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Archive for the ‘Digital Cinema’ Category

Charlie Brooker’s Black Mirror

Thursday, February 5th, 2015

Black Mirror is one of the most original and disturbing visions of Dystopia ever produced for television.

Juts like The Twilight Zone in the 1960s, Charlie Brooker’s British television series Black Mirror, of which there are now six episodes plus one 90 minute multi-part special, White Christmas, starring Jon Hamm of Mad Men, is disturbing and thought provoking television. Designed, like The Twilight Zone, so that every episode has a new premise, a new cast, and a new plot, but consistently offering visions of a totally wired-up future in which there is no freedom or hope, Black Mirror is available on Netflix streaming in the US – or, as I did, you can buy the Region 2 British DVDs of all six episodes. Regarding the structure of the series, Brooker has commented that “each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.” Which, I’m afraid, we are.

The series kicked off in early December 2011 with the truly horrific episode The National Anthem, in which the Prime Minister of Britain is forced by terrorists to disgrace himself on worldwide live television to save the life of a kidnapped member of the Royal Family; followed by 15 Million Merits roughly a week later, in which the future is seen as a world of endless drudgery and nonstop video commercials which are forced upon workers who must ceaselessly toil at meaningless jobs simply to survive. The Entire History of You deals with the endless recording of human existence on cellphones, Twitter and other media, which has reached the point of total immersion, so that everyone knows everything about everyone else – there’s nowhere to hide.

The second season – starting in February of 2013 – picks up on this theme with Be Right Back, in which a young widow finds comfort in an artificially created “web” version of her late husband, which “comes back to life” through the aid of every video, Tweet, e-mail and photo scan, and later a synthetic body, but still brings her no real solace. White Bear, easily the most brutal episode of the entire series, came next, with its tale of a young woman who awakes in strange house, unable to remember her identity. Wandering outside, she discovers that no one will talk to her; rather, they incessantly record her every move with their cellphones. The last regular episode to date, The Waldo Moment, chronicles what happens when a CGI cartoon character is suddenly thrust into a race for a seat in Parliament.

The episodes vary in length, from 44 to 62 minutes, and they’re broadcast on Channel 4 in the UK, which has a history of innovative programming going back to the early 1980s. In this country, you’ll have to watch them online, on buy the DVDs, and there is, of course, an American version of the show in the works, for which I hold out little hope – some things just don’t travel well. London at the moment is a fearfully expensive, fairly Dystopian location itself, and the series makes full use of all the technology that comes with a society under constant surveillance – which is life in the UK today. Black Mirror is a paranoid vision of the near future which comes all too close to probability – if we let tech get out of hand (and I would argue we already have), this is just a sample of the world we can expect to live in.

That said, I don’t think the episodes from season two are as strong as those in season one. With completely uncharted territory to mine, and no real risk of failure – if the series clicked, fine, but if not, it would have been a noble experiment – Brooker and his associates could afford to take nearly any risk to create something really off the charts. Season two is slightly more formulaic, though I enjoyed Be Right Back the best of the lot, having just the right mixture of menace and melancholy in its construction. Still, the entire series is literally light years ahead of anything on American television, with the partial exception of PBS, and I suggest you check it out for yourself- whatever you might think of it, it’s an authentic and original vision of society in collapse, and all of us are the victims. It’s a mixture of satire, prognostication and social criticism that really hits home. But beware – it’s not for the faint of heart. Not at all.

You can get more information on Black Mirror by clicking here, or on the image above.

Variety’s “Broken Hollywood” Series – Harvey Weinstein on the Collapse of The DVD

Monday, February 2nd, 2015

Variety is running a new series called “Broken Hollywood” – Or, How The Industry Must Change To Survive

In a guest opinion piece in Variety on January 28, 2015, Harvey Weinstein, producer extraordinaire, posted these thoughts on the collapse of the DVD market, and what Hollywood has to do to make up for loss of this revenue stream: “Every day we face new technology challenges. We have to look at our models — the theatrical model, the VOD [video on demand] model. We have to think about what we do with the lack of a DVD business. That was once an insurance policy for the industry. How do we deal with the newer technologies that are emerging and with the piracy that’s a part of the new digital age?  Little by little by little, VOD is making up for the DVD business. It’s more challenging, but I think eventually the technology will catch up and equate to what we lost.

Obviously, all of these things weigh in on how much money you’re bidding on projects. You don’t know exactly what everything will be worth, so you have to go with your pure gut. If a movie grossed $5 million in theaters, it used to mean that it would do $5 million on DVD. Now, with EST {Electronic sell-through; a method of media distribution whereby consumers pay a one-time fee to download a media file for storage on a hard drive] and VOD and everything else, who knows what you’re going to carve out? The theatrical business is now the biggest profit center. If you don’t win in theaters, you’re in trouble.

The movie dictates its own release strategy. You have to know what you have and be careful how much you spend on P&A [prints and advertising]. The Internet has become an incredibly effective marketing tool, but it’s also the source of greatest competition. There’s limitless content out there, so it’s easy to stay home and watch all these things. You have make a case for why your movie is compelling. What Radius-TWC [Radius-TWC; a the boutique label dedicated to simultaneous multi-platform VOD and theatrical distribution, started by The Weinstein Company] is doing with VOD is finding new ways to reach an audience. Nobody has time anymore. They’re pulled in so many directions. If they want to see a movie at 11 at night while the kids are asleep, this is the way to do it. It’s become an important source of income.

We’re entering a golden age for television. You can tell a better story there. You have more time. I can’t tell Marco Polo in under 50 hours. I wouldn’t know how to do anything other than offer up an abridged bad version of that. Let’s hope all technology companies follow Netflix’s model and marry content and technology with the same passion.” So, the new things out there are not only VOD, which has been around for a while, but also the actual, and legal downloading of files you store on your hard drive, or electronic sell-through. Already, many sites, such as Vimeo are doing this with HD video; iTunes and Amazon have been doing this in their own way for quite some time. But now it’s taking over the market. It’s the future, as I’ve said before; like it or not, physical media is becoming a niche product – if that.

This is an excellent series of “think pieces” – check out more from Variety’s “Broken Hollywood” series here.

Roland Emmerich Tackles the Stonewall Riots

Monday, February 2nd, 2015

Director Roland Emmerich has created a new film on the historic Stonewall Riots.

Too few people today remember the Stonewall Riots, which started in a gay bar in Greenwich Village in the early morning hours of June 28, 1969, at the Stonewall Inn. Police harassment of lesbians and gays was routine during the 1960s, even in Manhattan, but on this particular occasion, the patrons of the Stonewall decided to fight back for their rights, serving as a flashpoint for the Gay and Lesbian liberation movement. Roland Emmerich has directed a stack of forgettable disaster and science fiction action movies, most of which made a fortune at the box office – films like Stargate (1994), Independence Day (1996), Godzilla (the 1998 version), The Day After Tomorrow (2004), 2012 (2009), and most recently White House Down (2013) – but with Stonewall Emmerich turns his attention, with a much smaller budget of just $20 million, to a project which he has a deep connection to as a gay man, and I only hope he does the subject justice.

As Emmerich told Jeff Labrecque during the shooting of the film in the June 4, 2014 issue of Entertainment Weekly, “I was always naturally interested in the subject matter. Then, maybe two or three years ago, a couple of friends and I were kind of talking about marriage equality, and one of them said to me, ‘You know, Roland, you should make a gay movie.’ And I’m saying, ‘Well, nobody wants to see a gay movie from me.’ And then I kind of said, ‘Well, if it’s an important subject matter, then maybe they will.’ At the same time, I was involved with the L.A. Gay and Lesbian Center, and they told me that 40 percent of all homeless youth are gay, which is a disproportionate amount. That was like the bridge to today. It’s still going on. [Gay] kids get thrown out of their homes and become homeless, and [my movie] is like a story of one of these kids who gets involved in the whole Stonewall riots, because the riots were actually kind of done by the kids . . .”

The film was shot in Montreal, partly for tax reasons, but also because, as Emmerich noted, “nothing in New York looks like the ’60s anymore, so we actually ended up with quite a big undertaking. We actually built part of Christopher Street and of the side of the Stonewall, just to be correct and how it really looked. Secondly, we do a lot of blue-screen. The movie ends with the first gay march, the gay liberation march in 1970, and that’s not possible anymore. So we do the whole scene with special effects, like blue-screen. We shot [that] in modern New York and turn it into 1969,  Well, it has a kind of quiet main-street approach, you know. I think it’s a very good story, a very good script. It’s more into the indie world, but I’m hoping it can break out like Brokeback Mountain. We’ll see. That’s the cool thing about it. I don’t have to worry as much about how many people see it or not. There’s not so much pressure when you make a movie like this. I think the movie will make its money back through presales.”

This is a story that needs to be told, and as I said, I only hope that Emmerich does a good job with it; working with actors Jeremy Irvine,  Jonathan Rhys Meyers and Ron Perlman, it would seem that he has a chance. Emmerich really is much more at home with big budget films, and as he told Labrecque, “It’s really cool to go from small project to big project. I’m going to do this in the future a lot. There’s nothing worse than sitting around for two or three years, and sometimes that naturally happens between these big movies, because they’re very expensive and very hard. You’ve got to get a green light. And then you just fill up [your time] with stuff that you want to make, and that’s cool.”

Distribution plans in the US seem to be on hold, or at least proceeding very quietly; though it’s already been pre-sold in Germany. I wonder what kind of US distribution it will get – probably “selected cities,” and then art houses, and VOD, which would be a shame if the movie lives up to its potential. Clearly, for the US market, this would seem like an “indie,” and Emmerich’s usual audience probably won’t give the film a chance. But I personally hope that it’s successful, and that Emmerich can successfully make a humanly scaled production – even if he thinks of it as a “small project” – because this is a part of American cultural history that people need to know more about.

Roland Emmerich’s Stonewall is – at this writing – scheduled for a 2015 US release date.

Denis Côté’s Joy of Man’s Desiring (Que ta joie demeure)

Tuesday, January 27th, 2015

Denis Côté’s Joy of Man’s Desiring is an absolutely brilliant film about the modern day workplace.

I am indebted to the writer and critic Gwendolyn Audrey Foster for bringing Côté’s work to my attention; in our digital age, films such as these don’t get the distribution they deserve, almost never play in theaters, and are in general confined to the festival circuit throughout the world. But thankfully, Joy of Man’s Desiring has just become available in the United States as a digital download on Vimeo, and this absolutely superb film, running just 79 minutes, is one of the most impressive achievements of the cinema in 2014.

You can see the trailer for the film by clicking here, or on the image above, and then either view or download the entire film for a modest fee after that – a price that is an absolute bargain for such a mesmerizing, transcendent piece of work. This is the sort of filmmaking that needs to supported on an everyday basis, as an antidote to the non-stop explosions and commercial blandness of mainstream cinema; Côté’s films, part fiction, part documentary, create an unsettling vision of the world that his uniquely his own.

This is what Jean-Luc Godard and Jean-Pierre Gorin were shooting for with films like British Sounds, in which their Dziga Vertov collective hoped to find common ground with workers, including a memorable tracking shot in an auto assembly plant with a soundtrack of unceasing noise, generated by the manufacturing equipment itself. But Côté’s film goes far beyond Godard and Gorin’s work – and is certainly far less didactic – to give a sort of infernal life to the machines that control women and men on the factory floor, adeptly blending staged vignettes of industrial impersonalization with documentary sequences that chronicle the repetitive tedium of jobs that require labor, and no thought whatsoever – jobs that most people work at for their entire lives, jobs which eventually destroy them and use them up, much like the machines they are forced to operate.

Côté is an extremely prolific filmmaker working out of Quebec, whose many films, including Vic + Flo Saw A Bear, Bestiaire, and Curling offer a disquieting, almost trance-like meditative vision of the modern world, and the alienation and distance that accompanies it. As the presskit for the film notes, “Joy of Man’s Desiring is an open-ended exploration of the energies and rituals of various workplaces. From one worker to another and one machine to the next; hands, faces, breaks, toil: what kind of absurdist, abstract dialogue can be started between human beings and their need to work? What is the value of the time we spend multiplying and repeating the same motions that ultimately lead to a rest – a state of repose whose quality defies definition?”

As Côté himself says of Joy of Man’s Desiring, “there’s no doubt this is the kind of film-essay in the same lineage as my smaller-scale films, which look for the unfindable (Carcasses, Bestiaire) and question language. I take a great deal of pleasure in making films that don’t easily reveal themselves either to me or the viewer. They need to be out there for a long time, they need to get around. We have to put words to these sound-and-image experiments. I hope viewers won’t go crazy; I hope they’ll watch work in action, thought in action, research in action. There’s a little humor, a hypnotic element, some distancing moments, but there is no real issue or end to the film either. I enjoy watching a film get to a moment when I know I am in the process of watching a film. Maybe I don’t understand it, but I turn it over and look at every side to see how we did it; I think about it, let it exist.”

As Stephen Dalton noted in The Hollywood Reporter when the film premiered at The Berlin Film Festival on February 7, 2014, “Quebecois director Denis Côté won a Silver Bear in last year’s Berlinale for his offbeat comic thriller Vic + Flo Saw a Bear, but the formal rigor on display here feels more akin to the director’s unorthodox animal-watching documentary Bestiaire, a left-field Sundance and Berlin favourite in 2012 . . . The film’s non-fiction segments are lightly peppered with dramatic vignettes and poetic touches, including a stern opening monologue delivered straight to camera by an unnamed woman (Emilie Sigouin). ‘Be polite, respectful, honest,’ she warns the viewer, ‘or I’ll destroy you.’ . . .

Moving between different industrial spaces, Côté’s method mostly consists of artfully composed static shots and slow zooms into heavy machinery. These scenes have a stark, vaguely menacing beauty. They are intercut with still-life studies of machinists and carpenters, laundry workers and food packagers. Some are caught in fragmentary conversation, others in sullen and wordless poses. Joy of Man’s Desiring constantly hints at interesting themes – like the psychology of manual labor in a mechanized age, or the broad cultural mix of Francophone immigrants among Quebecois factory workers” but, as Dalton notes, leaves these issues largely unresolved, as they are in real life.

This is thoughtful, crisp filmmaking, which takes genuine risks and at the same time is easily accessible to the average viewer – the film’s running time flies by in what seems to be an instant. Gwendolyn Audrey Foster is preparing a major piece on Côté’s work as a whole, and I look forward to it with great anticipation – there hasn’t been nearly enough written about him, and most critics really don’t understand what he’s trying to do, though it seems clear to me. Côté’s cinema is as strong, as compassionate, and as effortlessly masterful as the films of Robert Bresson, and as meditative and humanistic as the films of the great Yasujirō Ozu, who viewed the world, and the human condition, with an equally clear and direct gaze.

Joy of Man’s Desiring, is, in short, one of the most impressive and effective cinematic essays I’ve recently seen on the connection between humans and machines, labor and capital, and the gap between our dreams and what we actually accomplish. See it as soon as you can. It is a stunning piece of work.

View the trailer for this film by clicking here, and then, by all means, see the film itself.

Netflix Reaches for Global Domination With 60 Million Subscribers

Wednesday, January 21st, 2015

Why is this man smiling? Reed Hastings, CEO of Netflix.

As Dan Frommer reports in Quartz, “Netflix finished last year with 57.4 million subscribers, up 4.3 million from the third quarter—its strongest subscriber growth all year. Fourth quarter revenue reached $1.48 billion, in line with what analysts were expecting and up 26% year-over-year. Netflix added more streaming subscribers outside the US (2.4 million) than in its home country (1.9 million) for the third quarter in a row. Netflix expects to pass 60 million members for the first time this quarter, finishing Q1 with 61.4 million subscribers worldwide.

The takeaway: Netflix’s international expansion is starting to work. In the company’s Q4 letter to shareholders, CEO Reed Hastings noted that overseas growth exceeded expectations, and the company is now expanding faster than previously anticipated: ‘Our international expansion strategy over the last few years has been to expand as fast as we can while staying profitable on a global basis. Progress has been so strong that we now believe we can complete our global expansion over the next two years, while staying profitable, which is earlier than we expected. We then intend to generate material global profits from 2017 onwards.’

Australia and New Zealand are up next. Hastings says Netflix is still considering its options for China—’all of them modest. With the growth of the Internet over the next 20 years, there will be some amazing entertainment services available globally,’ Hastings wrote. ‘We intend to be one of the leaders.’ What’s interesting: Hastings no longer blames Netflix’s US price increase earlier in the year for its slower subscriber growth. ‘We’ve found our growth in net [subscriber additions] is strongest in the lower income areas of the US, which would not be the case if there was material price sensitivity. Additionally, we implemented a similar price change in Mexico during Q4, and saw no detectable change in net additions.’”

And meanwhile, as this chart from the same article demonstrates, physical media, such as DVDs and Blu-rays, are declining in popularity just as fast as Netflix’s streaming service takes off. So if there’s a particular film that you want in a permanent copy, or at least a semi-permanent copy, I would move quickly now and buy the DVD. Already, Netflix’s offerings are skewing much more heavily to Hollywood pop culture titles, while the Criterion collection streams on Amazon, which offers a much more eclectic selection of classic and foreign films. Netflix is for mainstream movies – it will probably replace theaters for the vast number of viewers within the next ten years – and then DVDs will vanish.

Soon Netflix and Amazon will be the only games in town.

2015 Oscar Nominations & Predictions

Thursday, January 15th, 2015

And so the Oscars roll around again.

First off, let’s just remember that although The Academy Awards have managed to elevate themselves into the stratosphere of award ceremonies, they’re industry awards, voted on by members of The Academy of Motion Picture Arts and Sciences, not not critics, or members of the public. Their main function, now and always, is to highlight Hollywood as the supposed center of the cinematic universe, and underscore the hegemony of Hollywood mainstream filmmaking, while making a few cursory nods to the rest of the world with one “foreign” film – it’s really a three hour advertisement for the American film industry, voted on by those who are a part of that industry – so as Norman Mailer might say, “it’s an advertisement for itself.” In short, unlike Cannes, or Berlin, or the New York Film Festivals, this is strictly an industry event.

That said, it seems to me that in this particularly contest, the big winners will be –

Best Picture, BOYHOOD, Richard Linklater’s ambitious real time experiment;

Best Actor, Michael Keaton for BIRDMAN on the “comeback” theory, and also because BIRDMAN got so many nominations throughout the entire ballot;

Best Actress, Julianne Moore for STILL ALICE, which is a fantastic performance in a very small, tightly budgeted film, and a very good choice, although it’s sad to see Marion Cotillard nominated in the same category for the infinitely superior TWO DAYS, ONE NIGHT, but that will never win;

Supporting Actor, J.K. Simmons for WHIPLASH, and absolutely deserving in every sense – Simmons has been a journeyman actor for decades, and here he really gets a chance to shine, and really delivers – a remarkable performance;

Supporting Actress, Patricia Arquette for BOYHOOD;

Adapted Screenplay is wide open, but I’ll go for Damien Chazelle for WHIPLASH;

Best Foreign Film, IDA – a virtual lock;

Best Editing, Tom Cross for WHIPLASH, a dazzling display of virtuoso technique, especially in the final moments of the film;

Best Special Effects, Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher for INTERSTELLAR, though personally I think Dan DeLeeuw, Russell Earl, Bryan Grill and Dan Sudick should win for CAPTAIN AMERICA: THE WINTER SOLDIER, which despite its comic book origins is a much more intelligent and thoughtful film than Nolan’s entry;

and I’ll stop there.

BIRDMAN or GRAND BUDAPEST HOTEL may well sweep the other categories through sheer momentum; but the whole thing is really up in the air at this point, and these are just my thoughts on the subject. There were so many excellent films that weren’t nominated – as always – so this is just handicapping a very closed field. But we’ll have to wait until February 22nd, 2015 to find out what really happens – so until then, take a look at the ballot yourself, by clicking here or on the image above, and place your bets.

The entire ballot is posted as a pdf here; see what you think.

Woody Allen’s New “TV” Series – on Amazon

Tuesday, January 13th, 2015

Woody Allen is doing his first “TV series” ever – with Amazon!

As always with Woody Allen, details are scarce, but Amazon has signed Allen to write and direct a full season of what is now being appropriately referred to as the “Untitled Woody Allen Project,” as the always reliable Nancy Tartaglione reports in Deadline. Of course, it’s not really a “TV series,” though it seems it will resemble one in format, because it’s only going to be on Amazon Prime. What a “full season” means these days is anyone’s guess, but I’m hoping it means at least 13 half-hours. As Tartaglione writes, “Amazon Studios broke new ground this weekend at the Golden Globes, winning its first major awards with the Best Television Series and Best Actor – Comedy or Musical statues going to Transparent.

Now, the streaming service is ramping up another first: signing Woody Allen to his first-ever TV series. Amazon has ordered a full season of the Untitled Woody Allen Project, which will premiere exclusively on Prime Instant Video. The Oscar-winner will write and direct the half-hour show whose logline is under wraps. (Allen previously penned an unaired sitcom pilot, The Laughmakers, for ABC in 1962.) An exact time frame was not provided for the project, however Amazon says its customers in the U.S., the UK and Germany will be able to see the series next year. Further details, including casting, are to come.

‘Woody Allen is a visionary creator who has made some of the greatest films of all-time, and it’s an honor to be working with him on his first television series,’ said Roy Price, Vice President of Amazon Studios. ‘From Annie Hall to Blue Jasmine, Woody has been at the creative forefront of American cinema and we couldn’t be more excited to premiere his first TV series exclusively on Prime Instant Video next year.’ Allen added, ‘I don’t know how I got into this. I have no ideas and I’m not sure where to begin. My guess is that Roy Price will regret this.’”

I love it! “No ideas and I’m not sure where to begin.” That’s the way to launch a series!

“Isn’t it Bromantic?” – The Whole Damn Sony Mess, and What It Means

Monday, January 5th, 2015

I have a new article out today on The Interview (2014) in the Swedish film journal Film International.

As I note, “now that some time has elapsed between the Sony hack and the release of the film that apparently precipitated it, Seth Rogen and Evan Goldberg’s The Interview (2014), there are more than a few lessons to take away from the entire affair not only in the areas of film production and distribution, but also in the areas of cybersecurity. I’m certainly no expert on the latter part of this equation, although I know, as I told The Los Angeles Times on December 13, 2014, that what happened with the Sony hack was ‘a wake-up call to the entire industry […] the studios have to realize there is really no such thing as privacy. The minute anything goes on the Web, it can be hacked.’

That’s true of any cybersystem, and one of the bleakest aspects of the new digital Dark Ages; the blind faith in cloud computing technology, encryption systems, and supposed digital storage as being some supposedly ’safe’ method of keeping scripts, internal e-mails, rough cuts of films, music files and other products of any entertainment company securely beyond the reach of piracy. It’s a joke. If you want a secure method of keeping a film safe, make a 35mm fine grain negative of the digital master and bury it in the vault.

As far as internal communication goes, don’t send e-mails; use face to face conversations – even phones, especially cellphones, aren’t reliably secure. Cellphones can track your every move, and routinely do, so the location, duration, and content of your conversations are a matter of nearly public record. Assume that everyone is audio or video taping you all the time. Don’t make stupid jokes about sensitive issues.

Realize that everything you say and do – even within the confines of your office or home – is as public as the back of a snail mail postcard – actually, much more public, since postcards seem to routinely go through the mail without the least bit of scrutiny. In short, the era of hypersurveillance is here, and the much vaunted concept of Jeremy Bentham’s panopticon with it: there is no such thing as cybersecurity. So-called experts who are brought in in such situations prescribe various fixes, but the entire digital universe is so inherently porous and unreliable – almost existing to be hacked – that any such effort is doomed to perpetual, Sisyphian failure.

In this new atmosphere of perpetual vulnerability, Sony decides to go ahead with the production of The Interview, an extremely poorly made film in which two down-market television ‘tabloid news’ journalists, producer Aaron Rapaport (Seth Rogen) and his anchorman Dave Skylark (James Franco) snag an interview with Kim Jong-un (Randall Park, utterly miscast and completely unconvincing), and are then asked by the CIA to assassinate the North Korean dictator during the course of their visit, using a strip of ricin-impregnated paper to poison him with a seemingly off-the-cuff handshake. Naturally, the whole thing goes desperately wrong, with supposedly ‘hilarious’ consequences, but fear not – by the end of the film (spoiler alert) Kim is eventually killed by a nuclear missile.

I don’t propose to discuss the film at any great length here – it’s long, poorly edited and badly scripted (by Dan Sterling, from a story by Rogen, Goldberg and Sterling) with numerous adlibs throughout, it would seem, from an examination of the B-roll footage readily available on the web, and desperately unfunny. Rogen and Goldberg’s idea of direction is to make sure that everyone is in the frame and that the set is evenly lit, and then shout ‘action’ and see what happens.

The fact that the film cost a reported $44 million to make, not counting Digital Cinema Packages (DCPs, essentially films on a hard drive) and advertising, seems shocking, because it looks both shoddy and cheap. The sets, the props, the lighting, the overall physical execution of the film is simply throwaway ‘documentation,’ nothing more. In short, it looks like a bad TV movie from the 1970s.”

You can read the rest of the essay by clicking here, or on the image above.

Reset! Check Out Frame by Frame from 2011 To The Present!

Monday, December 29th, 2014

Click on the button above to check out this blog from the first entry to the present!

Frame by Frame began more than three years ago with a post on Rebel Without A Cause – now, with more than 590 posts & much more to come, we’re listed on Amazon, in the New York Times blogroll,  the Film International blogroll and elsewhere on the net, as well as being referenced in Wikipedia and numerous other online journals and reference websites. With thousands of hits every day, we hope to keep posting new material on films and people in films that matter, as well as on related issues, commercial free, with truly open access, for the entire film community. So look back and see what we’ve been up to, and page through the past to the present.

There are also more than 70 videos on film history, theory and criticism to check out on the Frame by Frame video blog, arranged in carousel fashion to automatically play one after the other, on everything from Fritz Lang’s Metropolis to film aspect ratios, to discussions of pan and scan, Criterion video discs, and a whole lot more. So go back and see what you’ve been missing – you can always use the search box in the upper right hand corner to see if your favorite film or director is listed, but if not, drop me a line and we’ll see if we can’t do something about it. We’ve just updated our storage space on the blog, so there will be plenty more to come, so check it out – see you at the movies!

So click on the button & see what you can find!

The Interview Opens On The Web

Wednesday, December 24th, 2014

Sony suddenly decided to upload The Interview to the web today – after nearly pulling it altogether.

So Sony decides to dump The Interview on Google, XBox and YouTube VOD for $6.99 or so, thus creating the first saturation booking campaign on the web, essentially opening everywhere at once to forestall negative word of mouth. At the same time, however, this undercuts all the independent theaters who plan to open the film tomorrow when the major chains wouldn’t, thus depriving them of some very profitable playdates – most people will simply stay home and watch it.

And, of course, within minutes, literally hundreds of “rips” were uploaded to YouTube, but were almost immediately taken down, with a cheerful announcement that “we’re sorry, but this video has been removed . . .” etc. So this is a public relations coup for Google – a major Hollywood film opening on YouTube, which will drag more eyes there – and a nice “save face” for Sony, in the form of an early Christmas present to viewers – and if it works, we may see less of theaters in the future altogether.

Why go out, when you can stay home and see first run films on your laptop? But I wonder what the theater chains will do if this becomes the new model; they can’t compete against streaming home video using 4D, 3D and huge screens forever. Streaming The Interview, since the major chains won’t touch it, is a really innovative strategy, along with the “art house” break in major cities, as well as small ones – it’s even playing at Lincoln Center in Manhattan. This may be the way all movies are distributed in the future – but you have to admit, this one had one heck of a viral buzz going for it.

It’s an interesting strategy.

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. To contact Prof. Dixon for an interview, reach him wdixon1@unl.edu or his website, wheelerwinstondixon.com

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