Skip Navigation

Frame by Frame

Archive for the ‘Web Culture’ Category

New Video – Mystery Train

Wednesday, May 24th, 2017

Here’s a new video entitled Mystery Train. Click here, or on the image above, to view.

Wheeler Winston Dixon’s films have been screened at The Maryland Institute College of Art, The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, The Microscope Gallery, The British Film Institute, The Jewish Museum, and The Millennium Film Workshop.

In addition, his works have been shown at 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, Dixon was honored with a retrospective of his films at The Museum of Modern Art, and his films were acquired for the permanent collection of the Museum, in both print and original format. More recently, he has been working in HD video with such films as An American Dream, Instant Replay, and The Shapes of Things, and continues to create new work, with some two hundred plus videos to date available for viewing on his Vimeo website.

To see more of Dixon’s video and film work, just click here.

The Collapsing Theatrical Window for Films

Thursday, May 18th, 2017

As Anthony D’Alessandro notes in Deadline, theatrical release windows for movies are in jeopardy.

There’s been a lot of talk recently that film distribution is moving away from theaters, and towards PVOD – Premium Video on Demand – viewing a film at home on the day of release for as much as $50 a pop. It’s been tried before, and except for big ticket sporting events, it hasn’t really worked out. But that may be changing.

As  D’Alessandro reports, “The urban myth feared by many is that if the per-title rental price in the PVOD window drops down to $20, consumers ultimately will realize that it’s cheaper to watch a movie at home then in cinemas, forgoing costs that come with a night out, i.e. babysitter, parking, dinner, etc. Some studio executives claim their talks with exhibition over PVOD aren’t contentious, but many insiders say that both parties’ working relationship is best described as ‘frenemies.’

Says one distribution veteran: ‘Exhibitors are freaking out. They can’t make money unless they grow their companies, and it’s hard to build these $40M multiplexes. If you have your investors hearing about windows closings, what incentive is there for them to hold on to their stocks?’ The former executive adds that PVOD, if not managed properly, could cause ‘a slowdown in exhibitions’ luxury-seat remodeling and force the mom-and-pop theaters out of business.’ Some also forecast that the domestic supply will shrink, that moviegoing will be relegated to tentpoles with mid- to low-budget fare relegated to in-home streaming.

However, these are doomsday theories, and there’s some positive evidence that the majors aren’t going to cannibalize their own business. Here they are:

The Theatrical Window Will Be Protected: ‘The last thing studios would want to do is threaten that lucrative revenue stream by encroaching on the theatrical window,’ says Tony Wible, Media & Entertainment Senior Analyst at Drexel Hamilton. ‘Theatrical plays a role in pricing the TV licenses for films, and there’s an incentive for studios to maintain the theatrical window.’

Despite Their Bullishness, Studios Haven’t Figured Out a PVOD Formula Yet: There’s buzz that Warner Bros. will come to terms on a PVOD solution by Q4 or Q1 2018, but they’re not going to act alone in the marketplace without another studio. In addition, there are too many moving parts to the PVOD equation, and the whole notion of it goes beyond the Monday-morning haggling between a distributor and exhibitor to hold a film on screens. Other windows like electronic sell-through [EST, when the consumer purchases a permanent video download, either in the cloud or on their computer] would be impacted, and that’s another discussion studios need to have with digital partners including iTunes and Vudu.

If PVOD Becomes a Reality, It Will Face Its Own Challenges: Home consumers already have committed their [money] to cable bundles, Netflix, Hulu and Amazon Prime. When it comes to content in the home, they have way too much of it, not to mention VOD menus are already crowded. So, where’s the incentive to rent one title for [as an example] $30? ‘If you have a $30 VOD product, it’s going to be too expensive for the home consumer when it’s priced against these services,’ says Wible, ‘There’s a value trade-off.’

In Addition, Exhibition Claims That In-Home Streaming Services Aren’t Their Direct Competition: According to Alamo Drafthouse and Neon label chief Tim League,’Theaters are more in competition with restaurants and comedy clubs and the types of entertainment that gets you out of the house.’ Currently, exhibitors such as Regal, Cinemark and AMC are barreling forward with luxury modeling and food/alcohol amenities, and these efforts have led to increased capacity and B.O. revenue upticks, with increased cash-on-cash returns.

Mid- and Low-Budget Movies Can Remain in the Theatrical Space: Some have screamed that economically budgeted fare doesn’t have a chance going forward in an event-driven theatrical marketplace, but the success of Get Out, Split, Fifty Shades Darker, Hidden Figures, John Wick: Chapter 2 and even La La Land have proved otherwise; that’s all about how a studio positions and sells a film. ‘There’s not a clear delineating line of what is meant for theatrical and what’s intended for streaming,’ says Amazon’s distribution and marketing chief Bob Berney.

Whether a mid-budget or indie film winds up on streaming or theatrical has a lot to do with a film’s financiers, and when there’s a company like Netflix willing to pony up big bucks for the smaller screen, money talks. In addition, mid-level and low-budget films ‘need to be event-ized,’ says Berney. Whether they thrive on the big screen boils down to several factors, i.e. a distributor’s passion for the film, how far they’re willing to go with it, a pic’s critical and festival reactions. Not to mention, as long as there are Oscars, there will be smart, upscale specialty movies on the big screen.”

There’s much more to this excellent article; you can read the whole piece by clicking here.

Maybe VR Isn’t The Future of Cinema – Just a Gimmick?

Friday, May 5th, 2017

Many Best Buy VR pop-up stores closed in February; now Facebook is shutting down its Oculus Story Studio.

As Janko Roettgers reported in Variety, “Oculus Story Studio, the award-winning studio behind virtual reality (VR) short films like Dear Angelica and Henry is being shut down, Facebook announced Thursday afternoon. The studio’s 50 staffers are encouraged to apply for new jobs within Oculus, but all ongoing projects of the studio are being cancelled.

‘We’ve been looking at the best way to allocate our resources to create an impact on the ecosystem,’ said Oculus VP of Content Jason Rubin in a blog post. ‘After careful consideration, we’ve decided to shift our focus away from internal content creation to support more external production. As part of that shift, we’ll be winding down Story Studio.’

Oculus officially unveiled Story Studio to the world in early 2015, when it also premiered Lost as the studio’s first narrative piece. In 2016, Story Studio followed up with Henry, an animated VR short about a lovable hedgehog that won an Emmy for Outstanding Original Interactive Program later that year. And earlier this year, Oculus Story Studio premiered its most ambitious project with Dear Angelica, a VR film that was animated entirely within VR itself and that featured Geena Davis voicing one of the two main characters.

All three films will continue to be available on the Oculus Store, Rubin said Thursday. For Dear Angelica, the Story Studio team also developed an entire authoring tool called Quill that allows animators to draw 3-D scenes while wearing a headset and that has been available for free on the Oculus Store. Quill could be open sourced, according to a spokesperson, but Oculus is not going to provide any active support for it anymore.

That could be bad news for animators looking to explore new forms of storytelling in VR; the Story Studio team had in recent months been looking to venture into 3-D comics, and debuted a collection of VR comics at the Tribeca Film Festival last month. At the time, it announced that these comics would be released on the Oculus Store later this year, but that seems less certain now.”

This comes on the heels of an announcement in February 2017 that roughly 200 “pop up” Oculus demo booths located in Best Buy stores in the United States were being shuttered due to lack of consumer interest. As Michael Rougeau reported in Digital Trends, “just under half of the Oculus Rift demo kiosks in Best Buy stores across the U.S. are being shut down, according to a report from Business Insider. The reason? It could be a lack of interest from shoppers.

Apparently, it wasn’t uncommon for Best Buy employees ‘to go days without giving a single demonstration,’ the website said. A memo between a third-party company and store employees reportedly confirmed that the move is due to poor ‘store performance.’ An Oculus spokesperson later confirmed with the website that the Best Buy Rift pop-ups are closing, but said the shift is due to ‘seasonal changes’ and that Oculus is ‘prioritizing demos … in larger markets.’

The move will reportedly affect 200 of the 500 Best Buy locations in the U.S. that currently have Oculus Rift demo stations. ‘We still believe the best way to learn about VR is through a live demo,’ the spokesperson, Andrea Schubert, said. ‘We’re going to find opportunities to do regular events and pop-ups in retail locations and local communities throughout the year.’ She mentioned that stores in Canada will still have the demo kiosks as well.

Business Insider’s report cited multiple unnamed sources who said that the demo stations were often too buggy to use and demos were infrequent even during the holidays. Another of the site’s sources said that Facebook, which owns Oculus, has considered opening dedicated storefronts to sell the headset, but that those talks are still in the early stage.” Summing up the move, Rougeau noted that “the removal of Oculus Rift kiosks from Best Buy stores may be a signal of the product’s declining status.”

It will be interesting to see how this plays out in the coming months.

Theatrical vs. VOD – The Future is Now

Sunday, April 2nd, 2017

As Lindsey Bahr of the Associated Press notes, theatrical vs. VOD is a key issue for filmmakers today.

As she writes, “would you pay $40 to watch a movie in the comfort of your own home 10 days after its big-screen release? How about $30 after 45 days? These are just a few of the ideas being thrown around by major Hollywood studios looking to more effectively compete with streaming services, television, smartphones and everything else that consumers can choose to spend their time with nowadays.

Premium video on demand (PVOD) is less disruptive than Sean Parker’s troubled Screening Room idea, which would have offered movies in the home for $50 on the same day they’re released in theaters. Yet PVOD still had many questioning its merits this past week at the theater industry’s CinemaCon in Las Vegas, from big studio execs to small theater owners, and stars and filmmakers in between.

For most exhibitors, shortening the theatrical window, as the industry calls it, from the traditional 90 days is seen as a bad idea, especially for those who’ve invested large sums of money to upgrade seats and projection tools at the behest of the studios. ‘The shortening of the theatrical window would be horrible for the entire industry,’ said Glen Gray, an exhibitor from South Florida.

As would be expected at an annual gathering of exhibitors, from big theater chains to single-screen operations – many studio executives were quick to emphasize their commitment to the theatrical experience. Dave Hollis, the executive vice president of distribution at the Walt Disney Company, used his platform to speak on behalf of his company and other Hollywood studios to tell exhibitors that they ‘all believe deeply that films should be seen in a theater’ and that they ‘have a common goal to get people to see them in your cinemas.’

Even Amazon Studios, with its blatant streaming strategy, offered encouragement to theater owners. ‘We really believe in the theatrical experience by fully supporting the theatrical window for our releases,’ said Jason Ropell, Amazon’s head of motion pictures, noting that Manchester by the Sea‘ is in its ’19th week and counting’ in theaters.

But there’s no question the marketplace is changing. The North American box office may have reached record highs the past two years, yet attendance has remained nearly flat for over a decade. In other words, growth is coming from higher ticket prices, not more people seeing movies.Warner Bros. marketing and distribution chief Sue Kroll was the rare executive at CinemaCon to speak openly about theatrical threats.

Customers, she said, ‘want more choices in where and how they consume our content. Where there is demand, somebody is going to step in and fill that void,’ Kroll said. ‘We have to be creative and innovative in addressing the challenges of this marketplace, as we always have [and] move toward a future that will be beneficial and profitable to all of us.’

Moments later, director Christopher Nolan took the stage to preview footage from his ambitious, large-format celluloid epic Dunkirk and offered a different view from Kroll, who is distributing his film. ‘The only platform I’m interested in talking about is theatrical exhibition,’ Nolan said. The usually quiet audience erupted into applause. Earlier, the director told The Associated Press that while the threat [of VOD]  is nothing new, it’s also not something filmmakers are, ‘particularly excited about.’

‘You really want your film to be in theaters as long as possible because that’s where they are meant to be seen,’ Nolan said. Indeed, most of the filmmakers sided with Nolan, including Arrival and Blade Runner 2049 director Denis Villeneuve, who said he will ‘always make movies for massive screens,’ and Downsizing director Alexander Payne. ‘I don’t work in television, I work in cinema and I like my films to be seen on the big screen. Period,’ Payne said.”

And yet the future of cinema is undoubtedly through streaming platforms, in digital cinema formats, however much we might want to return to the immersive nature of the theatrical experience, sharing a viewing of a film with a large audience. But theatrical exhibition, once the norm, is now becoming a niche format, except for the most grandiose blockbusters, which seemingly demand Dolby Surround Sound and IMAX screens.

Amazon may tout the virtues of theatrical distribution, but Manchester by The Sea would play just as well on the small screen as it does in theaters, and the bulk of Amazon’s product, such as Mozart in the Jungle and the forthcoming series The Last Tycoon, is distributed through streaming video, where Amazon makes most of its money.

So theatrical is superior, but in the end, streaming video will win out for home viewers.

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!

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.

The Met Goes Digital!

Sunday, February 12th, 2017

The Metropolitan Museum of Art has more than 400,000 images free for download for non-commercial use.

As the museum’s website notes, “Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that more than 400,000 high-resolution digital images of public domain works in the Museum’s world-renowned collection may be downloaded directly from the Museum’s website for non-commercial use—including in scholarly publications in any media—without permission from the Museum and without a fee. The number of available images will increase as new digital files are added on a regular basis.

In making the announcement, Campbell said: ‘Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection.’

The Metropolitan Museum’s initiative—called Open Access for Scholarly Content (OASC)—provides access to images of art in its collection that the Museum believes to be in the public domain and free of other known restrictions; these images are now available for scholarly use in any media. Works that are covered by the new policy are identified on the Museum’s website (http://www.metmuseum.org/collections) with the acronym OASC.

Certain works are not available through the initiative for one or more of the following reasons: the work is still under copyright, or the copyright status is unclear; privacy or publicity issues; the work is owned by a person or an institution other than the Metropolitan Museum; restrictions by the artist, donor, or lender; or lack of a digital image of suitable quality.

OASC was developed as a resource for students, educators, researchers, curators, academic publishers, non-commercial documentary filmmakers, and others involved in scholarly or cultural work. Prior to the establishment of OASC, the Metropolitan Museum provided images upon request, for a fee, and authorization was subject to terms and conditions.

A related blog post by Sree Sreenivasan, the Met’s Chief Digital Officer, about the Metropolitan Museum’s new OASC policy can be found at http://www.metmuseum.org/about-the-museum/museum-departments/office-of-the-director/digital-media-department/digital-underground/2014/image-use-policy. Additional information and instructions can also be found at http://www.metmuseum.org/research/image-resources/frequently-asked-questions.”

For more details, click here, or on the image above; an incredible free resource is now available to all.

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.

RSS Recent Frame by Frame Videos