Archive for the ‘New Technology’ Category
Physical books have numerous advantages over their Kindle or Nook versions. As Naomi S. Baron noted in a recent article in The Washington Post, “what fascinates me is how many people – from teenagers to millennials to those of a certain age – prefer print when reading both for pleasure and for school or work.
Drawing examples from my own research, some of the reasons are aesthetic (“charm of actually turning pages’ and ’scent of a new book’). Others involve a sense of accomplishment (‘able to see how much I read’), ease of annotation (‘I can write on the pages’), and navigation (‘easy to locate where I was’). In contrast, I hear abundant complaints about eye strain and headaches when using screens.
Much of what students liked about reading print involved their minds. They said ‘it’s easier to focus,’ ‘my spatial memory works best,’ and ‘feel like the content sticks in my head more easily.’ Some also acknowledged they took more time with printed text and read more carefully – not really a surprise, since digital screens encourage scrolling and hasten us along to grab the next Web site or tweet.
But the real nail in the coffin for one-size-fits-all electronic reading is concentration. Over 92 percent of those I surveyed said they concentrate best when reading a hard copy. The explanation is hardly rocket science. When a digital device has an Internet connection, it’s hard to resist the temptation to jump ship: I’ll just respond to that text I heard come in, check the headlines, order those boots that are on sale. Readers are human. If you dangle distractions in front of us (or if we know they are just a click or swipe away), it’s hard not to take the bait.”
As Michael Hiltzik writes in The Los Angeles Times today, “Will McKinley, a New York film writer, is dying to get his hands on a copy of Alias Nick Beal, a 1949 film noir starring Ray Milland as a satanic gangster. For classic film blogger Nora Fiore, the Grail might be The Wild Party (1929), the first talkie to star 1920’s “It” girl Clara Bow, directed by the pioneering female director Dorothy Arzner.
Film critic Leonard Maltin says he’d like to score a viewing of Hotel Haywire a 1937 screwball comedy written by the great comic director Preston Sturges. Produced by Paramount Studios, these are all among 700 titles assumed to be nestled in the vaults of Universal Pictures, which inherited Paramount’s 1930s and 1940s film archive from its forebear MCA, which acquired the collection in 1958. They’re frustratingly near at hand but out of reach of film fans and cinephiles.
Like most of the other major studios, Universal is grappling with the challenging economics of making more of this hoard accessible to the public on DVD, video on demand or streaming video. Studios have come to realize that there’s not only marketable value in the films, but publicity value in performing as responsible stewards of cultural assets.”
I, too, would love to see a legitimate copy of Alias Nick Beal, one of my favorite noirs, but it’s probably not going to happen anytime soon. To date, Universal has done almost nothing in this regard. As just one example, I’ve been waiting for years for a DVD of William Castle’s The Night Walker (Universal, 1964), which, as Wikipedia notes, is “one of the last black and white theatrical features released by Universal Pictures, and Barbara Stanwyck’s last motion picture, [but] The Night Walker is one of the few William Castle films from his ‘horror’ period that is unavailable on DVD.”
Yet Hiltzik’s article demonstrates that there’s clearly a market for these older films, beyond the canonical classics. As George Feltenstein, who heads the Warner Archive imprint of on-demand DVDs of classic films notes, the WB service, launched in March 2009 with 150 titles, has proved “far more successful than we even dreamed. I thought that all the studios would follow in our footsteps, but nobody has been as comprehensive as we’ve been.” And that’s putting it mildly – to date, no other major studio has stepped up to the plate with the same commitment as WB has.
This isn’t altruism. As Feltenstein candidly told Hiltzik, “‘my job is to monetize that content, make it available to the largest number of people possible and do so profitably.’ That gives [Warner Archive] a window into values that others might miss. Take B-movie westerns made in the 1940s and 1950s that landed in the Warners vault. To Allied Artists and Lorimar, their producers, ‘these films were worthless and they said it’s OK to let them rot,’ Feltenstein [said].
Instead, Warner Archives packaged them into DVD collections, ‘and they’ve all been nicely profitable.’ Feltenstein says Warners is releasing 30 more titles to its manufacturing-on-demand library every month. ‘It’s growing precipitously and there’s no end in sight.’”
Yet much more work clearly needs to be done, and especially since all films made before 1950 were shot on cellulose nitrate film, which decomposes rapidly and is highly flammable, things have to move along at a much faster clip if we’re going to preserve what’s left of our cinematic heritage. I’ve been noting this for a long time, in any number of articles, but even though Warner Archive is leading the pack, there’s plenty of films left that need a solid DVD release – not streaming, thank you, but on a DVD, which can be permanently kept in one’s collection.
Science fiction films have been predicting the future since Georges Méliès’s A Trip To The Moon in 1902, and as with that film, as much as they might get things right, they often err in describing what the future holds.
In this short video, edited and photographed by Curt Bright, I talk about some of the other films that have shaped our consciousness of the future, to mark the release today of Ridley Scott’s new film The Martian, such as Things To Come (1936), Metropolis (1927), Blade Runner (1982), 2001: A Space Odyssey (1968), and Robinson Crusoe on Mars (1964).
While these visions of the future are often fanciful, sometimes they hit the mark, as with hologram projection, talking computers, two-way television and numerous other technological advances. So click here, or on the link above to take a quick trip into the cinematic future, and remember, as Criswell famously noted, “we are all interested in the future, for that is where you and I will spend the rest of our lives.”
Working with Curt Bright, I have a new video out today on comic book movies – specifically, where they’re headed in the next five years. Disney, DC, and Marvel (which Disney owns) are all battling each other at the box office to create the most effective brand domination, but as you will see from the video, I think Marvel has a real head start, and probably will remain the major force in comic book films for the immediate future – even if DC is planning out to 2020. I just don’t think DC has the depth of characters that Marvel has in their “universe,” and that’s really where the problem starts – at least for DC.
With DC, you have Batman, Superman, Wonder Woman, The Flash, Green Lantern, and that’s about it – and a sure sign of this early exhaustion of possibilities is that DC is already reaching into the ranks of their villains for the upcoming Suicide Squad, which is an attempt to broaden their character horizons. The next stop after that is parody, and we’re already perilously close to that with some of the current crop of superhero / comic book films, such as the recent Green Lantern film, which did little to help the franchise, to put it kindly.
For the most part, though, it seems all too predictable – another Star Wars film every year for the next fifteen years from Disney, DC dutifully rolling out their own product, while Marvel does the same. And now Disney is doing a live-action Winnie The Pooh reboot, to be written and directed by Alex Ross Perry, while Godzilla is also being ramped up for yet another go-round, and the Maze Runner series, as well as the Hunger Games series, continue on for what is supposedly their final films – but are they really? Franchises exist to be extended interminably – just ask James Bond.
In the continuing debate between film vs. digital, director Alex Ross Perry, and his superbly gifted DP Sean Price Williams weigh in on why shooting on film gives you an undefinable edge over the rest of the field – provided, of course, that your film has some actual content. As Perry notes in an op-ed piece in Indiewire, in part:
“It is quite simple and affordable to shoot a movie of almost any budget on actual, honest to god celluloid. Perhaps I’m not the best authority on the subject; I have never actually shot a film on a digital format. Queen of Earth is my fourth film; the first, Impolex, was made in 2008 with a $15,000 budget and shot on Fuji 16mm film. So ever since then I’ve been getting asked, and really earnestly explaining in the hopes that my words mean something: how?
Impolex was shot in seven days. I think we bought 40 rolls of film. However many it was, the total was something like $2,500 and processing was another $3,000 or so. We got the Aaton camera for free because my cinematographer, Sean Price Williams, worked for the late great Albert Maysles and the company had all this older equipment just sitting around that nobody used or cared about. This is an important thing to remember when planning to shoot on film: practically nobody else wants that equipment so if you can’t get it for free, you should be able to get it for basically nothing.
The same cannot be said for whatever new Red camera is in high demand – if you won’t pay $500 a day for it, somebody else will. For a 16mm camera, I’d be surprised if anybody paid $500 for a whole week. So if you are making a small independent film with a shoot of about two weeks, the film stock, camera package and processing could be as low as five to six thousand dollars . . .
The numbers we landed on for shooting film on Queen of Earth were partially borrowed from producer Joe Swanberg’s identical production budget and model for his own Super 16mm film Happy Christmas . . . we bought $11,000 worth of Kodak Super 16mm and then paid close to $15,000 to develop and scan it.
Our camera and lighting package was about $10,000 but you’d absolutely be paying the same if renting a fancy pants HD camera and also you have to buy a bunch of hard drives and have some person on set whose sole job is to move stuff off of memory cards or whatever and deal with the footage all day.
That’s a whole extra mouth to feed, bed to rent, seat in the van, and so on. It adds up and the ultimate difference between film and digital on a production of this size isn’t 5:1. It’s probably more like 4:3 when you factor in all the nonsense you are paying for regardless.
Color correction will cost the same. Once the footage is scanned and edited, it doesn’t matter what the origin was, except now you aren’t paying some tech nerd in a post house several thousand dollars to press buttons and adjust knobs in order to retroactively add an visual aesthetic to your movie that realistically, you could have just spent the same amount of money on set and had that texture and experience be genuine instead of inauthentic.
Generally people really don’t seem to connect with that process, and it doesn’t matter if you shot on old converted 35mm lenses either.
The eye won’t connect with digital trickery the same way it will with tried and true imperfect film grain. It may look great and interesting in its own way, as many filmmakers have proven starting, for me, with Zodiac, but at these budget levels, you essentially are saving a little money on the format and then spending it later on somebody who works on your movie for like three days and probably gets paid more than most of the crew who woke up at seven am and worked for twelve hours.
My point is that shooting on film is like anything: if it is of importance you will find a way to make it happen. Nobody will know that you were able to buy an extra two days of filming by shooting on an Alexa but they will know if you are the rare independent film that was shot on actual film. You definitely will have to make a compromise or two but what you get in return is an instant and overwhelmingly present aesthetic that will do more in carrying the audience to whatever place you want them to be than just about anything else money can buy.”
I don’t usually comment on commercials, but this one is really powerful – with a minimal voiceover from actor Forest Whitaker, “two cars collide in a horrific crash when one swerves into the other lane. The scene reverses and you see a mom posting an update while she drives. Just before she crashes, she looks back to tell her daughter everyone loves the picture she posted of her. AT&T wants you to know that looking at your phone can wait. No post is worth a life.”
As Keith Stuart notes in The Guardian, “It’s been three years since The Chinese Room, a tiny studio currently working out of a modest office building in Brighton, started work on . Back then, co-founder Dan Pinchbeck had the idea of creating a game about the end of the world, but from a very different perspective than titles like Fallout and Last of Us, with their grand visions of ruined American cities. Influenced by science fiction writers John Wyndham and John Christopher, he and his team became interested in the idea of what Brian Aldiss once called the ‘cosy catastrophe’ – a resolutely British idea of the apocalypse, containing very little violence or explosive trauma, experienced by small communities rather than mass populations.
‘We talked about it, and we said, well, what is the important thing about the end of the world?’ says Pinchbeck. ‘It’s not about cities being consumed in fire. Take the movie 2012 – the whole of California vanishes and you don’t feel a thing, it’s just ridiculous. The apocalypse is about people, and the connections between them. What’s really touching is parents waiting for their kids to come home – and what they’re worried about is that the buses aren’t running, not that the world is ending. It’s the little moments that get you.’
The game presents a fictitious Shropshire village named Yaughton which is rendered in quite staggering physical detail, using Crytek’s Cryengine technology. Everybody’s Gone to the Rapture, then, takes place in a small valley in Shropshire in the summer of 1984. Viewed from the first-person perspective, the player is simply dropped at the outskirts of the village, with no instructions and no idea about what’s happened. From here, you are free to explore the environment, investigating empty houses, shops and barns, looking for clues. There are notes to read, radio recordings to listen to and computer screens to study. The first thing you interact with is a Commodore 64, its flickering monitor showing weird footage and repeating some sort of code, like a numbers station.
It is, in some ways, a natural evolution of the sub-genre that Chinese Room helped found with its debut game Dear Esther, a hugely atmospheric mystery set on a remote Hebridean island. The style came to prominence in 2013 with the title Gone Home, about a woman returning to her family home and finding it deserted. Often termed ‘notgames’ or ‘walking simulators’, these narrative adventures eschew familiar ludic elements like fighting and level progression, instead providing a single location and a set of environmental clues with which to uncover the story.
The genre has proved weirdly controversial, prompting angry dismissals from some gamers, who even question whether titles like Gone Home and Dear Esther are games at all. The Chinese Room team aren’t worried. ‘There’s a long tradition in games, of sections where not much happens. I think the best part of the whole Dead Space trilogy is the return to the Ishimura where you spend 45 minutes just thinking: “OK, when’s it going to happen?” That’s the scariest part.’”
You can read much more on the end of the world – and the end of people – in Gwendolyn Audrey Foster’s recent book Hoarders, Doomsday Preppers and The Culture of the Apocalypse; a fascinating look at the whole concept of de-peopled spaces, and how it’s so hard for us to imagine a world without us – something that will someday surely happen. Foster’s book, and this game, both share a common concept; the visualization of a world in which human agency no longer exists.
As Cecile Daurat reports on the Bloomberg News website, “Walt Disney Co.’s darkened outlook dragged down media stocks from Time Warner Inc. to 21st Century Fox Inc. and CBS Corp.
Disney, which through Tuesday had been the top-performing stock in the Dow Jones Industrial Average this year with a record of stellar sales and profit, surprised investors by posting lower-than-estimated quarterly revenue and cutting its forecast for cable-television profit.
Disney’s shares slumped as much as 10 percent — the most since August 2011 — after the results, while Fox and CBS Corp., which both report earnings after the close, dropped more than 5 percent. Time Warner and Scripps Networks Interactive Inc., the owner of Food Network and HGTV, also fell even though they beat second-quarter earnings predictions. Overall, the Bloomberg U.S. Media Index had its biggest intraday decline in almost four years.
‘Investors are definitely reading across the Disney earnings and extrapolating it to the broader media sector,’ said Paul Sweeney, an analyst at Bloomberg Intelligence.
Disney is facing two challenges of it own: fewer subscribers at cable networks such as ESPN, its biggest business, and foreign exchange losses from the strong dollar that are hurting both cable TV and international theme parks.
But the concerns over ESPN’s growth and comments on affiliate revenue from pay-TV providers, which Disney now expects to fall short of previous forecasts, may be a gauge for other media companies.
Both Time Warner and Fox are doubling down on exclusive live sports programming to demand higher fees for their channels from pay-TV distributors. And those higher fees have helped them fuel earnings growth in recent quarters. Investors will get an update on Fox and CBS, which has also pushed into sports programming, when the companies post results.
Time Warner’s decision to keep its full-year profit forecast after second-quarter earnings per share beat analysts’ predictions by a wide margin also weighed on the stock Wednesday. Maintaining the guidance suggested estimates for the second half may be too high, Sweeney said. Shares of the New York-based owner of HBO were down 7 percent to $81.49 at 12:55 p.m. in New York.
Discovery, which dropped 9.5 percent to $29.74, posted results that fell short of sales and earnings estimates Wednesday. The cable-TV company still increased its outlook for annual earnings-per-share growth, excluding foreign exchanges.
Cable-TV stocks like Scripps and Viacom Inc. suffered after Disney cut its forecast for cable profit. For fiscal 2013 to 2016, the entertainment giant had promised profit growth in the high-single-digit range. Now, with just five quarters to go, the company expects a mid-single-digit gain for the division over that time frame.”
This is sort of a late wake-up call to something that has been building for a long time; look at the frame grabbed chart at the top (click here, on the image above, to see a Bloomberg video on this whole topic, with some really sharp analysis). Netflix is going through the roof with subscribers, while traditional media – i.e. television and cable – is essentially flatlining.
This has been coming for a long time, and it’s sort of a seismic shock to the system for all involved, but Netflix is really taking over the whole viewing sphere, allowing people to see whatever they want, whenever they want, wherever they want, and also to cut free of the “bundling” that cable systems force on customers, paying for what really want and nothing else.
This is just the first shot in a new system of distribution that has been building for quite a while; I’m really surprised it has taken traditional media this long to notice that frankly, they’re in long term trouble. There’s no way this trend is turning around, and what happens next is -as far as I can see- that Netflix gets bigger and bigger, and traditional media becomes less and less relevant to millennials.
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 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.
- Nitrate Film Makes A Comeback
- Where Do Dead Scripts Go When They Refuse to Die?
- Wonder Woman Trailer Drops at Comic-Con
- The Memory of the World
- Michelangelo Antonioni’s “I Vinti” (“The Vanquished”) – 1952
- The Mysterious Videos of Bill Domonkos
- The Academy Finally Starts To Get The Message
- New Article: “Rockin’ the Boat’s a Drag. You Gotta Sink the Boat!”: Robert Downey Sr.’s Anarchist Cinema
- Denis Côté’s Boris sans Béatrice (2016)
- New Film – “Galaxie” (2016)
- Gwendolyn Audrey Foster on Masaki Kobayashi’s “Kwaidan” (1964)
- Gwendolyn Audrey Foster’s New Film “Not” (2016)
- The VR “Dream Park”
- Glenn Erickson on Cy Endfield’s Try And Get Me!
- Lytro Experimental Light-Field Camera Debuts
- Frame By Frame: Things To ComeUNL Film Studies Professor Wheeler Winston Dixon talks about the British science-fiction classic written by H.G. Wells. […]
- Frame By Frame: Val LewtonUNL Film Studies Professor Wheeler Winston Dixon scares up the films of 1940s horror movie producer Val Lewton. […]
- Frame By Frame: Independent Filmmaking in the 21st CenturyProfessor Dixon talks about the problems facing independent creators now – most specifically, how to get their work out before the public in an oversaturated marketplace […]
- Frame By Frame: The Celluloid BacklashProfessor Wheeler Winston Dixon examines the resurgence of 35mm film over digital formats. […]
- Frame By Frame: The Theatrical ExperienceProfessor Wheeler Winston Dixon discusses how audiences watch movies today and how that is changing the way movies will be made in the future. […]
- Frame by Frame: Science Fiction FuturismUNL Film Studies Professor Wheeler Winston Dixon discusses the 2015 Ridley Scott film "The Martian," and the accuracy (and often inaccuracy) of science-fiction films at predicting real advancements in science and technology. http://www.unl.edu/english/film-studies […]
- Frame by Frame: Batman v SupermanUNL Film Studies Professor Wheeler Winston Dixon discusses the genre of comic book movies in the context of "Batman v Superman." […]
- Frame by Frame: Comic Book MoviesUNL Film Studies Professor Wheeler Winston Dixon discusses movies based on comics. […]
- Frame By Frame: Star WarsUNL Film Studies Professor Wheeler Winston Dixon discusses the history and future of the Star Wars film franchise. […]
- Frame By Frame: War MoviesUNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
- Frame By Frame - Hollywood ComposersUNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]
- Frame By Frame - Film CriticsUNL Film Studies professor Wheeler Winston Dixon explains why there's more to reviewing films than just "thumbs up" or "thumbs down." […]
- Frame By Frame - Charlie ChaplinUNL Film Studies professor Wheeler Winston Dixon examines the work of the iconic silent comedian Charlie Chaplin. […]
- Frame By Frame - Film MagazinesUNL Film Studies professor Wheeler Winston Dixon pages through the must-read journals of any serious film student. […]
- Frame By Frame - DocumentariesUNL Film Studies professor Wheeler Winston Dixon recommends some excellent documentary films. […]
- Frame By Frame - Ridley ScottUNL Film Studies professor Wheeler Winston Dixon reviews the films of director Ridley Scott. […]
- Frame By Frame - Buster KeatonBuster Keaton, the great "Stone Face" of silent comedies, is remembered by UNL Film Studies professor Wheeler Winston Dixon. […]
- Frame By Frame - Hollywood after September 11, 2001UNL Film Studies Professor Wheeler Winston Dixon examines how Hollywood films change after national emergencies like the bombing of Pearl Harbor and the attacks of 9/11. […]
- Frame By Frame - Les Dames du Bois de BoulogneUNL Film Studies professor Wheeler Winston Dixon recommends one of his all-time favorite films. […]
- Frame By Frame - Subtitles v. DubbingUNL Film Studies professor Wheeler Winston Dixon compares foreign-languagefilm dubbing to subtitles. […]
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