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The AP Video Archive is Now on YouTube

Wednesday, July 22nd, 2015

The Associated Press puts up 17,000 hours of news film and videotape on YouTube – click here to see!

As Todd Spangler reported in Variety on July 22, 2015, “The Associated Press is uploading more than 550,000 video clips to YouTube — covering news events dating back to 1895 — which the news org said will be the largest collection of archival news content on the Google-owned platform to date.

AP, together with newsreel archive provider British Movietone, will deliver more than 1 million minutes of digitized film footage to YouTube. The goal: to provide high-profile, searchable repositories that let documentary filmmakers, historians and others find news footage, and to promote licensing deals for rights to use the video.

The archival footage includes major world events such as the 1906 San Francisco earthquake, exclusive footage of the bombing of Pearl Harbor in 1941, the fall of the Berlin Wall and the 2001 terrorist attacks on the U.S. Celeb footage includes Marilyn Monroe captured on film in London in the 1950s and Twiggy modeling fashions of the 1960s, as well as segments on Muhammad Ali, Charlie Chaplin, Salvador Dali, Brigitte Bardot and Elvis Presley.

The content is available on two YouTube channels: AP Archive and British Movietone, whose collection spans from 1895 to 1986. Last year, U.K. newsreel archive company British Pathé uploaded its entire 100-year library of 85,000 historic films in HD to YouTube, comprising some 3,500 hours of footage.

Much of the material AP is putting on YouTube is already searchable and available to preview on aparchive.com. Alwyn Lindsey, AP’s director of international archive, said putting the content on the world’s biggest Internet-video platform will increase the exposure of the collection. ‘We found documentary filmmakers tend to start their searches for footage on YouTube, and this gives them a route back to AP,’ Lindsey said.

‘The AP Archive footage, combined with the British Movietone collection, creates an incredible visual journey of the people and events that have shaped our history,’ Lindsey said. ‘At AP we are always astonished at the sheer breadth of footage that we have access to, and the upload to YouTube means that, for the first time, the public can enjoy some of the oldest and most remarkable moments in history.’”

An amazing event, which could only happen in the digital era!

Francesca Catalano – A Brilliant New Director of Cinematography

Thursday, July 2nd, 2015

Francesa Catalano is a new talent to watch – literally!

Yesterday, at the suggestion of Gwendolyn Audrey Foster, I viewed Luca Boni and Marco Ristori’s low budget horror film, Reich of the Dead (2015), shot in Italy on a minimal budget with English speaking actors – including Andrew Harwood Mills, Dan van Husen, Aaron Stielstra, Ally McClelland -  which would be just another program picture were it not for Francesca Catalano’s absolutely superb CinemaScope cinematography, using a RED Scarlet digital camera to achieve some really astonishingly subtle effects.

From what I can gather, this is her first film as a full-fledged DP, although she has worked in second unit and assistant capacities on a number of films. But on the evidence of her work here, she is clearly a major talent, and someone who is ready to step up to fulltime DP work on a major project. Someone smart will grab her soon – she’s got a style all her own, which uses a good deal of available light, and deeply saturated color, and makes this very minor film well worth watching – sort of like one of Val Lewton’s Gothic thrillers from the 1940s.

In particular, her style of cinematography embraces the principles of tenebrism, which as Wikipedia notes,  “is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and was popular during the Baroque period of painting.”

I wrote her to ask for her thoughts, and she responded, in part: “Thanks so much for your note. I really love [the painter] Caravaggio, and I think everyone who wants to be a DP should know or have seen once in their life some of his great work. You’re right, the movie is done with a very low budget and just a few lights, which is the reason that I tried to use natural light as much as possible, to bring out the colors of the location itself, and enhance the costumes.”

Catalano’s work is really one of a kind – as I told her, it is reminiscent of Caravaggio, but also recalls the work of the great Italian DP Mario Bava in its atmospheric and restrained sense of mood and atmosphere – in short, the vision of a true original, who has obviously studied painting seriously, and instinctively understands how to use light and shadow to create a really remarkable series of images on a very limited budget.

American DPs often approach their work as if it’s just another assignment, and expect most of the color grading to be done in post-production, but here, working with minimal resources, Catalano shows how much can be done on the set, using the qualities of the scene itself, and taking real risks with her compositions, to achieve something really extraordinary.

All in all, Catalano has the sensibility of a true artist.

Behind The Scenes – San Andreas Without Special Effects

Sunday, May 31st, 2015

Click here, or above, to see some great “raw” footage from the disaster film San Andreas, courtesy of Sploid.

The tagline on this video is how “ridiculous” San Andreas looks without the finished special effects work, but I think that’s completely off the mark. Just a casual look at this video – with intensive under water work, harnesses pulling stunt performers into the air, gigantic crowd scenes, helicopter stunts and the like, demonstrates once again that movie making is brutally hard work – something that most people simply don’t understand.

You want to experience a really tough work environment? Then crew on a feature film. Every day, day after day, you have to get up, create complex set pieces, haul tons of equipment from place to place, deal with meal penalties, overtime, safety regulations which are more than necessary, all in the service of creating a series of images that will pass by fleetingly on the screen, and then be forgotten. With the typical crew for a film such as this in the hundreds simply during physical production, and a great deal of genuine risk involved, this is nothing to fool around with.

The movie “is what it is,” in one of my least favorite phrases – it’s a big budget disaster movie directed by Brad Peyton, whose other credits include the “aggressively unambitious” Journey 2: The Mysterious Island (2012), which I actually suffered through on Pay Per View in a hotel in California, appropriately enough – and the whole enterprise is designed to do precisely one thing: make money.

But despite that, there’s a considerable amount of craftsmanship that went into the final film, and this video will give you a glimpse of that. Really, it’s a remake of Mark Robson’s 1974 film Earthquake, and in every way an improvement on the original. The special effects are better, and while The Rock is certainly no Sir Laurence Olivier, he doesn’t pretend to be – he’s an action star, and proud of it.

It really isn’t so easy to shoot such an ambitious spectacle – try it sometime, and see for yourself.

Our Attention Span is Now Shorter Than That of a Goldfish

Friday, May 15th, 2015

Yes, we’re so distracted by digital media, that we now can’t pay attention for more than 8 seconds.

As Meredith Engel writes in The New York Daily News, “Humans now have shorter attention spans than goldfish — and we would write more, but you’re probably clicking somewhere else already. The new finding — by, of all companies, Microsoft — suggests that the little fish can concentrate for nine seconds compared to eight for humans.

The researchers looked at three different types of attention: Sustained attention is the ability to focus on one task continuously; selective attention is the ability to respond when distractions come up; and alternating attention is multitasking. To get a measure of focus levels, the researchers asked 2,000 Canadians to take online surveys, play games and have their brain electricity measured.

The researchers found that increased use of digital devices lessens our sustained attention, doesn’t affect our selective attention, and actually improves our alternating attention. That means we are less able to focus on one task, but are getting better at doing multiple tasks at once. The report says that the human attention span has decreased by four seconds since 2000 — and that tech innovations may be blame.” You think?

Maybe that’s why movies are so hyper-edited these days – or maybe they’re part of the cause.

Mike Fleming Jr. Interviews Woody Allen in Deadline

Thursday, May 14th, 2015

Mike Fleming Jr. of Deadline just published a fabulous interview with Woody Allen.

Even with his newest film, Irrational Man, at Cannes, Allen despairs of the current state of the movie business, and I must say I agree with him entirely. He has a deal for a series with Amazon, but doesn’t know what to do with it; he seems genuinely unhappy with all his work, and is only now turning to digital with a sort of “meh – why not?” attitude – “digital is really not cheaper and it’s not faster” – and he gets no pleasure from seeing his films – “I hate them all. None are different, and all are…unsatisfying, when you’re finished” – and never goes back to see them again.

But most of all, like all of us who love the cinema, he sees where Hollywood is heading, and he doesn’t like it one bit. Asked what he thought of the way the industry was heading, Allen responded flatly “well, I think it’s terrible. To me, movies are valuable as an art form and as a wonderful means of popular entertainment. But I think movies have gone terribly wrong. It was much healthier when the studios made a hundred films a year instead of a couple, and the big blockbusters for the most part are big time wasters. I don’t see them. I can see what they are: eardrum-busting time wasters.

I think Hollywood has gone in a disastrous path. It’s terrible. The years of cinema that were great were the ’30s, ’40s, not so much the ’50s…but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the ’50s and ’60s and ’70s. Then it started to turn.

Now it’s just a factory product. They can make a billion dollars on a film and spend hundreds of millions making it. They spend more money on the advertising budget of some of those films than all the profits of everything Bergman, Fellini and Bunuel made on all their films put together in their lifetimes. If you took everything that Bergman made in profit, everything Bunuel made and everything that Fellini made in their lifetimes and added it all together, you wouldn’t equal one weekend with the The Avengers and its $185 million to $200 million.

Hollywood is just commerce, and it’s a shame. There are all these wonderfully gifted actors out there that, as you said before, will be in a film of mine for virtually nothing, union minimum, for what you called validation. Really, it’s because they want to work on something that doesn’t insult their intelligence; they don’t want to have to get in to a suit and practice stunts for two months and then do stunts and then… they want to be in something that doesn’t demean their artistic impulses.”

Much more here in Deadline - read the entire interview – it’s essential.

Interview: Agnès Varda by Violet Lucca

Tuesday, May 12th, 2015

Here’s a fabulous interview with Agnès Varda by Violet Lucca published in Film Comment on May 11, 2015.

As Varda notes, in part, “each film has its history, its beauty or not beauty, and its meaning.  The meaning can change over the years for people who watch the film, because there is a lot of evolution in the sense of history, the sense of understanding.  But when you speak about 35 millimeter or DCP or video, it’s unimportant. The film is what it is, but what is different are the people who made the film.  I change.  I wouldn’t do the same film today about Cuba or about the planters or about women.

Each film has a date glued to it.  And what we try is to overcome the date and make a meaning that can be more than ’62 or ’61 or whatever.  But still, even Cleo from 5 to 7, which deals with a temporal history about being afraid of an illness, being afraid of dying, still has in the film itself a purpose— we include for example the radio broadcasts telling the news of the time. Or in Kung-fu Master!, you have the awareness of AIDS in ’87. I think that we try to escape the limits of history and the time, but still I like to have a point that gives a date to the film, and not make believe that it’s nowhere, no time.”

You can read the rest of this excellent piece by clicking here, or on the image above.

Andrew Wallenstein on The New Video Ecosystem

Saturday, May 9th, 2015

Our viewing habits have changed dramatically, as Andrew Wallenstein notes in Variety.

As he writes, “watching TV used to be so simple, or at least it seems that way in retrospect. First there were just a handful of networks. Then broadcast TV gave way to cable. But even as the number of channels multiplied exponentially, it was all still easy to understand, not to mention incredibly profitable: The combination of advertising and affiliate fees delivered approximately $90 billion annually to a small group of content companies.

That was then, this is now: Advertising revenues and multichannel subscriptions are endangered by significant ratings declines across the cable TV landscape as audiences — particularly younger viewers — get bombarded by a dizzying array of cheaper programming choices delivered over the Internet. Some, like Netflix, charge viewers a monthly fee; others, like many of the ventures pitching advertisers at this week’s NewFronts presentations in New York, are as free as broadcast television.

Many of these ventures are backed by the biggest companies in the tech sector. Which isn’t to say the incumbent entertainment conglomerates are simply sitting on the sidelines while the challengers eat their lunch. To the contrary, Hollywood’s participation in the likes of Sling TV and HBO Now is something akin to baby Kal-El launching out of planet Krypton in Superman: A culture facing the threat of extinction is seeking to find life for itself elsewhere in the solar system.”

A fascinating article, with superb graphics and excellent detail – click here, or above to read it all.

Agnès Varda To Receive Honorary Palme d’Or at Cannes

Saturday, May 9th, 2015

Agnès Varda, here seen shooting The Gleaners and I, will be awarded an Honorary Palme d’Or at Cannes.

As Kinsey Lowe reports in the always-reliable online journal Deadline, “Agnès Varda will be honored for the body of her work at the closing ceremony of this year’s Cannes Film Festival. She’s the first woman selected for this distinction. Only three other directors — Woody Allen, Clint Eastwood and Bernardo Bertolucci — have been recognized in this way for the global impact of their body of work.

From her first film, La Pointe Courte in 1954, Varda’s style reflected elements of what would become the French New Wave although because she preceded that movement her work is more Left Bank in style. Her next feature, Cleo From 5 To 7, was a documentary style look at a singer awaiting results of a biopsy, which foreshadowed Varda’s fascination with human mortality. Her films also tended to focus on women and her subsequent film Vagabond [1985] examined the investigation of the death of a female drifter.

She married film director Jacques Demy in 1962 and after his death in 1990, she made Jacquot de Nantes, about his life and death. In 2000, she used a digital camera to make The Gleaners and I [see still above]. Her 2008 autobiographical work Les plages d’Agnès picked up France’s the César for best documentary. A well-rounded and multifaceted artist, she started out as a photographer. The Los Angeles County Museum of Art held an exhibition entitled Agnes Varda in Californialand in 2013. The show was a sort of reflection of the time Varda spent in Los Angeles in the ’60s and included sculpture, photographs and short films.”

This is an honor that is more than overdue – congratulations to the foremother of the New Wave.

Frame by Frame Chosen As Blog of the Month By ProfNet

Wednesday, May 6th, 2015

Frame by Frame has been chosen as Blog of the Month for May, 2015 by ProfNet.

ProfNet, the academic news professional network, has chosen Frame by Frame as the Blog of the Month for May, 2015. As Melissa Ibarra, writing for ProfNet, noted when she interviewed me about the Frame by Frame blog, every month “I’ll be highlighting one successful blogger on The Blog Blog. By ’successful,’ I mean someone who has been blogging for at least three years and has seen their audience engagement grow significantly. For this month’s feature, we conducted a short interview with Wheeler Winston Dixon, creator of Frame by Frame, a film and media blog:

1. What is your name and title?

Wheeler Winston Dixon, James Ryan Professor of Film Studies, University of Nebraska, Lincoln

2. What is the name and URL of your blog?

Frame by Frameblog.unl.edu/dixon/

3. Which audience does your blog cater to?

People interested in film history, theory, and criticism; media trends; streaming; film preservation; trends in viewing; cultural studies; pop culture; and classic films.

4. What inspired you to create your blog?

It offers a daily outlet to comment on the current film and related media subjects of the day. I keep it loaded with new material on a nearly daily basis. It seemed like there was nothing quite like it out there, and still isn’t.

5. What makes your blog so unique?

I cover everything related to film, television, the Web, streaming, changing patterns of distribution, classic cinema, from an informed perspective rather than a fan based one. It’s academic, but accessible, with multiple links to related materials. And best of all, it’s ad free.

6. What is your ultimate blogging goal?

To keep blogging and writing for as long as I can.

7. If you could choose one piece of advice to give to new bloggers, what would it be? Have you made any mistakes and learned from them?

You must put up fresh material every day. Every. Single. Day. You can take a day or two off for vacation, but you should keep abreast of current media and cinema trends, and blog on them as often as possible. Also, rather than always offering my opinion on something, my real goal is to expose people to as many new and interesting films as I can.

8. How successful has your blog grown to become versus when you first started it? If you could provide simple metrics, that would be great.

I started with only a handful of viewers; now I am used as a source throughout Wikipedia; there are multiple links to my blogs in various other articles; and on good days I get up to 20,000 hits on various stories.

9. How does blogging benefit you?

It provides me with a platform to get my ideas and concepts out on a regular basis, without having to go through regular editorial schedules, in a timely and positive fashion.

10. Any other interesting stories or information you would like to provide?

I’m both surprised and pleased at the success of the blog. It’s listed on blogrolls in major newspapers throughout the world, and I regularly get requests to comment on news stories from members of the traditional media.

Dixon took his expertise in film and media and transformed it into a successful blog. Not only is he extremely knowledgeable in his field, but his passion keeps his blogging fire burning. It’s great to find inspiration through the success of others.

Thanks, Melissa, and all those at ProfNet – much appreciated!

The New Audience: Moviegoing in a Connected World

Sunday, April 26th, 2015

The Academy is also running this interesting evening on May 12, 2015, on the future of cinema in the digital era.

As the program notes explain, “The Academy looks at the past, present and especially the future of moviegoing in this discussion moderated by Krista Smith, Vanity Fair’s executive West Coast editor.  Oscar-nominated producer and Academy member Michael Shamberg conceived and helped shape the program in consultation with the Academy.

Just as the television boom of the 1950s inspired filmmakers to expand the size and shape of the movie screen, today’s filmmakers and studios want to take advantage of the wide variety of platforms on which contemporary audiences view films.

Everything from portable devices to streaming videos competes with the traditional movie theater as the preferred ways to watch films for much of the current generation. The evening will include notable media-savvy contributors who will first offer their unique perspectives on the topic and then participate in a panel discussion moderated by Smith.

Professor Henry Jenkins, the Provost’s Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California, will discuss key historic shifts in motion picture viewing and fandom, describing how our social experiences in and around cinema have shifted over time, and what they look like in today’s networked era.

The president of BuzzFeed Motion Pictures and web pioneer Ze Frank will compare the way today’s digitally oriented audiences relate to content with the more traditional relationship between moviegoers and the theatrical experience.

Team Oscar winner Tayo Amos will speak about what it means to grow up as a digital native filmmaker and media consumer in the world of social media, and explain how social media and the Internet are changing storytelling for her generation.

The final speaker will be Oscar-winning filmmaker John Lasseter, the chief creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor for Walt Disney Imagineering. The evening will also include archival footage, courtesy of the Academy Film Archive, showcasing early audiences interacting with movies and a look at past predictions of moviegoing in the 21st century.

Again, admission is just $5, and this promises to be an informative and deeply interesting evening.

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. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or 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/