At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.
Archive for the ‘New Technology’ Category
As Paul Shirey reports on the website JoBlo, “director Martin Scorsese has already created a legacy of films that will long be remembered, revered, studied, and admired for a long time [ . . .] With the ever-changing landscape of film seemingly at a crossroads of change, particularly in the mass affordability and availability of filmmaking tools, the world of cinema is entering a revolutionary period, which Scorsese has taken heed of. As such, the director has penned an open letter to his youngest daughter, Francesca, about his optimism for the art of film, but with the caveat of remembering what’s most important in applying the craft. It’s an inspiring and thoughtful piece, especially for budding filmmakers.
I’m writing this letter to you about the future. I’m looking at it through the lens of my world. Through the lens of cinema, which has been at the center of that world.
For the last few years, I’ve realized that the idea of cinema that I grew up with, that’s there in the movies I’ve been showing you since you were a child, and that was thriving when I started making pictures, is coming to a close. I’m not referring to the films that have already been made. I’m referring to the ones that are to come.
I don’t mean to be despairing. I’m not writing these words in a spirit of defeat. On the contrary, I think the future is bright.
We always knew that the movies were a business, and that the art of cinema was made possible because it aligned with business conditions. None of us who started in the 60s and 70s had any illusions on that front. We knew that we would have to work hard to protect what we loved. We also knew that we might have to go through some rough periods. And I suppose we realized, on some level, that we might face a time when every inconvenient or unpredictable element in the moviemaking process would be minimized, maybe even eliminated. The most unpredictable element of all? Cinema. And the people who make it.
I don’t want to repeat what has been said and written by so many others before me, about all the changes in the business, and I’m heartened by the exceptions to the overall trend in moviemaking – Wes Anderson, Richard Linklater, David Fincher, Alexander Payne, the Coen Brothers, James Gray and Paul Thomas Anderson are all managing to get pictures made, and Paul not only got The Master made in 70mm, he even got it shown that way in a few cities. Anyone who cares about cinema should be thankful.
And I’m also moved by the artists who are continuing to get their pictures made all over the world, in France, in South Korea, in England, in Japan, in Africa. It’s getting harder all the time, but they’re getting the films done. But I don’t think I’m being pessimistic when I say that the art of cinema and the movie business are now at a crossroads.
Audio-visual entertainment and what we know as cinema – moving pictures conceived by individuals – appear to be headed in different directions. In the future, you’ll probably see less and less of what we recognize as cinema on multiplex screens and more and more of it in smaller theaters, online, and, I suppose, in spaces and circumstances that I can’t predict.
So why is the future so bright? Because for the very first time in the history of the art form, movies really can be made for very little money [emphasis added]. This was unheard of when I was growing up, and extremely low budget movies have always been the exception rather than the rule. Now, it’s the reverse. You can get beautiful images with affordable cameras. You can record sound. You can edit and mix and color-correct at home. This has all come to pass.
But with all the attention paid to the machinery of making movies and to the advances in technology that have led to this revolution in moviemaking, there is one important thing to remember: the tools don’t make the movie, you make the movie. It’s freeing to pick up a camera and start shooting and then put it together with Final Cut Pro. Making a movie – the one you need to make – is something else. There are no shortcuts.
If John Cassavetes, my friend and mentor, were alive today, he would certainly be using all the equipment that’s available. But he would be saying the same things he always said – you have to be absolutely dedicated to the work, you have to give everything of yourself, and you have to protect the spark of connection that drove you to make the picture in the first place.
You have to protect it with your life. In the past, because making movies was so expensive, we had to protect against exhaustion and compromise. In the future, you’ll have to steel yourself against something else: the temptation to go with the flow, and allow the movie to drift and float away.
This isn’t just a matter of cinema. There are no shortcuts to anything. I’m not saying that everything has to be difficult. I’m saying that the voice that sparks you is your voice – that’s the inner light, as the Quakers put it.
That’s you. That’s the truth.
All my love, Dad”
Where to watch free movies online? Let’s get you started. We have listed here 600 quality films that you can watch online. The collection is divided into the following categories: Comedy & Drama; Film Noir, Horror & Hitchcock; Westerns & John Wayne; Silent Films; Documentaries, and Animation.
A Farewell to Arms – Free – Gary Cooper and Helen Hayes star in film based on famous novel by Ernest Hemingway. (1932)
A Matter of Life and Death – Free – Romantic fantasy film created by the British writing-directing-producing team of Michael Powell and Emeric Pressburger, and set in England during the Second World War. It stars David Niven, Roger Livesey, Kim Hunter, Marius Goring and Raymond Massey. (1946)
A Star is Born – Free – Janet Gaynor portrays Esther Blodgett, a starry-eyed small town girl dreams of making it in Hollywood. (1937)
Adventures of Robinson Crusoe – Free – The classic novel by Daniel Defoe gets adapted by the great Luis Buñuel. (1954)
Alexander Nevsky – Free – A historical drama film directed by the great Russian filmmaker Sergei Eisenstein. (1938)
An Occurrence at Owl Creek Bridge – Free – French short film directed by Robert Enrico; a hit at the Cannes Film Festival and the Academy Awards. (1962)
Andrei Rublev – Free – Andrei Tarkovsky’s film charting life of the great icon painter. Click CC for subtitles. Part 2 here. (1966)
Angel on My Shoulder – Free – A gangster comedy starring Claude Rains and Paul Muni. (1946)
As You Like It – Free – It’s Laurence Olivier’s earliest Shakespeare performance on film. (1936)
Becky Sharp – Free – The first feature film to use three-strip Technicolor film, or, put differently, the first real color film. (1935).
Bottle Rocket – Free – Wes Anderson’s first short film, which became the basis for his first feature film by the same name. (1992)
Breaking the Code – Free – A biography of the English mathematician Alan Turing, who was one of the inventors of the digital computer and one of the key figures in the breaking of the Enigma code. Stars Derek Jacobi. (1996)
Cannibal! The Musical – Free – Black comedy by Trey Parker and Matt Stone, the makers of South Park. (1993)
Captain Kidd – Free – Charles Laughton and John Carradine star in film with drama on the high seas (1945).
Castello Cavalcanti – Free – Wes Anderson’s short film takes place in a hamlet tucked away somewhere in Italy. Features Jason Schwartzman, star of Anderson’s 1998 breakout Rushmore. (2013)
Charade – Free – Starring Cary Grant and Audrey Hepburn. Part romance, comedy and thriller, this public domain film has been called “the best Hitchcock movie that Hitchcock never made. (1963)
Chimes at Midnight - Free – Directed by Orson Welles, the film focuses on Shakespeare’s recurring character Sir John Falstaff and his relationship with another character Prince Hal. (1966)
Cold Sweat – Free – Charles Bronson, Liv Ullman, James Mason, and Jill Ireland star in this action packed movie about a ruthless drug runner who holds a man’s family hostage. (1970)
Cyrano De Bergerac – Free – Michael Gordon’s film based on the classic French tale. (1950)
Darwin – Free – 53-minute exploration of the life and work of Charles Darwin by Peter Greenaway. (1993)
Diary – Free – Short film by Tim Hetherington (director of Restrepo) that reflects on his ten years of war reporting. (2010)
Doodlebug – Free – One of Christopher Nolan’s early short films. Made in 1997, released in 2003.
Dreams That Money Can Buy – Free – A surrealist film by Man Ray, Marcel Duchamp, Alexander Calder, Fernand Léger & Hans Richter. (1947)
Duet for Cannibals – Free – A tale of emotional cannibalism by Susan Sontag. A pair of psychological & sexual cannibals come close to devouring a younger couple. (1969)
Eat, Sleep & Kiss – Free – Three silent anti-films by Andy Warhol. (1963-1964)
Evidence – Free – From the maker of Koyaanisqatsi, a short film about kids watching cartoons (1995).
Fear and Desire – Free – An uncut print of Stanley Kubrick’s “lost” early film. (1953)
Five Minutes to Live – Free – Amazing bank heist movie stars Johnny Cash, Vic Tayback, Ron Howard, and Merle Travis. (1961)
Flamenco at 5:15 – Free – Oscar-winning short film about a flamenco dance class given to senior students. (1983)
and many more.
“Publishing is not evolving. Publishing is going away. Because the word ‘publishing’ means a cadre of professionals who are taking on the incredible difficulty and complexity and expense of making something public. That’s not a job anymore. That’s a button. There’s a button that says ‘publish,’ and when you press it, you’re done.” — Clay Shirky
“Publishing is in crisis. Publishing has always been in crisis, but today’s version, fuelled by the digital boom, has some frightening symptoms. Trade publishers see their mid-lists hollowed, academic customers face budgetary pressures from higher education spending cuts, and educational publishers encounter increased competition across their markets. But over the centuries, forced change has been the norm for publishers. Somehow, they continue to adapt.
This ground-breaking study, the first of its kind, outlines a theory of publishing that allows publishing houses to focus on their core competencies in difficult times while building a broader notion of what they are capable of. Tracing the history of publishing from the press works of fifteenth-century Germany to twenty-first-century Silicon Valley, via Venice, Beijing, Paris and London, The Content Machine offers a new understanding of media and literature, analyzing their many connections to technology and history. In answer to those who insist that publishing has no future in a digital age, this book gives a rejuvenated identity to this ever-changing industry and demonstrates how it can survive and thrive in a period of unprecedented challenges.” — from the book’s descriptive material.
As he notes, “What looks better… FILM or DIGITAL? We may never know the answer to that question, but here are some side by side comparisons of a Canon 5d (Full Sensor) digital camera and a Canon 7E (35mm) film camera. Please weigh in on the discussion and let us know what you think about the last frame, is it film or digital?”
Canon 5d Mark II (digital) ISO 400
Canon 7e (35mm film) Fuji 400 Stock
SALT SHAKER \ 50mm Canon \ f22 \ 2 sec
DRIVING on ROAD \ 12-24mm Tokina \ f22 \ 2.5 sec (ND Filter)
MAGNETIC PUTTY \ 100mm Canon Macro \ f3.2 \ 1/25
PORTRAIT \ 100mm Canon Macro \ f5 \ 1/80
STEAM KETTLE \ 50mm Canon \ f2 \ 1/60
STEEL WOOL BURNING \ 100mm Canon Macro \ f2.8 \ .8 sec
SLAMDANCE \ 50mm Canon \ f5.6 \ 2 sec
STAR TREK Transporter \ 50mm Canon \ f14 \ 2 sec
As everyone knows, series regular Paul Walker was killed in a car crash two weeks ago, and since then Universal has been quietly trying to figure out how to save the film, and the series. Sara Nathan, writing in The MailOnline, reports that “Paul’s brother Cody, 25, who has worked as a stuntman, is set to take his place in the final scenes. According to a source close to the production, producers have been in-and-out of meetings since the star’s death, trying to work out a way to fill his void.’They soon realized they needed someone who looked like Paul to finish the movie and that’s when they approached his nearly identical brother, Cody,’ claims the source.’They can shoot Cody from behind and at distance and it it’s a shot they need Paul’s face in close up they can CGI it later on,’ explained the source.”
The death of a major actor during filming on a movie has certainly happened before — see this link — but what might be nice is if the script is reworked so that Walker’s character, Brian O’Connor, is sidelined by a minor accident within the film, and the team decides to call on his brother to help out with whatever scheme they’re up to in this episode. Cody Walker, an experienced stuntman, could easily adapt to a franchise like the Fast and Furious films, which is little more than nonstop action.
This would give Universal a chance to showcase Cody, with perhaps a scene in which Paul – through the extensive use of CGI – decides at the end to hang it up, walks away, and his brother takes over his slot in the series. That way, “Brian O’Connor” remains alive at the end of the film, just in retirement from the fast life, and reality isn’t allowed to intrude on what is essentially a fantasy series. It makes a great deal of sense – as when George Sanders handed over the Falcon series of detective thrillers in the 1940s to his brother, Tom Conway. I’m sure that Cody Walker will feel more than a little strange doubling for his brother, Paul, and I hope that he strikes a deal with the studio that makes him an instant multi-millionaire for his services.
More and more, just a few canonical classics, such as Michael Curtiz’s Casablanca (1942) or Victor Fleming’s Gone With The Wind (1939), are representing the entire output of an era to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s?
For the most part, these films will be forgotten, and their makers with them. In this book, I argue that even obvious historical markers such as Alfred Hitchcock’s Psycho (1960) represent shockingly unknown territory for the majority of today’s younger viewers; and yet once exposed to these films, they are enthralled by them. In the 1980s and 1990s, the more adventurous video stores served a vital function as annals of classic cinema. Today, those stores are gone and the days of this kind of browsing are over.
This collection of essays aims to highlight some of the lesser-known films of the past – the titles that are being pushed aside and forgotten in today’s oversaturation of the present. The work is divided into four sections, rehabilitating the films and filmmakers who have created some of the most memorable phantom visions of the past century, but who, for whatever reason, have not successfully made the jump into the contemporary consciousness.
“Few have explored the cinematic margins as thoroughly as Wheeler Winston Dixon, and few match his talent for finding and celebrating the secret glories of overlooked, undervalued films. Gliding from Peter Bogdanovich to Myra Breckinridge by way of Robert Bresson, this is an exciting and ever-surprising collection.” —David Sterritt, Columbia University and Chair, National Society of Film Critics
“The marginalization of important films is a constant threat in the age of the New Hollywood blockbuster, with commercial cinema reduced to a cheap thrill and the audience conceived as adolescents. Dixon’s thoughtful remarks on neglected films testify not only to his own fine sensibility, but to the urgency of the concerns he sets before us.” —Christopher Sharrett, Seton Hall University
As I noted, “Noël Coward once observed that ‘television is for appearing on – not for looking at,’ but as the twenty-first century takes firm hold of our collective consciousness, it seems that everyone has become, in one form or another, a spectator of the events of everyday existence, whether at home or in the cinema. Reality shows and YouTube videos offer the prospect of instant stardom for the ‘lucky’ few whose videos ‘go viral,’ but for every video posted, there are literally millions of viewers who would rather watch than participate in the production of images.
It has become so much easier – and potentially safer – to stay home and let the images come to us, rather than to go out to a public place and view them with a crowd of strangers. Indeed, this is the era of what the theorist Gabriele Pedullà has described as “the spectator’s extreme volatility” (original emphasis). Images are anywhere, and everywhere, and there seems to be no escaping them, even if we wanted to, and weren’t constantly returning to our various digital screens for another visual ‘fix.’ And we aren’t only watching movies and videos; we’re viewing paintings, sculptures, drawings, live video camera feeds; we like to watch, just as Chauncey Gardiner did in Hal Ashby’s Being There (1979). Life was ‘real’ for Chauncey only if it was on television; for us, too, the image has become more real than life itself.
With lightweight portable tablets, smartphones, and other electronic devices proliferating rapidly in our culture, when one looks at images of family gatherings in 2013, one is struck by the fact that everyone is watching something on their own portable image device, and ignoring each other; we’re all watching each other all the time, but on some sort of electronic device, rather than face to face, and we have little time, thus, for any real communication or intimacy. We have been gradually transformed from a culture of human communication into a mediated society in which simulacrum images of the real have replaced human interaction. We’ve been both spectators and participants in the process of image production since the dawn of imagistic representation, but now it seems that more and more, we are content to simply watch anything that’s on, removing ourselves from existence.”
Dave Eggers is a brilliant novelist, and his previous works have certainly captured my imagination, but with his newest book, The Circle, to be published October 8th, he hits a note that particularly resonates in our “everywhere-at-once” culture. The protagonist, Mae, goes to work for a large social networking colossus, and while she is initially impressed by the splendor and grandeur of her corporate surroundings, she soon finds herself being seduced into a culture of continual updates, shared personal information, and an endless chain of “social connections” and roving video cameras that render humanity virtually obsolete.
As with George Orwell’s 1984, which The Circle is often compared to, but also Joseph Heller’s brilliant 1974 novel Something Happened, which has somehow disappeared from the canon of 20th century fiction, and is perhaps the most unsparing exposé of corporate culture the literary world has ever produced, The Circle unsparingly documents the false bonhomie, the lies, the surface “friendliness” that lies at thedark heart of corporate culture, where people are almost instantly disposable unless they go along with the group, as in 1984.
The New York Times Magazine published a lengthy excerpt from the book this past Sunday, and thankfully, it’s online, so I can link to it both here, and on the image above. It’s supposed to be fiction, of course, but it’s all too close to the truth in the way that contemporary corporations treat their employees, as endless extensions of their culture, while denying them a life of their own. The excerpt begins with these words:
“My God, Mae thought. It’s heaven. The campus was vast and rambling, wild with Pacific color, and yet the smallest detail had been carefully considered, shaped by the most eloquent hands. On land that had once been a shipyard, then a drive-in movie theater, then a flea market, then blight, there were now soft green hills and a Calatrava fountain. And a picnic area, with tables arranged in concentric circles. And tennis courts, clay and grass. And a volleyball court, where tiny children from the company’s day care center were running, squealing, weaving like water. Amid all this was a workplace, too, 400 acres of brushed steel and glass on the headquarters of the most influential company in the world. The sky above was spotless and blue.
Mae was making her way through all of this, walking from the parking lot to the main hall, trying to look as if she belonged. The walkway wound around lemon and orange trees, and its quiet red cobblestones were replaced, occasionally, by tiles with imploring messages of inspiration. ‘Dream,’ one said, the word laser-cut into the stone. ‘Participate,’ said another. There were dozens: ‘Find Community.’ ‘Innovate.’ ‘Imagine.’ She just missed stepping on the hand of a young man in a gray jumpsuit; he was installing a new stone that said, ‘Breathe.’
On a sunny Monday in June, Mae stopped in front of the main door, standing below the logo etched into the glass above. Though the company was less than six years old, its name and logo — a circle surrounding a knitted grid, with a small ‘c’ in the center — were already among the best known in the world. There were more than 10,000 employees on this, the main campus, but the Circle had offices all over the globe and was hiring hundreds of gifted young minds every week. It had been voted the world’s most admired company four years running.”
Of course, many of the reviewers thus far have remarked on the implicit irony of reading a book about social networking, and then immediately going on to Twitter or Facebook to “share” the news with others. But since I have no Facebook account, and don’t Tweet, I’ll confine my comments to this blog, which is more than enough. I’m more a fan of history than fiction, but this is fiction that is also the present truth, if only we take a closer look at it.
You can read the rest of the excerpt by clicking here; better yet, buy the book and zoom through the whole thing. It’s a frightening, prophetic page turner, and you literally won’t be able to put The Circle down; it’s essential reading.
Spacey, who gave the keynote James MacTaggart Memorial Lecture at the Edinburgh Television Festival on August 23rd, as reported in The Guardian — one of my favorite newspapers — told the audience that “clearly the success of the Netflix model – releasing the entire season of House Of Cards at once – has proved one thing: the audience wants control. They want freedom. If they want to binge – as they’ve been doing on House Of Cards – then we should let them binge. [This] demonstrated that we have learned the lesson that the music industry didn’t learn – give people what they want, when they want it, in the form they want it in, at a reasonable price, and they’ll more likely pay for it rather than steal it. If you watch a TV show on your iPad is it no longer a TV show? The device and length are irrelevant. For kids growing up now there’s no difference watching Avatar on an iPad or watching YouTube on a TV and watching Game Of Thrones on their computer. It’s all content. It’s all story.”
About the Author
Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or firstname.lastname@example.org.
- Academic Conferences
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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/