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Archive for the ‘Digital Cinema’ Category

This Remake Is Generating A Lot of Buzz!

Wednesday, March 15th, 2017

Herbert Marshall and Vincent Price in the 1958 version of The Fly – click here to see the trailer.

As Dave McNary reports in Variety, “Fox is developing a remake of the iconic horror movie The Fly, and is in negotiations with Sleight writer-director J.D. Dillard. Should the deal go through, Dillard would direct the remake from a script that would be co-written with his writing partner Alex Theurer. Blumhouse and WWE bought rights to Sleight at last year’s Sundance Film Festival following its premiere.

The original 1958 movie The Fly, starring David Hedison, Patricia Owens, Vincent Price, and Herbert Marshall, centered on a scientist who mutates into a human insect after a fly flies into his transportation machine. Directed by Kurt Neumann, The Fly was based on a George Langelaan short story.

David Cronenberg remade The Fly in 1986 with Jeff Goldblum and Geena Davis with Goldblum’s character slowly mutating into a giant insect. It became the top grosser of Cronenberg’s career with more than $60 million at the box office and won an Academy Award for best makeup.”

The Fly is one property that Fox keeps rebooting at regular intervals; not mentioned here is the fact that the 1958 version had two immediate sequels, Return of the Fly and Curse of the Fly. While some people are objecting to a remake of the original film – and remembering that the Cronenberg version was really a riff on the 1958 version – the time might be right for a complete reboot of the franchise, which with the proper treatment could be a compelling film.

This should be interesting; let’s see what happens.

Leslie Reed on The New Book Series “Quick Takes”

Monday, March 13th, 2017

Our new Quick Takes series is taking off!

As Leslie Reed writes of our new book series in UNL Today, “ Quick Takes, a new series of short books on popular culture topics edited by University of Nebraska-Lincoln professors Gwendolyn Audrey Foster and Wheeler Winston Dixon, launches March 17 with the publication of Disney Culture by John Wills and Zombie Cinema by Ian Olney. Foster and Dixon . . .will oversee at least 12 books in the series, to be published by Rutgers University Press over the next three years.

‘Gwendolyn and I think about interesting topics that people might want to know about, and then we find the top experts in the field to write about it,’ Dixon said. ‘It’s a bleeding-edge, major book series on pop culture.’

The Quick Takes books have been in the works for about two years. Loosely patterned after the British Film Institute’s Film Classics series, the Quick Takes books will range from 30,000 to 40,000 words, making them pocket-sized and readable in one sitting. Paperbacks and E-books will cost $17.95; cloth copies are priced at $65.

‘They’re free of jargon, direct and accessible,’ Dixon said. ‘We’re aiming at college kids, pop culture fiends and the general public.’ ‘These are topics that are really important in the 21st century,’ Foster said. ‘The series is designed to introduce them to the widest possible audience.’

The first two books have been well received by critics. In Disney Culture, Wills, director of American Studies at the University of Kent in Canterbury, England, explores how Disney grew from a small animation studio to a global media giant. Critic Blair Davis describes Disney Culture as a ‘well written and thoroughly engaging overview’ of the Disney Empire.

Olney is an associate professor of English at York College of Pennsylvania, who received his doctoral degree in English and Film Studies from Nebraska. In Zombie Cinema, he explores why the genre has captured the imagination of 21st century audiences. Critic Stephen Prince said Zombie Cinema is a ‘zesty tour through an amazingly prolific and popular contemporary film cycle.’

Future volumes will feature rock-and-roll movies, action movies and comic-book movies, among other topics. Digital Music Videos by Steven Shaviro of Wayne State University in Detroit, and New African Cinema by Valérie K. Orlando of the University of Maryland are due to be released in April. The book series will be showcased at the Society for Cinema & Media Studies March 22-26 in Chicago.”

Thanks, Leslie, for an excellent overview of the series, which promises to be quite exciting.

Cutting The Cord – or Not?

Monday, March 13th, 2017

Christopher Elliott just interviewed me for his syndicated column on “cutting the cord” on cable television.

While Elliott doesn’t recommend cutting the cord on cable for everyone, I’ve found it a very useful way to reduce stress, and increase personal time by simpy doing away with television altogether. As Elliott wrote, “when Wheeler Winston Dixon’s cable bills rose to more than $100 a month, thanks to bundling, he looked around and found no other viable cable options.

‘There was no alternative, other than satellite, and all they offered was an introductory offer that would reset to roughly the same rate after a few months,’ says Dixon, a college professor in Lincoln, Nebraska. Finally, he decided to cut the cord. ‘We listen to more music, read more books, take more walks, and have a much happier life,’ he says. When he wants to watch TV, he streams video from Amazon Prime, Vimeo, YouTube and other alternative sources. Problem solved!”

Read the rest of Elliott’s column by clicking here – personally, I’d recommend it!

Denis Côté’s Joy of Man’s Desiring and Bestiare on DVD

Friday, February 24th, 2017

Denis Côté’s superb films Bestiaire and Joy of Man’s Desiring are finally available on DVD.

As I wrote of Côté’s work in conjunction with an interview I did with him for Senses of Cinema in June, 2015, “Denis Côté is a young Canadian filmmaker who has burst onto the international film scene with a group of challenging and innovative movies in the past few years. Born 16 November, 1973 in New Brunswick, Canada, Côté began his career with a group of short films, and made his first feature in 2005, Drifting States (Les états Nordiques), which won the Golden Leopard at the Locarno International Film Festival.

Since then, Côté has worked a number of commercial and/or personal projects, most notably Curling (2010), a father/daughter family drama that was exceptionally well received by audiences and critics alike; Bestiaire (2012), a “docufiction” – that’s my own term – film centering on the animals who populate a tourist destination zoo in Canada; and Vic+Flo Saw A Bear (Vic+Flo ont vu un ours, 2013), a harrowing tale of two women trying to make it on the outside after a stint in prison, and how the world conspires against them to make redemption – at least in life – almost impossible. Vic+Flo Saw A Bear was probably Côté’s most successful film to date, and was screened at more than 90 festivals around the world.

Côté’s Joy of Man’s Desiring (aka Que ta joie demeure, 2014), which documents, after a fashion, daily life on the factory floor, as workers methodically partner with their machines to create the staples of daily existence, is one of his most individual works. In all these projects, Côté offers his own unique take on concepts of narrative in his fiction films, and reportage in his documentaries, to create a series of films that are at once open-ended, mysterious, and subtly disturbing.”

Since them, Côté has completed Boris sans Béatrice, a typically uncompromising film centering on a marriage falling apart, which was selected to compete for the Golden Bear at the 66th Berlin International Film Festival –  now available on DVD from K Films. I saw Boris sans Béatrice on streaming video, but of course the chance to own a hard copy of the film can’t be passed up. Côté is a one-of-a-kind filmmaker, who is only now getting some measure of the attention he deserves; his work increases in depth and resonance with the passage of time, and he’s clearly a major talent.

I want to especially thank Gwendolyn Audrey Foster for introducing me to Côté’s work – it’s magical.

New Book Series: “Quick Takes: Movies and Popular Culture”

Tuesday, February 21st, 2017

Gwendolyn Audrey Foster and Wheeler Winston Dixon announce their new book series.

Gwendolyn Audrey Foster and Wheeler Winston Dixon are proud to announce the publication of the first two volumes in their new book series Quick Takes: Movies and Popular Culture from Rutgers University Press – Disney Culture by John Wills, and Zombie Cinema by Ian Olney.

Disney Culture explores the Walt Disney Company, which has grown into a diversified global media giant. But is it still possible to identify a coherent Disney ethos? Examining everything from theme parks to merchandising to animation to live-action films, Disney Culture proposes that they all follow a core corporate philosophy dating back to the 1920s.

Zombie Cinema notes that the living dead have been lurking in popular culture since the 1930s, but they are now ubiquitous. Presenting a historical overview of zombies in film and on television, Zombie Cinema also explores this globalized phenomenon, examining why the dead have captured the imagination of twenty-first-century audiences worldwide.

Early reviews are excellent: Blair Davis, author of Movie Comics: Page to Screen/Screen to Page writes that in Disney Culture, “Wills makes a strong contribution to both the fields of media studies as well as Disney scholarship with this concise, well written and thoroughly engaging overview of how the cultural, artistic, and economic factors surrounding the Disney corporation intersect.”

Janet Wasko, author of Understanding Disney: The Manufacture of Fantasy adds that “Disney Culture is a notable addition to the growing critical work on Disney and its cultural significance. Wills skillfully dissects the Disney ethos and even challenges the multimedia giant to ‘mean something beyond merchandise’ in the twenty-first century.”

Of Zombie Cinema, Stephen Prince, author of Digital Visual Effects in Cinema: The Seduction of Reality writes,”Zombie Cinema is a brisk, informative read that gives us a zesty tour through an amazingly prolific and popular contemporary film cycle. He’s clearly done his homework in excavating – or disinterring, as the case may be – zombie movies from disparate cultural and historical contexts.”

Rick Worland, author of The Horror Film: An Introduction notes that “what the vampire was to the 1980s and 90s, the zombie has become for early twenty-first century audiences, the monster of choice, spreading through a multitude of media texts. [In Zombie Cinema] Ian Olney organizes the history of the zombie in popular culture from Haitian voodoo practice to the present, providing clear analysis of its evolution and development. Theoretically informed, the writing is engaging and accessible throughout.”

New African Cinema by Valérie K. Orlando, and Digital Music Videos by Steven Shaviro are forthcoming soon.

Click here for more information on the new series.

Recent Video: Time’s Up!

Saturday, February 18th, 2017

Recently, I have been making a number of recombinant videos; click here to see Time’s Up!

I’ve been making films and videos since 1966, and my work has been screened at The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, The Microscope Gallery, The British Film Institute, The Jewish Museum, The Millennium Film Workshop, The San Francisco Cinématheque, The New Arts Lab, The Collective for Living Cinema, The Kitchen Center for Experimental Art, The Filmmakers Cinématheque, Film Forum, The Amos Eno Gallery, Sla 307 Art Space, The Gallery of Modern Art, The Oberhausen Film Festival and at numerous universities and film societies throughout the world.

In 2003, I was honored with a retrospective of my films at The Museum of Modern Art, and my films from 1966 to 1994 were acquired for the permanent collection of the Museum, in both print and original format. However, as film became ever more expensive in the 1980s and 1990s, I turned more towards writing and critical work, but suddenly, I was drawn again to making films. Now, with the advent of digital HD video, and the ease of video distribution on Vimeo, I’m working again, creating new films, with screenings in New York this past November, 2016, and more to come in the future.

As someone who is fascinated with pop culture, many of my films use footage and soundtracks that are in the public domain, or released under a creative commons license, and are made entirely from recycled, repurposed and refashioned images and sounds. Time’s Up! is a good example of the style of video production. The other interesting point for me is that I’m reaching more viewers through Vimeo than in all my museum screenings put together; as I observed to a friend of mine who is also a video and film artist, Vimeo is now the new “cinematheque” for experimental work.

When my film Serial Metaphysics was screened at The Whitney Museum of American Art, Bruce Rubin, then Associate Curator film and video programming for the museum, wrote in part that “Dixon is a masterful film editor. His sensitivity to the movement within the frame and of the camera itself allows for a fluidity in his editing that is exuberant and refreshing. He is skillful not only in manipulating the flow of images but the flow of ideas as well.” So take a look at this brief film – which runs about two minutes in all -

and then if the mood strikes you, click here to go to my Vimeo site.

Jean-Luc Godard’s First Film – Une Femme Coquette (1955)

Friday, February 17th, 2017

See Godard’s first film, shot in 1955 – with English subtitles! Click here, or on the image above!!

As Ignatiy Vishnevetsky writes on The AV Club Website, “Une Femme Coquette may not sound like anything special—a 9-minute no-budget short film, shot on a borrowed 16mm camera by a 24-year-old amateur with no formal film school training. But the short . . .  has for decades been a sought-after item for art-house buffs and rare movie fiends.

Filmed in Geneva, Switzerland, in 1955, it was the first attempt at a narrative film by the iconic French New Wave director Jean-Luc Godard—a pivotal figure in the evolution of movie style, who would make his feature debut just five years later, with the hugely influential and perennially cool Breathless.

Never distributed, Une Femme Coquette has had less than half a dozen public screenings since the 1960s; we were able to track down the only known 16mm print to a national film archive in Europe, where it was being stored unlisted for a private owner, to be loaned out only with the personal permission of Jean-Luc Godard himself.

This makes it the holy grail of the game-changing New Wave era—a film so rare that it has often been listed as lost by biographies and film history books. And it might as well have been. No other surviving narrative film by a major, big-name director has been as difficult to see—until now.

Earlier this week, a copy of Une Femme Coquette surfaced on the digital back channels frequented by obscure movie enthusiasts. An enterprising user named David Heslin has uploaded this rarity of rarities to YouTube, complete with English subtitles.

Credited to ‘Hans Lucas,’ a German pseudonym that the Franco-Swiss Godard would sometimes employ during his brief career as a film critic, Une Femme Coquette was the budding director’s modern update of a Guy De Maupassant short story called ‘The Signal.’

Godard—who makes a cameo around the 2-minute mark, wearing his famous prescription sunglasses—would readapt the story as an Ingmar Bergman parody for the film-within-the-film portion of his 1966 feature Masculin Féminin.

While nothing is known about Une Femme Coquette’s lead actress, Maria Lysandre, the man on the park bench is played by Roland Tolmatchoff (credited as ‘Roland Tolma’), a cinephile and car dealer with whom Godard maintained a friendship for years, and who loaned many of the convertibles memorably featured in the director’s 1960s films.”

An amazing discovery – click here and see for yourself!

New Article: “Service Providers” : Genre Cinema in the 21st Century

Wednesday, February 15th, 2017

I’ve just published a new article in QRFV on 21st century genre filmmaking.

As I write in the article, Harrison Ford in 2013 noted that “‘I think the success of Comic-Con is based on the partnership between the fans and the service providers, the entities—I won’t necessarily call them filmmakers —that supply the film product that supports their particular interest, whether it’s vampires or science-fiction fantasies of Transformers or whatever is going on . . .’

When Harrison Ford made these comments to Adam Sternbergh, a reporter for The New York Times, no particular controversy ensued. Ford was simply stating a fact: Directors today, most of whom work within rigid genre formats, are indeed little more than ’service providers,’ who create long, loud, open-ended and ultimately unsatisfying “epic” films for an ever more indiscriminate audience.

Yet, it’s really not the fault of the viewers who flock to see the endless interactions of Star Wars, Harry Potter, Star Trek and other franchise films; they simply don’t know any better. There is nothing else on offer at the multiplex, and with everything online — behind a pay wall, usually with a subscription attached —any impulse to be adventurous in one’s viewing habits died long ago. It’s like McDonald’s: It is what it is, nothing more or less, and it’s reliably available, and always the same.

As Derek Thompson wrote in 2014, ‘The reason why Hollywood makes so many boring superhero movies [is because] studios were better at making great movies when they were worse at figuring out what we wanted to see,’ adding that ‘Hollywood has become sensational at predicting what its audiences want to see. And, ironically, for that very reason, it’s become better at making relentlessly average movies …

In 1950, movies were the third-largest retail business in America, after grocery stores and cars …Watching films approached the ubiquity of a bodily function: Every week, 90 million Americans—60 percent of the country—went to the cinema, creating an audience share that’s bigger than today’s Super Bowl.

The six major studios (MGM, Warner Bros., Paramount, Twentieth Century-Fox, and RKO) could basically do whatever they wanted and be sure to make money. Owning their own theater chains (which accounted for half their total revenue), they controlled the means and distribution of a product that was as essential to mid-century life as grilled chicken. Surprise, surprise: Virtually all their films made money.’” Not so today.


New Video: Jacket

Saturday, February 4th, 2017

I have a new video in collaboration with artist Klaus Hausmann: click here, or above, to see it.

This is the sort of collaboration that could only happen in the digital era; Hausmann lives in Germany, and posted an 11 second version of this video on a video sharing website I sometimes visit. I expanded on the existing video, added the track, and voila – a collaboration that crosses borders, space and time with impunity.

As I wrote in the brief description for the video, “is it a jacket, or a straitjacket – it’s hard to tell.” Hausmann’s struggle to get the jacket on in the proper fashion – aided and sometimes thwarted by stop motion videography – is a metaphor for the knotty situations we sometimes find ourselves in, and triumph anyway.

If you like Jacket, check out some of my other videos by clicking here.

Pioneering Video Artist Lillian Schwartz

Sunday, January 29th, 2017

Lillian Schwartz is a pioneering video artist, who is only now getting the attention she deserves.

As Wikipedia notes, “Lillian Schwartz (born 1927) is a 20th-century American artist considered a pioneer of computer-mediated art and one of the first artists notable for basing almost her entire oeuvre on computational media. Many of her ground-breaking projects were done in the 1960s and 1970s, well before the desktop computer revolution made computer hardware and software widely available to artists . . .

As a young girl during the Great Depression, Schwartz experimented with slate, mud, sticks, and chalk as free materials for making art. She studied to become a nurse under a World War II education program and later on found her training in anatomy, biology, and the use of plaster valuable in making art. Stationed in Japan during the postwar occupation in an area between Hiroshima and Nagasaki, she contracted polio, which paralyzed her for a time. As part of her rehabilitation, she studied calligraphy with the artist Tshiro . . .

By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the Experiments in Art and Technology (E.A.T.) group that brought together artists and engineers as collaborators. In 1968 her kinetic sculpture Proxima Centauri was included in the important early show of machine art at the Museum of Modern Art in Manhattan, entitled ‘The Machine as Seen at the End of the Mechanical Age’ . . .

Schwartz was brought into Bell Labs in 1968 by Leon Harmon. While there, she worked with engineers John Vollaro and others, including extensive collaboration with Ken Knowlton, a software engineer and computer artist who had also had work in the 1968 Museum of Modern Art show. She began making paintings and films with a combination of hand painting, digital collaging, computer and other image processing, and optical post-processing . . .

Schwartz used the works of Leonardo da Vinci extensively in experiments with computers. One notable work she created is Mona/Leo, for which she compared the image of a Leonardo da Vinci self-portrait with the Mona Lisa, matching the two faces feature by feature to show their underlying structural similarity. Specifically, she replaced the right side of the Mona Lisa with the flipped left side of a red chalk self-portrait of Leonardo.

Superimposed lines drawn on the image showing the close alignments of the bottom of the eye, eyebrow, nose and chin prompted her to argue that the Mona Lisa is in part a cryptic self-portrait of the artist. In further experiments along these lines, she removed the gray tones in Leonardo da Vinci’s self-portrait and superimposed the Mona Lisa eye over it.

Schwartz has been called a pioneer in ‘establishing computers as a valid and fruitful artistic medium’ by physicist and Nobel laureate Arno Penzias and a trailblazer and virtuoso by the philosopher-artist Timothy Binkley.Her films have been included in the Venice Biennale and the Cannes Film Festival, among many others, and have received numerous awards. Among these is an Academy Award (with Ed Emshwiller) in 1980 for special effects on the film The Lathe of Heaven. In the 1980s, a computer-generated TV spot that she created for the newly renovated Museum of Modern Art in New York won an Emmy Award.

Schwartz’s artworks have been exhibited at the Museum of Modern Art (New York), the Metropolitan Museum of Art, the Whitney Museum of American Art, the Moderna Museet (Stockholm), Centre Beauborg (Paris), Stedlijk Museum of Art (Amsterdam), the Grand Palais Museum (Paris), and at numerous galleries and festivals worldwide.

Schwartz has been a visiting member of the Computer Science Department at the University of Maryland; an adjunct professor at the Kean College, Fine Arts Department; an adjunct professor at Rutgers University’s Visual Arts Department; an adjunct professor at the Psychology Department of the School of Arts and Sciences, New York University; and a Member of the Graduate Faculty of The School of Visual Arts, NYC. She has also been an Artist in Residence at Channel 13, WNET, New York. She has been a fellow of the World Academy of Science and Art since 1988.”

This is just a brief overview of Schwartz’s work as an artist; still very active with a gallery show at the prestigious Capri Gallery in Germany running through the end of March, 2017 (click here for full details), she is also the subject of an excellent short documentary on her life and work, which can be found by clicking here, made just before her 87th birthday. Direct, unpretentious, and absolutely determined, Schwartz has too long labored in the shadows of the art world, when her prodigious accomplishments clearly place her in the absolute vanguard of computer and video art.

I thank Gwendolyn Audrey Foster for introducing me to Schwartz’s work; see more by clicking here.

About the Author

Headshot of 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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