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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.

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.

Manoel de Oliveira Directs A New Film at Age 105

Sunday, October 5th, 2014

At 105, Portuguese director Manoel de Oliveira has just completed production on a new film.

As Vitor Pinto reports in Cineuropa, the director Manoel de Oliveira began production of O Velho do Restelo, a reflection on Portuguese history, produced by O Som e a Fúria, on September 9, 2014. Pinto continues, “at 105 years old, Portuguese director Manoel de Oliveira is beginning the shoot for his new film, O Velho do Restelo (literally The Old Man from the Restelo) today in Porto. The short film sees the return of the filmmaker two years after his feature Gebo and the Shadow as well as his involvement in the omnibus film Historic Centre.

With a title evoking the pessimistic character created by Luis de Camões in his 16th-century epic poem Os Lusiadas, O Velho do Restelo is based on excerpts from the work O Penitente by Teixeira de Pascoaes, which recounts the life and work of Portuguese romantic writer Camilo de Castelo Branco. It is through these literary references, which also incorporate others such as those of Miguel de Cervantes, that the film will create a reflection on Portugal and its history. O Velho do Restelo will see actor Luís Miguel Cintra playing the role of Camões, Ricardo Trepa as Don Quixote, Diogo Dória as Teixeira de Pascoaes and Mário Barroso as Camilo de Castelo Branco.

Oliveira, who in an interview last year with French magazine Cahiers du Cinéma described the process of securing funding for the film as ‘a battle’ finally managed to raise enough funds in order to go ahead with the five-day shoot. O Velho do Restelo is being produced by O Som e a Fúria, and has backing from the Porto Film Commission and the Catholic University of Portugal. The film is expected to be completed by August [2015].”

As Kevin Jagernauth adds in Indiewire, “Manoel de Oliveira is 105 years-old, and while other filmmakers talk about retirement or wanting to try something different, the Portuguese director doesn’t know the word quit. That’s right, he’s already in production on his next project, so whatever little complaints you might have about your day, maybe take it down a notch because Oliveira is still shuffling around, getting it down.”

There’s hope for the cinema yet; the powers that be should give him all the financing he wants.

Netflix Steps Into Feature Films

Friday, October 3rd, 2014

Netflix plans to make feature films that bypass traditional theatrical exhibition entirely.

As Gregg Kilday writes in The Hollywood Reporter, “Netflix chief content officer Ted Sarandos shook up the Hollywood status quo twice this week with a couple of announcements signaling that the streaming video service is out to up-end the existing movie business just as it’s challenged the television industry. On Sept. 29, he announced a deal with the Weinstein Co. to finance the sequel Crouching Tiger, Hidden Dragon: The Green Legend, which will premiere on Netflix and in Imax theaters on Aug. 28. In a backlash from theater owners, exhibition giants Regal, AMC Theatres and Cinemark said they wouldn’t show the film on their own Imax screens.

Then, the following day, Sarandos announced an even more ambitious pact:  a deal to make four movies starring and produced by Adam Sandler (who also retains a non-exclusive, first-look deal at Sony). All four movies will debut exclusively on Netflix. Having dropped those two bombshells, Sarandos explains how Netflix’s growing global imprint has influenced the decision to begin producing original movies, why Sandler was willing to forego theatrical releases for the films and how exhibitors, resisting change, have all reacted ‘in lockstep.’”

This is a real game changer – you can read the entire story 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.

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!

Bill Murray – Be Here Now

Saturday, September 27th, 2014

Bill Murray on how to be present in the moment – good stuff from Vulture.

“I think if I’m gonna answer that question, because it is a hard question, I’d like to suggest that we all answer that question right now, while I’m talking. I’ll continue. Believe me, I won’t shut up. I have a microphone. But let’s all ask ourselves that question right now. What does it feel like to be you? What does it feel like to be you? Yeah. It feels good to be you, doesn’t it? It feels good, because there’s one thing that you are — you’re the only one that’s you, right?. So you’re the only one that’s you, and we get confused sometimes — or I do, I think everyone does — you try to compete.

You think, Dammit, someone else is trying to be me. Someone else is trying to be me. But I don’t have to armor myself against those people; I don’t have to armor myself against that idea if I can really just relax and feel content in this way and this regard. If I can just feel, just think now: How much do you weigh? This is a thing I like to do with myself when I get lost and I get feeling funny. How much do you weigh? Think about how much each person here weighs and try to feel that weight in your seat right now, in your bottom right now. Parts in your feet and parts in your bum. Just try to feel your own weight, in your own seat, in your own feet. Okay?

So if you can feel that weight in your body, if you can come back into the most personal identification, a very personal identification, which is: I am. This is me now. Here I am, right now. This is me now. Then you don’t feel like you have to leave, and be over there, or look over there. You don’t feel like you have to rush off and be somewhere. There’s just a wonderful sense of well-being that begins to circulate up and down, from your top to your bottom. Up and down from your top to your spine. And you feel something that makes you almost want to smile, that makes you want to feel good, that makes you want to feel like you could embrace yourself.

So what’s it like to be me? You can ask yourself, What’s it like to be me? You know, the only way we’ll ever know what it’s like to be you is if you work your best at being you as often as you can, and keep reminding yourself: That’s where home is.”

You can read the entire article by Jada Yuan by clicking here.

John Carpenter Interview in Vulture

Friday, September 26th, 2014

John Carpenter (left) on the set of The Thing in 1981.

Vulture has a great interview with director John Carpenter conducted by Simon Abrams, who notes that “horror filmmaker John Carpenter’s body of work is atypical in that his films often seem to have been made by an uncompromisingly intuitive commercial artist. Never content just to take a check, Carpenter abandoned the Halloween franchise after co-writing and producing the series’ first two unsuccessful sequels and took on bold projects, such as Big Trouble in Little China and Prince of Darkness that suggested he knew how to make movies without giving in to creative pressure to make palatable pablum. Vulture talked to Carpenter about how he resolved key conflicts on projects that defined his career, particularly The Thing, his Halloween sequels, and others.”

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

Joseph Lawson, Genre Director – An Interview

Monday, September 22nd, 2014

I have an interview out this morning with Joseph Lawson, director of the forthcoming film Ardennes Fury.

As I note in my introduction to the interview, “Joseph Lawson is an American filmmaker who is an unabashed special effects fan, action movie enthusiast, and utterly pragmatic about how films get made today in a rapaciously competitive environment. He’s a commercial filmmaker, working in Hollywood, making films as entertainment. Along the way, he’s getting more and more of his own vision into his work, even as he struggles against tight deadlines and tighter budgets.

We first made contact when I wrote an article for Film International that was sharply critical of The Asylum, the company Lawson works for. Lawson responded in the comments section without the slightest bit of rancor, and suggested that we correspond about the production of his latest film, just wrapped a few days ago, Ardennes Fury. It’s his fifth film as a director.

Yes, Ardennes Fury is indebted to David Ayers’ big budget film Fury coming out later this Fall from Columbia Pictures; yes, you could call this another “tie-in” film from The Asylum, but at the same time, Lawson is absolutely sincere about what he’s doing, and all that the films really share is a similar title; they’re really two absolutely different projects.

Like American International Pictures in the 1950s and 60s, The Asylum makes commercial films for a price, and as Lawson makes clear, they don’t use interns or students – they just can’t stand the pace at the studio. Like it or not, The Asylum has a vision all its own. So what’s it like to make films in the Hollywood trenches today? Here’s a chance to find out, first hand.”

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

Ardennes Fury

Sunday, September 14th, 2014

Joseph Lawson’s new film, Ardennes Fury, is nearing completion.

Some time ago, I wrote an article in the journal Film International on the Hollywood production house The Asylum, famous for its “tie in” or “mockbuster” movies, as well as frankly commercial fare such as Sharknado. In response, I got a stack of comments from various viewers, but also two from Asylum insiders – one, an anonymous freelancer who worked on numerous Asylum films, describing in the detail the day-to-day process of making a film for the company; and the other from Joseph Lawson, supervisor of special visual effects for The Asylum, with over fifty projects to his credit, with a comment on his forthcoming film, Ardennes Fury. It seems only fair to note that this is yet another “tie in” film from The Asylum, clearly inspired by the new Brad Pitt World War II action film Fury, directed by David Ayer, coming out this October, but still, it seems clear that Lawson is deeply involved in the project.

As Lawson wrote in the comments section, “so, the question was posited, what will happen when The Asylum makes a ‘good’ film, something character driven with a heart and soul? May I humbly offer that folks give Ardennes Fury a look-see when it’s released in October or November. It’s a World War 2 drama and while certainly not perfect there’s a lot of heart and sheer effort that went into making it the best it could be in its short road from creation to release. I’ll be genuinely curious to see what the viewer reaction is and what it portends for future such storytelling from The Asylum. By the way, in the interest of transparency, yes, I directed it; and yes, I’m the VFX supervisor at The Asylum, so I’m probably a tad bit biased.”

Which is perfectly OK; why not publicize your own work? In the meantime, clicking on the image above, or here, will take you to the Facebook page for the film – as much as I dislike Facebook, as readers of this blog know – and I’ve put in a request to interview Lawson once the film is delivered, so we’ll see what happens. A clip from the film should be forthcoming in a few days. Anyway, if you read my original article, you’ll see that while I admire The Asylum’s industry, their product leaves a lot to be desired, but I hope this film is a step forward.

In style, if not plot, the film reminds me of Burt Topper’s Tank Commandos (1959) – another film made with no money, but a lot of heart – so I hope that same sense of urgency plays out here. Topper’s film was a clean, economical and tightly focused war film, and I’m even more impressed that Lawson plans to release Ardennes Fury not only in color, but also in widescreen black and white – clearly the best choice for the project. It would be nice to see The Asylum do something which made money, satisfied genre requirements, and still had some sense of artistic integrity. Even though Ardennes Fury follows in the shadow of a much larger film, this is obviously a personal project for Lawson, and I hope it works.

You can “like” the Ardennes Fury page 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 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. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu. Visit him at his website wheelerwinstondixon.com.

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In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/