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Archive for the ‘Television’ Category

Fast Company’s Stephanie Vozza on “Your Brain on TV”

Monday, June 6th, 2016

Writing in the journal Fast Company, Stephanie Vozza tracks the effect of television on your brain.

As she notes, “I’ve never seen Game of Thrones, I don’t know what the Scandal is, and I couldn’t name a single ‘real’ housewife. I thought I didn’t watch much television and that taking a 30-day break would be a piece of cake. I was wrong.

The average adult watches 2.8 hours per day of television, according to the American Time Use survey from the Bureau of Labor Statistics. Another study puts this number higher, at four hours and 15 minutes each day. I added up all of the viewing at my house, and we were definitely on the high side.

  • A one-hour standing date with Judge Judy, marking the official end of my workday
  • An hour of news
  • Thirty minutes of Jeopardy (because it’s educational)
  • And an hour-plus of mindless shows before bed

A lot of research has been done around TV viewing and children, and Adam Lipson, a neurosurgeon with IGEA Brain & Spine, says one of the best studies is from Tohoku University in Japan. ‘They noted thickening of the frontopolar cortex, which is related to verbal reasoning ability, and also correlated with a drop in IQ in proportion to the number of hours of television watching,’ he says. ‘In addition, they noted thickening in the visual cortex in the occipital lobe, and in the hypothalamus, which may correlate with aggression.’

Studies involving adults have tied television watching to Type 2 diabetes, depression, and even crime, adds Lipson. ‘Many of the studies report adverse effects with television watching greater than one hour per day,’ he says. ‘There have been EEG studies that demonstrate that television watching converts the brain from beta wave activity to alpha waves, which are associated with a daydreaming state, and a reduced use of critical thinking skills.’

Eric Braverman, founder and president of Path Foundation NY, a nonprofit research organization devoted to brain health, is a little more blunt: ‘The boob tube turns you into a boob,’ he says. ‘Television mesmerizes people and turns them into intellectual spectators. It feeds passivity and makes you less engaged.’

Ouch. But he’s right. Once the blue glow fills a room, I often find it hard to break away. Television watching is a habit my husband and I started as kids; we both grew up spending ‘family time’ around programs like Love Boat and Fantasy Island. He agreed to take the challenge with me. No TV. No Netflix. No live streaming anything. ‘How hard could it be?’ we thought.

During the first few days we were at a loss for what to do. It had been our routine to watch whatever is on TV after dinner, and suddenly we were both dumbstruck for ideas. So we went to sleep at 8:30 p.m. Then a new routine kicked in.

We started cooking together, took the dogs on longer walks, completed tasks around the house that had been on the to-do list for too long, and had great conversations over a glass of wine. On Friday and Saturday nights when we didn’t have plans with friends, we listened to CBS Radio Mystery Theater on YouTube, a radio program we had both loved as kids.

While week one was filled with fighting the urge to turn on the TV and brainstorming other activities, weeks two and three were when things started to change for me physically and mentally. Most notably, I felt less stressed. A lot of the programs we used to watch, like Dateline or 48 Hours Mystery, had elements of suspense, drama, and violence. Had this stuff been rubbing off on me?

‘TV increasingly traffics in violent programming to keep the viewer in a state of constant fear,’ says Wheeler Winston Dixon, Ryan professor of film studies at the University of Nebraska. ‘TV also acts as a pacifier, a sort of virtual escape, but it is one that never satisfies, and only leaves the viewer wanting more of the same emptiness.’”

Fascinating and frightening – you can read the entire essay by clicking here, or on the image above.

The Night Manager – Totally Addictive Television

Wednesday, April 20th, 2016

The Night Manager, from John le Carré’s 1993 novel, is a British drama ideal for non-stop binge watching.

Produced by the BBC, and already screened on British television, the six-part miniseries debuted on AMC on April 19, 2016, and I was hooked from the first moments on. Tom Hiddleston, who was so good in Jim Jarmusch’s post-modern vampire thriller Only Lovers Left Alive, and Hugh Laurie, who made a fortune from umpteen seasons of House, combine with Danish filmmaker Susanne Bier, who directed all six episodes, to create a rattling good yarn that keeps you enthralled from first frame to last.

Le Carré, who is now 84, is apparently even musing the idea of writing a sequel to his novel with the same characters, because he’s so pleased with the result as well, and the actors in the mini-series have made pact that if le Carré does, in fact, turn out another novel as a follow up, they’ll all line up to do it. The entire series is out on Region 2 DVD in the UK now, and after watching just one episode on AMC, I snapped up the DVD of the entire series immediately – commercial free, of course.

As Hiddleston told Debra Birnbaum of Variety, “It’s fascinating to hear that Le Carré himself is up for it and considering writing new material for characters he created 25 years ago.” As Birnbaum further reported, “Le Carré — now 84 and living and working in Cornwall, on the southwestern tip of England — was part of the creative process throughout, contributing extra scenes, answering spycraft questions, sitting through the table read and, yes, cringing at the changes to his book. But ultimately, he was satisfied.

‘It seems to me that this time ’round we may really have got it: Film doing its own job, opening up my novel in ways I didn’t think anyone had noticed. And what I like best of all is how Susanne Bier goes on chewing at the bone of the drama long after other directors would have given up.”

The series was filmed on location in four countries over the course of 75 days. Bier approached it like a very long feature, shooting scenes out of order. She gave the actors ample freedom to explore — beginning each day by allowing them to improvise in rehearsals to see how a scene might play out. Making sure she didn’t stray from the story, while still maintaining creative freedom, was ‘like having a number of chess games running at the same time,’ she notes.”

The plot is vintage le Carré, but brought up to date with a modern twist. During the midst of the Arab Spring of 2011, a mysterious and utterly unscrupulous arms dealer, Richard Roper (Laurie) –  repeatedly described as “the worst man in the world”  - who hides in plain sight as a supposedly legitimate businessman and philanthropist, tries to strike a deal with some militants for a massive shipment of weapons – enough to equip an entire army ten times over.

But his plans are derailed by former British soldier Jonathan Pine (Hiddleston), now the night manager at a Cairo hotel, who comes into possession of some incriminating documents, and leaks them to the British authorities. And that, of course, leads to absolute mayhem – and naturally all the governments involved are corrupt, intelligence agencies are underfunded, and no one can be trusted at all.

From there, I honestly have no idea what happens, and I’m just going to wait for the DVD to arrive, and then sit down and watch the entire series in one gulp, but I can tell you this much; it’s not Masterpiece Theater. This is sharp, smart filmmaking with a real bite, stylishly directed by Bier with real skill and feeling. Hiddleston and Laurie are both superb in their roles, and it’s clear that no expense was spared to bring the project to the screen. And although it’s television, one can’t help but imagine it on a theater screen – talk about impact.

So buy the DVD, or see it on AMC: The Night Manager is definitely worth a look!

The Chinese Cinema Explosion – 22 New Screens Every Day

Monday, April 11th, 2016

The theatrical film experience in China is absolutely exploding.

As the CBS News program 60 Minutes reports, “The movie business is booming across China. Shopping malls have popped up everywhere, and with them, theaters. Twenty-two new movie screens open every day, that’s right, every day. In the last five years, box office receipts have grown a staggering 350 per cent . . .

In February, the Chinese box office brought in over a billion dollars for the first time ever, beating the U.S. and Canada. China, with its 1.3 billion people, is expected to become the biggest movie market in the world as early as next year. Hollywood has taken notice, partnering with Chinese studios and making blockbusters as much for Chinese audiences as American ones. But the U.S. film industry is also facing competition from Chinese moguls and movie stars with big ambitions . . .

Chinese studios produce over 600 features a year, action movies, sci-fi, thrillers . . . [Said one seasoned observer of the Chinese film industry] ‘they are smart. They understand storytelling. They are super well-versed in what works in their own country. They are super well-versed in what works globally. I couldn’t be more excited. So I would say– you know, Hollywood, watch out.’”

This is a fascinating story – read the entire piece here, with videos.

“Consuming the Apocalypse, Marketing Bunker Materiality” by Gwendolyn Audrey Foster

Thursday, March 17th, 2016

Gwendolyn Audrey Foster has published a new article in Quarterly Review of Film and Video.

Foster’s article, “Consuming the Apocalypse, Marketing Bunker Materiality” has just appeared in the latest issue of Quarterly Review of Film and Video (March 17, 2016), in which she argues that “there are two parallel social movements that may, at first glance, seem unrelated, but are in fact closely intertwined; the rapid increase in economic inequity in contemporary society (as evidenced in the enormously wide gap between the wealthy and the poor) on the one hand, and the current apocalyptic cultural mindset (associated with paranoia, prepping, the rise of the gated community, the return of the underground bunker, and a massive uptick in gun sales) as celebrated in myriad apocalyptically-themed films and television programs, programs I define as apocotainment.

The upwardly mobile class and preppers have more in common than one might think, and in some ways the two groups have even merged; what brings these two identities together is a decided lack of empathy for others and a sense of free-floating paranoia, centering on a crisis in masculinity, whiteness, and a fascination with Doomsday scenarios.”

Needless to say, this is a very timely essay, and expands on Foster’s work in her 2014 book Hoarders, Doomsday Preppers and the Culture of Apocalypse, which explores the current American, and indeed worldwide fascination with an ever expanding universe of Doomsday scenarios. The current vogue for “end of the world” or “end of civilization” narratives has taken hold of practically every area of the public consciousness, and Foster’s article examines the ways in which this cultural trend has moved to the center of contemporary public discourse.

Here’s a link to the article; fascinating reading in every respect.

Dennis Coleman’s Hollywood Interview Tips

Monday, November 9th, 2015

Dennis Coleman, Ernest Borgnine and Leonard Maltin in Hollywood.

I’ve known Dennis Coleman for a long time, and for many years now, he’s been working in Hollywood doing celebrity interviews for such shows as Entertainment Tonight, Lifetstyles of the Rich and Famous, and numerous other show business programs.

As Richard Botto notes on his Stage 32 blog, ”Dennis is a writer, producer and director with decades of experience in broadcast television and feature films. Having conducted over 10,000 celebrity interviews in his career, I think it’s safe to say that Dennis knows a thing or two about the interview process. Whether you’re conducting an interview for a documentary, research, a host or for other film related endeavors, you won’t find better tips than those below.”

That said, here’s a brief sample of Dennis’ advice:

RESEARCH, RESEARCH AND MORE RESEARCH

Find out everything you can about the person you’re going to interview. Not just their IMDB bio or their Wikipedia entry: everything. Find print interviews with them, look at video interviews with them on Youtube. See what they respond to – and what questions they hate.

What did they study in school? What kinds of jobs did they have early in their career? What do their brothers and sisters do? What do their mothers and fathers do? Any or all of this could come up in the interview and you have to be prepared to follow up.

KNOW THE NEWS

I work primarily in entertainment news. So I read all the sites: deadline.com, thehollywoodreporter.com, variety.com. I also keep up on the gossip sites: tmz.com and perezhilton.com. You have to know what’s going on at all times. Because you may suddenly be in a situation where you need to know the latest breaking news.

A few weeks ago I was sent at the last minute to follow Donald Trump around Iowa. No time to read anything. But since I watch the news and I’m a political junkie, I knew all the latest information, all the latest speeches, all the latest trivia. So I could ask intelligent questions when I had to yell them out at a press conference with Mr. Trump.

MEMORIZE YOUR QUESTIONS

You don’t want to be reading from a list of questions – ever. That’s unprofessional. Memorize your questions as best you can. There’s no problem in glancing at your notes towards the end of the interview to see if you’ve forgotten anything, but you can’t be staring at them throughout the interview.

Try to figure out an order for the questions that would work best in drawing out your subject – and then be prepared when it doesn’t work out that way. If you’ve memorized your questions, then that’s no problem.

IT SHOULD BE A CONVERSATION

You should be talking to your interview subject as you talk to your best friend. Keep eye contact, make it a conversation, not an interrogation. That’s another reason to memorize your questions. You need to get your subject at ease, make them feel comfortable – and the best way to do that is to look at them and talk with them, not at them.”

And that’s just a brief sample; you can read the whole article by clicking here, or on the image above.

Allison Janney and Stephen Colbert Perform “Hot Blooded”

Wednesday, November 4th, 2015

Allison Janney and Stephen Colbert “performing” the song Hot Blooded on The Late Show.

Allison Janney is one of my favorite actors – from her current series Mom, to her work on the series Masters of Sex, The West Wing and so much more – she always delivers a superb performance. At the same time, she also has roots in improvisational acting, as does Colbert, and so watching the two of them “act out” the ludicrous lyrics to Foreigner’s 1978 hit Hot Blooded is a real treat – it’s funny as hell, and at the same time, showcases two incredibly gifted actors having a great time, and improvising with real skill and style.

When Colbert springs this little skit on Janney with no advance notice, she’s nevertheless instantly ready, shouting “bring it on!” and snatching a pen from Colbert’s desk to serve as a prop thermometer in her reading – immediately thinking on her feet, and using the available materials to bring the skit to life. At the end, you can see that both Janney and Colbert have had a marvelous time with the bit, and also deeply respect each other’s work – although this is all in fun, it’s a great example of how to bring new life to old, and very trite, material.

Pop culture and improvisation – it’s a really impressive piece of off-the-cuff work.

Jack Kerouac on The Steve Allen Show (1959)

Friday, October 23rd, 2015

In 1959, writer Jack Kerouac and musician Steve Allen cut a record, Poetry for the Beat Generation.

Jack Kerouac has long been one of my favorite American novelists, whose importance and value has only become more apparent with each passing decade. We also share the same birthday, which has always pleased me, and like many young people, when I was in college, I devoured Kerouac’s work, most especially his epic novel Desolation Angels, which was written in the early to mid 1950s, but only published in 1965, after the enormous success of his most popular novel, On The Road (1957).

It’s become fashionable, in some circles, to dismiss Kerouac’s work, the bulk of which was written long before it appeared in print, “published [only] in heaven” as Allen Ginsberg put it – and then, in the aftermath of On The Road, publishers were suddenly eager to print everything he’d written up until then – thank goodness. And so the work of a lifetime came tumbling out.

One of the most quoted jibes of Kerouac’s work comes from Truman Capote, who famously remarked of the non-stop writing blast that produced On The Road, “That’s not writing, that’s typing.” It’s a clever riposte, but it seems to me that in the end, Capote’s claim to lasting literary value lies only with a few books, in particular the “non-fiction” novel In Cold Blood, whereas Kerouac’s vision, which literally encompassed all of American culture, is a sprawling, multi-layered, deeply penetrating look at the society, and the values of the era he lived in.

Kerouac’s style – pure bop writing – is heavily indebted to the art of jazz riffing. Sometimes he’s simply writing to fill up the page, but the best of Kerouac’s work – On the Road, Doctor Sax, The Dharma Bums, Mexico City Blues, The Subterraneans, Desolation Angels, and Visions of Cody – repays repeated readings, and stands as a monument to Kerouac’s passion and restless intensity, which did not mix well with the pressures of overnight fame. Becoming a heavy drinker as he coped with instant celebrity, Kerouac died at the age of 47, yet still managed to leave behind a unique, and utterly compelling body of work.

So it’s nice to see this archival clip from The Steve Allen Show in 1959, in which a visibly nervous Kerouac recites some of his poetry as Allen accompanies him on piano – telling a few jokes along the way in an attempt to ease his guest’s palpable uneasiness – which is some of the only footage of Kerouac reciting his work in existence. Allen, a gifted musician and television personality of the era, made it his business to showcase rising talent – Elvis Presley and Frank Zappa come immediately to mind – and the album that resulted from their collaboration (now available on CD) is a vital and impressive piece of work – and here’s the proof.

Indeed, Kerouac is, for me, sort of an “acid test” of someone’s reaction to American writing – he comes from the tradition of Walt Whitman, Thomas Wolfe and other authentic visionaries (as he makes clear to Allen in this clip) – and Kerouac is simply driven to put down on paper the experiences of his life, and has no time for traditional prose forms. His work flows from one sentence to the next in a sweep of nearly inexhaustible improvisation, and thus he leaves himself open to rather ordinary criticism – “not enough discipline,” “dashed off,” “free form” and the like.

But that’s just the point – Kerouac is clearly working out of a driving need to create, over which he almost has no control – he was compelled to put his life down on paper. As he famously wrote in On The Road, “the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars,” adding later that “I want to work in revelations, not just spin silly tales for money. I want to fish as deep down as possible into my own subconscious in the belief that once that far down, everyone will understand because they are the same that far down.”

So here it is – Jack Kerouac and Steve Allen – a transcendent moment in American culture.

Black & White Cinema – A Short History on TCM

Thursday, October 8th, 2015

I was honored to have Robert Osborne discuss my book Black & White Cinema on TCM last night.

For a special evening of black and white films on October 7, 2015 entitled “Artists in Black and White,” showcasing the work of such brilliant cinematographers as James Wong Howe, Gregg Toland, Haskell Wexler and Karl Freund, Robert Osborne and Turner Classic Movies ran a series of five films that best exemplify the brilliance of monochrome cinema during the classical Hollywood studio era, including Orson Welles’ Citizen Kane (photographed by Toland) and Mike Nichols’ Who’s Afraid of Virginia Woolf? (shot by Wexler).

Introducing the films, Osborne remarked that “there’s an interesting new book by Wheeler Winston Dixon called Black & White Cinema: A Short History, and it tells the history of black and white movies, its origins and impact, and it’s really well worth reading. It’s filled with all kinds of insights about black and white cinematography, and the many artists who mastered the tricky interplay in capturing light and shadow.”

Needless to say, I thank Robert Osborne and TCM for their interest in my work, and TCM, as always, is a national treasure – the last place on television where one can see the classics, complete and uncut, in their original aspect ratios – with no commercials. Many thanks, and long may TCM continue into the future! You can see Robert’s introduction for Citizen Kane by clicking here, or on the image above.

Black and White Cinema is available in Kindle, paperback and hardcover formats – check it out now!

Supergirl – The TV Series

Monday, October 5th, 2015

Finally, a Supergirl television series – and it’s long overdue.

I seem to be in a comic book vein these days, and now comes word that Supergirl, who has always been neglected in both TV and movies, just like Wonder Woman – can you say gender discrimination? – is finally going to get a TV series, long, long after the 1950s Superman series hit the airwaves, starting October 26th on CBS. Of course, it’s pop culture stuff, but at the same time, it offers a powerful role model for young women to identify with, and starts – just starts – to balance out the scales, which have long been tipped in favor of male protagonists, both in regular dramas, as well as comic book/pop culture films and television shows.

As the show’s official bio notes of the series, “Supergirl is an action-adventure drama based on the DC Comics character Kara Zor-El, Superman’s (Kal-El) cousin who, after 12 years of keeping her powers a secret on Earth, decides to finally embrace her superhuman abilities and be the hero she was always meant to be. Twelve-year-old Kara escaped the doomed planet Krypton with her parents’ help at the same time as the infant Kal-El. Protected and raised on Earth by her foster family, the Danvers, Kara grew up in the shadow of her foster sister, Alex, and learned to conceal the phenomenal powers she shares with her famous cousin in order to keep her identity a secret.

Years later at 24, Kara lives in National City assisting media mogul and fierce taskmaster Cat Grant. She works alongside her friend and IT technician Winn Schott and famous photographer James Olsen, who Grant just hired away from the Daily Planet to serve as her new art director. However, Kara’s days of keeping her talents a secret are over when Hank Henshaw, head of a super-secret agency where her sister also works, enlists her to help them protect the citizens of National City from sinister threats. Though Kara will need to find a way to manage her newfound empowerment with her very human relationships, her heart soars as she takes to the skies as Supergirl to fight crime.”

Let’s see what this develops into – I, for one, wish the series all the best.

Trailblazing Women Directors on TCM in October

Thursday, September 10th, 2015

Here’s an amazing series of films that you simply can’t miss.

As Cynthia Littleton reports in Variety, “Turner Classic Movies has teamed with Women in Film, Los Angeles, for a programming initiative designed to highlight the work of women behind the camera in the movie business.

In the month of October, actress-director Illeana Douglas will host a twice-weekly Trailblazing Women series featuring movies directed by women. Douglas’ wraparound segments will feature interviews with filmmakers and discussion of statistics compiled by Women in Film about gender disparity in the film business, notably the 5-to-1 ratio of men working in film production compared to women.

TCM and WIF LA are building out a dedicated section of the TCM website focusing on the history of women in the film biz, WIF LA’s studies on gender issues and links to various resources for aspiring female filmmakers.

Trailblazing Women grew out of TCM’s effort to curate a month’s worth of movies directed by women. The idea was sparked when Charlie Tabesh, TCM’s senior VP of programming, saw that TCM had obtained rights to 2008’s The Hurt Locker, the movie that made Kathryn Bigelow the first woman to win an Oscar for directing.

‘We were pondering what preceded Bigelow and The Hurt Locker,’ TCM general manager Jennifer Dorian told Variety. ‘Our job at TCM is to think about the long view and the entire spectrum of film history. (Tabesh) put together a look at women pioneers going back to 1906.’

As the package came together, Dorian realized that there was an opportunity to add a ‘pro-social’ layer to the effort, which prompted her to reach out to Women in Film LA. ‘We recognized that this is a timely and topical issue, and that we could not only create awareness of women’s historical contributions but shine a light on today’s issues and bring resources and information to today’s generation of filmmakers,’ Dorian said.

Trailblazing Women will be a multi-year project for TCM, with a similar monthly showcase planned for 2016 and probably 2017, Dorian said. The inaugural effort is focused on the work of female directors, but future showcases will delve into other disciplines such as writing and producing.

The series launches Oct. 1 and will air Tuesdays and Thursdays in primetime, encompassing more than 50 films. The series begins with film historian Cari Beauchamp discussing the work of pioneers including Alice Guy-Blaché, Dorothy Arzner, Agnès Varda and Lina Wertmuller. Other directors who will co-host nights alongside Douglas are Allison Anders, Julie Dash, Connie Field, Amy Heckerling, as well as producer and WIF LA president Cathy Schulman.”

This is an something really special – get the schedule 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. 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.

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