheaux, Spencer Williams, and many others whose films deserve a much wider audience.

Films in the collection include: Birthright (1938), The Blood of Jesus (1941), Body and Soul (1925), The Bronze Buckaroo (1939), By Right of Birth (fragment, 1921), Commandment Keeper Church, Beaufort, South Carolina (excerpt, 1940), The Darktown Revue (1931), Dirty Gertie from Harlem USA (1946), Eleven P.M. (1930), The Exile (1931), The Flying Ace (1926), God’s Stepchildren (1938), Heaven-Bound Traveler (1933), Hellbound Train (1930), Hot Biskits (1931), Mercy the Mummy Mumbled (1918), Regeneration (fragment, 1923), The Scar of Shame (1929), S.S. Jones Home Movies (1924-26), The Symbol of the Unconquered: A Story of the KKK (1920), Ten Minutes to Live (1932), Ten Nights in a Bar Room (1926), Two Knights of Vaudeville (1918), Veiled Aristocrats (1932), Verdict Not Guilty (1934), We Work Again (1937) and Within Our Gates (1920).

The set features musical scores (for the silent films) by Paul D. Miller (aka DJ Spooky), Max Roach, Samuel D. Waymon, the Mont Alto Motion Picture Orchestra, Donald Sosin, Makia Matsumura, Alloy Orchestra, Rob Gal, Andrew Simpson.

Bonus Features: Optional English Subtitles, 80-page booklet with essays and detailed film notes; Interviews with series curators Charles Musser and Jacqueline Stewart; Documentary on the restoration of the films; Documentary on the restoration efforts of the Library of Congress; Archival interview with actors Ethel and Lucia Moses (1978); Tyler Texas Black Film Collection promo film (with Ossie Davis, 1985) and more!

Although these films have been available for many decades – I’ve run them in my classes for a long time – the film prints were often battered and scratched, 16mm dupes that lacked the depth and quality of the original negatives. Here, these films have been lovingly restored in a collection that is an essential part of the history of the American cinema. This is the part of film history you’ve probably missed – and shouldn’t.

This is an amazing act of historical reclamation – a must have for everyone.

Lois Weber’s “Shoes” (1916) Saved by Eye Museum, Amsterdam

Friday, April 29th, 2016

The EYE Museum in Amsterdam has restored Shoes (1916), a nearly lost film by director Lois Weber.

As the EYE Museum’s YouTube site notes, “the film Shoes (1916, USA, Universal Bluebird Photoplays), directed by Lois Weber, starred Mary MacLaren, Harry Griffith, Jessie Arnold, and William Mong. The film is a social drama about the dime store clerk Eva Meyer (MacLaren), who desperately needs a new pair of shoes. However, because her father is unemployed, Eva’s weekly earnings go into the household budget, bringing a new pair of shoes completely out of her reach.”

As historian Shelley Stamp writes of Lois Weber on the Women Film Pioneers Project website, “Lois Weber was the leading female director-screenwriter in early Hollywood. She began her career alongside her husband, Phillips Smalley, after the two had worked together in the theatre. They began working in motion pictures around 1907, often billed under the collective title ‘The Smalleys.’

In their early years at studios like Gaumont and Reliance, they acted alongside one another on-screen and codirected scripts written by Weber. Indeed, their status as a married, middle-class couple was often used to enhance their reputation for highbrow, quality pictures.

In 1912, they were placed in charge of the Rex brand at the Universal Film Manufacturing Company, where they produced one or two one-reel films each week with a stock company of actors, quickly turning the brand into one of the studio’s most sophisticated.

The couple increasingly turned their attention to multireel films, completing a four-reel production of The Merchant of Venice in 1914, the first American feature directed by a woman. Later that year they moved from Universal to Hobart Bosworth Productions where they were given more freedom to make feature-length films, among them Hypocrites (1915).

By the time the couple arrived back at Universal in 1916, Weber had emerged as the dominant member of the husband and wife partnership and, indeed, as one of the top directors on the lot. She was the sole author of scripts the couple adapted for the screen, and marketing materials and reviews singled out her work on the productions. Reporters visiting the couple on set found Smalley repeatedly turning to his wife for important decisions.

During these years Weber made a series of high profile and often deeply controversial films on social issues of the day, including capital punishment in The People vs. John Doe (1916), drug abuse in Hop, the Devil’s Brew (1916), poverty and wage equity in Shoes (1916), and contraception in Where Are My Children? (1916) and The Hand That Rocks the Cradle (1917) [. . .]

Weber achieved the height of her renown during these years: her name was routinely mentioned alongside that of D. W. Griffith and Cecil B. DeMille as one of the top talents in Hollywood. In 1916, she was the first and only woman elected to the Motion Picture Directors Association, a solitary honor she would retain for decades.

While at Universal it is also likely that she helped to foster the careers of other actresses employed at the studio, many of whom she had directed, including Cleo Madison, Lule Warrenton, and Dorothy Davenport Reid, who would become directors or producers in their own right.”

Read Stamp’s complete essay on Lois Weber by clicking here – an essential figure in cinema history.

Complete Online Index – “A Short History of Film”

Thursday, April 28th, 2016

A scholar in Germany has created a complete online index to A Short History of Film, 2nd edition.

A scholar in Germany has compiled a complete list of all the films mentioned in A Short History of Film, 2nd edition (Rutgers University Press, 2013), written by Gwendolyn Audrey Foster and myself, with images of either the poster, or the DVD for each film, complete with links to reviews, purchase points, and other information on the film – as well as lots of opinions, of course – which seems like rather an amazing undertaking.

All told, the list covers more than 2,000 films, and runs to 21 webpages in the list, and can serve as a very useful way to access the films discussed in the volume. So if you’re reading A Short History of Film, 2nd edition, or using it for a class, and would like detail on access to some of the many films mentioned – the images here show just a few of the many titles covered in the volume – just consult this list, click on the title, and see what’s available.

A very useful guide – many thanks to the person who did so much work on this.

Unfinished Films at The Met Breuer

Thursday, April 28th, 2016

The Met Breuer, of The Metropolitan Museum of Art, is hosting a fascinating new film series.

The Met Breuer, located at 945 Madison Avenue at 75th Street in Manhattan, on the former site of the Whitney Museum of American Art (which has moved downtown to 99 Gansevoort Street) is serving up a remarkable series focusing on incomplete, or unfinished films by a wide variety of artists, with talks led by some of the leading figures in the field on the significance of the works in question.

As the site for the series notes, “what can be learned from unfinished films, from works that arrive to us as fragments? Considered collectively—from the infamous excesses of Erich von Stroheim’s Queen Kelly to the grand ambitions of Hollis Frampton’s Magellan—perhaps they constitute a secret canon, one made up of the most raw and, in turn, revealing sides of an artist’s practice.

Such works might be held in any number of intermediary states: left intentionally unfinished, abandoned out of frustration, cut short by death, curtailed by political circumstance.To watch these films is to unveil the particularities of their origins, to see the vicissitudes of their process and production laid bare. Presented in connection with the exhibition Unfinished: Thoughts Left Visible, this series features films selected by Thomas Beard, a founder and co-director of Light Industry.”

This is an altogether unique series, which gives one a chance to view the creative process from the inside, before a work is completed – and should not be missed in you’re going to be in the city. Admission is free with a regular museum admission; seats are first come, first served, so get there early.

Andy Warhol at Work in The Factory, 1965

Wednesday, April 27th, 2016

This is the best footage I’ve ever seen of Warhol at work in The Silver Factory, E. 47th Street, NYC 1965.

UPDATE: Just turn off the right or left channel on your computer’s sound output, and the echo vanishes.

There’s just ONE track staggered on the left & right with a slight delay.

Just play ONE TRACK – left or right – and the sound is clear.

There is a fair amount of footage of Warhol taking during the mid 1960s, his most productive and influential period as an artist, where he created the signature works for which he would become internationally known. Marie Menken did some great stop motion footage of Warhol making his “Flower” paintings, and independent filmmaker Bruce Torbet did a short film – “Andy Warhol – Superartist,” which used some sync sound to capture one day in the artist’s life, but this footage from the Canadian Broadcasting System for a 1965 documentary is the most authentic sync sound documentation of Warhol’s non-stop work methods during this era.

As the CBC’s site says of this footage, “spend a day with artist Andy Warhol at his studio and you might watch him make a screen print of an electric chair or observe him stretching a canvas onto a frame. You might even end up in front of his Bolex as the subject of one of his screen tests, as Village Voice art critic Andrew Sarris does in this item for CBC’s Show on Shows. In this 1965 interview with Warhol and his agent, Ivan Karp, Warhol shares his thoughts on TV (it would be better if it was short bits of soap opera between many commercials), the subjects of his art (Jackie Kennedy, Elvis Presley and Elizabeth Taylor), and his experiments in film.”

In this raw footage, complete with clapper boards for later editing, you see Warhol and his assistant Gerard Malanga knocking out one silkscreen after another – here, a series of electric chair silkscreen prints – with almost complete indifference to Andrew Sarris, the famed film critic for the Village Voice, who lobs questions at Warhol which he answers with just a few enigmatic words, or passes off to art dealer Ivan Karp, who earnestly explains the “pop” aesthetic for Sarris, and for an implied television audience which at the time had no idea what “pop art” was.

As the footage continues, Warhol shoots a brief, 100′ screen test of Sarris, instructing him simply not to talk, with Malanga’s assistance in checking the exposure and focus – the only footage that I’ve seen in sync sound which documents an actual “screen test” – running roughly 2.47 minutes- shot with a Bolex with an electric motor, so the entire film is completed in one take. Warhol would soon expand this by the use of an Auricon camera, which could shoot 1200′ – or roughly 35 minutes – in one burst to create such films as Vinyl and My Hustler (both 1965).

The CBC has done something with the sound here which is rather annoying; adding a echo effect which makes the dialogue somewhat hard to understand, and distracts from the immediacy of the moment, but there’s nothing I can do about that. Also, it’s interesting to see how methodical and mechanical Warhol is as he creates one work of art after another, and how Malanga, normally a very loquacious person, says nothing as Andy directs the creation of both the screen test and the series of screen prints – it’s a Factory, all right, and this is just another typical work day. You also get a real sense of Warhol’s somewhat puckish sense of humor, in addition to his rather imperious control over what’s happening – he’s definitely a force to be reckoned with.

A fascinating document – runs about 10 minutes – really worth watching.

TCM and Criterion Team Up To Stream Films

Tuesday, April 26th, 2016

Turner Classic Movies and Criterion are teaming up with FilmStruck – a new film streaming service.

As Todd Spangler reports in Variety,Turner this fall will launch its first over-the-top subscription-video service, FilmStruck, marking another move by the TV programmer to extend its business into the digital realm.

FilmStruck, designed for film buffs with a rotating selection of more than 1,000 art-house and indie titles, is being developed and managed by Turner Classic Movies in collaboration with the Criterion Collection.

Movies on the ad-free service are set to include Seven Samurai, A Hard Day’s Night, A Room With A View, Blood Simple, My Life As A Dog, Mad Max, Breaker Morant and The Player. Turner is still determining pricing for FilmStruck, but it will be ‘competitively priced to other streaming movie services,’ says a rep.

FilmStruck will be the new exclusive streaming home for the Criterion Collection, which will include the Criterion Channel, a new premium service programmed and curated by the Criterion team. Previously, Hulu has had exclusive streaming rights to Criterion’s library since 2011.

The FilmStruck library will carry films from indie studios including Janus Films, Flicker Alley, Icarus, Kino, Milestone and Zeitgeist, along with movies from Warner Bros. and other major studios. The service will be similar to TCM’s cable programming, offering bonus content and commentary for various films.

The film selections will include rotating access to more than 1,000 titles from the Janus Films library, many of which are unavailable on DVD or elsewhere, according to Criterion Collection president Peter Becker. Turner CEO John Martin said last month that the company was prepping the launch of at least two OTT video services in 2016.”

So this is the new home for Criterion on-demand; let’s hope it works out.

Criterion Archivist Phoebe Harmon on “The Beep” in Il Sorpasso

Friday, April 22nd, 2016

Gwendolyn Audrey Foster brought this to my attention – one of the many surprises of restoring films.

Although it’s now obsolete with the advent of digital cinema, during the filmic era, which comprised most of the 20th century since the inception of the cinema, academy leader “countdowns” were part of every film, usually on every 1000′ reel of a 35mm film print. The leader would count down the final ten seconds of leader before the first image appeared on the screen, ending with a “beep” at the 2 second mark, alerting projectionists when to switch from one reel to the next.

Before the advent of digital projection, working in a projection booth was a very labor intensive affair; even with two 1000′ (ten minute} 35mm reels spliced together into a 2000′, twenty-minute section, the most footage a standard 35mm projector of the era would hold, that gave the projectionist just 20 minutes to load up the next 2000′ section on the second projector, set up the automatic changeover so that the film would be screened without an interruption, and to keep on doing this all day long.

With the introduction of “platter” projection in the 1990s, an entire 35mm film could be spliced together a huge platter in an endless loop, and run through a 35mm projector without a break, but one still had to monitor the process very closely, as 35mm film could often get tangled, or ripped, and projection remained a very delicate job.

Of course, we’re only talking about so-called “safety film” here – this doesn’t even begin to take into account the perils of projecting cellulose nitrate film, the standard for 35mm projection before 1950, which was best described as “eagerly” flammable, and projection booth fires with films from the 1890s up through the early 1950s were a regular occurrence when film got jammed in the projector gate.

In any event, since countdown leader was a part of every film of the “filmic” era, in many cases, the labs that prepared the prints would prepare their own individual leaders, such as this one for the Italian film Il Sorpasso. As Criterion archivist Phoebe Harmon writes, “as a restoration artist, I am often responsible for the initial assembly of a film. This means putting all the reels together and removing each reel’s heads and tails (also known as leader).

I always find it interesting to see what’s on the leader. For instance, the ‘China girls,’ [also known as China dolls] which are images (usually of women) that were historically used to calibrate color, can clue you in to when a movie was made—based on the style of their clothes, hair, and makeup—and the countdowns are always different.

I was assembling 1962’s Il sorpasso [directed by Dino Risi] in November 2013 when I saw the beep. The design is aesthetically brilliant, and I love that it comes from a time when nothing was digital; someone actually made that by hand. All the elements on leaders are functional. They are not meant to be seen by the consumer. So this beep is like a little message coming through history, sent from behind the scenes to projectionists and technicians of the future.

There is no reason it needs to look so cool, but it does. It’s a nice reminder that film, at its heart, is truly an art; even though the way it’s created (and preserved!) can be very technical, all of us who work on a film get to be a part of a collaborative creative process.”

Thanks to Gwendolyn Audrey Foster for this tip!

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

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

RSS Recent Frame by Frame Videos