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UNL Film Studies Alumnus Matt DeGroot at Buzzfeed Motion Pictures

Monday, February 15th, 2016

UNL Film Studies grad Matt DeGroot oversees three producers at Buzzfeed Motion Pictures.

As UNL English Department Media Specialist Erin Chambers writes, “Matt DeGroot has been obsessed with film for as long as he can remember. ‘Very early on as a kid I was fascinated by the movie making process and soaked up everything I could possibly find,’ he writes. In the days before DVDs came packaged with featurettes and behind-the-scenes material, DeGroot turned to his favorite filmmakers’ biographies. There, he would learn what films most inspired them, and then track down those films to watch, discovering a whole new set of filmmakers to study.

When it came time to choose a major as an undergraduate at the University of Nebraska-Lincoln, DeGroot was immediately drawn to film studies. ‘It was a no-brainer.’ After graduating from UNL in 2006, he received his Masters in Media and Public Affairs from the George Washington University in Washington, D.C. Time spent working for a D.C. public relations and production company earned him his first job as a producer of educational media content for universities around the world. Then, last year, a unique opportunity presented itself: a managment position with the popular social news and entertainment company, BuzzFeed.

Now a year into his job as Production Manager with BuzzFeed Motion Pictures, DeGroot finds himself functioning as a jack of all trades. ‘It has been thrilling to see the company grow and evolve as my own position continues to morph with it. It’ll be fascinating to see what we’re doing another year from now.’ Currently, DeGroot oversees three teams of producers who create content focused on a specific subject, from food to identity and diversity issues.

He not only assists his teams with their ‘creative slate,’ but also the physical process of production; he finds locations, manages casting needs, arranges for equipment, and supervises post-production and distribution. ‘All in all, this process helps crank out 60-70 new short videos each week, as if it were the old factory method of film production on steroids,’ says DeGroot. ’Needless to say, I don’t suffer for things to keep my days occupied.’

DeGroot continues to flex his creative muscles on the side, as well, writing film reviews and honing a stage play he hopes to soon have performed. Through it all, he offers encouragement to his fellow film nerds and students of film studies. [As he notes,] ‘there are definitely jobs out there!’ You can learn more about the BuzzFeed Motion Pictures production team at Buzzfeed.com. Interested in a Film Studies major or minor? Check out the intro video and degree information on our Film Studies page.”

Great job, Erin, and yes, as Matt says – there are definitely jobs out there!

Video: The Theatrical Experience

Thursday, December 17th, 2015

If you’re going to watch a movie, you should see it on the big screen if at all possible.

Here, in another episode of Frame by Frame, I discuss the decline in theatrical film viewing in favor of at home video on demand streaming, as used in platforms like Netflix, Hulu, Amazon and others, as DVDs fade into the distance, and theatrical screenings become a more and more rare experience. This is unfortunate, because the only way you can really see a film – and see all the detail within each shot, is on a big screen, which is the size that 90% of all films were originally made to be seen in, before the advent of television.

Now, of course, TV is fading away, as more and more people are content to watch films in their living room, and given the relative convenience and safety of seeing a film at home – as I note – who can blame them? But nevertheless, the fact remains that, as my late friend the director Roy Ward Baker once told me – and I never forgot it – “on a DVD or television, you can inspect a film, but you can’t experience it.” And it’s absolutely true, which is why seeing a film in a theater remains – after all these years – the optimal way to really see a film.

Check out the video above to find out why.

Interview on Sirius XM – “The Enduring Appeal of James Bond”

Thursday, November 12th, 2015

James Bond seems immortal, despite all the changes he’s gone through over the years.

On November 12, 2015, I participated in a discussion on Sirius XM on the James Bond franchise. As the site for the program notes, “the latest James Bond blockbuster, Spectre, opened last weekend, and while its flavor may be a little bit different from previous outings, it’s still firmly in the 007 oeuvre, filled with amazing stunts, twisty plots, improbable villainy and of course, its magnetically attractive yet coldly distant hero.

Since the first film was made featuring Ian Fleming’s signature secret agent back in the 1960s — Dr. No, starring Sean Connery and filmed for a mere million bucks — the Bond movies have grown steadily more successful and deeply embedded in the culture, evolving with each sequel to fit the moment.

But in the modern era of film and society, do we even need 007 anymore? What’s next for the super spy, and what does his ever-growing popularity signify? The Knowledge@Wharton show on Wharton Business Radio on SiriusXM channel 111 recently interviewed Wheeler Winston Dixon, a professor of film studies at the University of Nebraska, and Christoph Lindner, a professor of media and culture at the University of Amsterdam who has edited a couple of books about the James Bond phenomenon, to discuss those ideas — and to answer that nagging question: Who is the best Bond?”

You can read the transcript, or listen to the podcast, by clicking here, or on the image above.

Interview on NPR’s “Inquiry” With Mark Lynch

Thursday, October 22nd, 2015

Mark Lynch’s NPR program Inquiry interviewed me on my new book, Black & White Cinema: A Short History.

You can see what Mark wrote above as an introduction to the interview – it was a fun session, and Mark always asks all the right questions – plus, he knows what he’s talking about, so it’s always a pleasure to converse with him. Inquiry comes from WICN, the New England NPR station, and Mark Lynch really does his homework – and it shows. There’s really no need to say anything further – just click here, or on the image above, to go to the interview, and listen for yourself – it runs about 30 minutes, which absolutely flew by.

Thanks, Mark- much appreciated!

The Paramount Vault Channel on YouTube – Free Feature Films!

Monday, October 19th, 2015

The Paramount Vault has an excellent selection of classic and contemporary feature films.

As J.E. Reich reports in Tech Times, Paramount Pictures is throwing open its vault of feature films from the 1930s to the present on a free You Tube channel which showcases some of the studio’s biggest hits, along with more esoteric films, many of them well worth watching.

As he writes, “Norma Desmond proclaimed in Paramount’s Sunset Boulevard, “I am big. It’s the pictures that got small!” True to the word of one of the studio’s greatest films, Paramount has brought its bigger pictures to the small screen: by making them available to watch for free on YouTube.

Named The Paramount Vault, the studio’s newly-minted YouTube channel allows viewers to stream a plethora of the studio’s titles, ranging from the timeless screeners (Indiana Jones and the Raiders of the Lost Ark, Invasion of the Bodysnatchers, Breakfast at Tiffany’s, Star Trek I) to more off-beat indies . . . the selection is generally veritable, mixing popular selections with forgotten gems.

Paramount Vault also gives a gift to would-be GIFers and movie buffs: clips from indelible moments in cinema history, such as Indiana Jones taking some lackeys to task after they mess with the wrong guy in the aforementioned Raiders, Cher Horowitz ferreting out driving tips in Clueless, a creepy neighbor making a seemingly normal housecall in Rosemary’s Baby, and — you guessed it — Norma Desmond getting ready for her close-up in Sunset Boulevard.

What remains unclear is the shelf life of each movie: whether each title will remain on the channel after it’s posted or if they’ll be on a type of rotation or phase cycle (i.e., phased in and out), essentially on a system akin to a streaming site like Netflix.”

Adds Joe Blevins of The A.V. Club, “Paramount Pictures, which has recently launched a YouTube Channel called the Paramount Vault where it will be making many of its full-length motion pictures available for free streaming. Since the studio is responsible for such popular films as Grease, Airplane!, Top Gun, Sunset Boulevard, Clueless, and Ghost, as well as such mighty franchises as Star Trek, Transformers, and Indiana Jones, this is potentially big news.

As it is, the Paramount Vault already has plenty of hours of free-of-charge entertainment awaiting the adventurous viewer. Under the science fiction category, for instance, [one can see] The Deadly Bees and The Space Children, as well as such cult favorites I Married A Monster From Outer Space and . . . the indescribable Marcel Marceau vehicle Shanks, among others.

Among the designated Paramount classics, perhaps the most striking selection is Bernardo Bertolucci’s once-controversial 1900 from 1976, starring Robert De Niro. Those without the patience for full-length movies will find clips to share and comedic moments, too, as well as a smattering of digital series. Viewers might well find themselves wandering around in the Paramount Vault for hours or days, unaware of how much time they’ve been spending there.”

You should spend some time there, too. Check it out!

A Bad Day For Traditional Media

Wednesday, August 5th, 2015

Traditional media stocks are taking a beating today, as consumers move away from television for the web.

As Cecile Daurat reports on the Bloomberg News website, “Walt Disney Co.’s darkened outlook dragged down media stocks from Time Warner Inc. to 21st Century Fox Inc. and CBS Corp.

Disney, which through Tuesday had been the top-performing stock in the Dow Jones Industrial Average this year with a record of stellar sales and profit, surprised investors by posting lower-than-estimated quarterly revenue and cutting its forecast for cable-television profit.

Disney’s shares slumped as much as 10 percent — the most since August 2011 — after the results, while Fox and CBS Corp., which both report earnings after the close, dropped more than 5 percent. Time Warner and Scripps Networks Interactive Inc., the owner of Food Network and HGTV, also fell even though they beat second-quarter earnings predictions. Overall, the Bloomberg U.S. Media Index had its biggest intraday decline in almost four years.

‘Investors are definitely reading across the Disney earnings and extrapolating it to the broader media sector,’ said Paul Sweeney, an analyst at Bloomberg Intelligence.

Disney is facing two challenges of it own: fewer subscribers at cable networks such as ESPN, its biggest business, and foreign exchange losses from the strong dollar that are hurting both cable TV and international theme parks.

But the concerns over ESPN’s growth and comments on affiliate revenue from pay-TV providers, which Disney now expects to fall short of previous forecasts, may be a gauge for other media companies.

Both Time Warner and Fox are doubling down on exclusive live sports programming to demand higher fees for their channels from pay-TV distributors. And those higher fees have helped them fuel earnings growth in recent quarters. Investors will get an update on Fox and CBS, which has also pushed into sports programming, when the companies post results.

Time Warner’s decision to keep its full-year profit forecast after second-quarter earnings per share beat analysts’ predictions by a wide margin also weighed on the stock Wednesday. Maintaining the guidance suggested estimates for the second half may be too high, Sweeney said. Shares of the New York-based owner of HBO were down 7 percent to $81.49 at 12:55 p.m. in New York.

Discovery, which dropped 9.5 percent to $29.74, posted results that fell short of sales and earnings estimates Wednesday. The cable-TV company still increased its outlook for annual earnings-per-share growth, excluding foreign exchanges.

Cable-TV stocks like Scripps and Viacom Inc. suffered after Disney cut its forecast for cable profit. For fiscal 2013 to 2016, the entertainment giant had promised profit growth in the high-single-digit range. Now, with just five quarters to go, the company expects a mid-single-digit gain for the division over that time frame.”

This is sort of a late wake-up call to something that has been building for a long time; look at the frame grabbed chart at the top (click here, on the image above, to see a Bloomberg video on this whole topic, with some really sharp analysis). Netflix is going through the roof with subscribers, while traditional media – i.e. television and cable – is essentially flatlining.

This has been coming for a long time, and it’s sort of a seismic shock to the system for all involved, but Netflix is really taking over the whole viewing sphere, allowing people to see whatever they want, whenever they want, wherever they want, and also to cut free of the “bundling” that cable systems force on customers, paying for what really want and nothing else.

This is just the first shot in a new system of distribution that has been building for quite a while; I’m really surprised it has taken traditional media this long to notice that frankly, they’re in long term trouble. There’s no way this trend is turning around, and what happens next is -as far as I can see- that Netflix gets bigger and bigger, and traditional media becomes less and less relevant to millennials.

We’ll have to see what happens next.

Robert Downey Jr. on Growing Up With This Father

Tuesday, July 28th, 2015

Sam Jones has a great web series entitled Off Camera – and here’s an interview with Robert Downey Jr.

As readers of this blog will hopefully know, I am a longtime friend and fan of the work of Robert Downey Sr. - Robert Jr’s father – who made such brilliant films as Putney Swope, Too Much Sun and Chafed Elbows. In this intimate, warm chat with Sam Jones, Downey Jr. describes what it was like to grow up in the Downey household, where his mother and father were constantly making one film after another, “spitballing” ideas for new projects, and trying to top each other with one liners, especially after Downey Sr.’s film Putney Swope came out. It’s a fascinating and contemplative chat session, well worth watching, which gives you some idea of what it was like to grow up in the 1960s in the world of experimental cinema – a world now lost forever, but not lost to authentic recall.

View the clip by clicking here, or on the image above.

The AP Video Archive is Now on YouTube

Wednesday, July 22nd, 2015

The Associated Press puts up 17,000 hours of news film and videotape on YouTube – click here to see!

As Todd Spangler reported in Variety on July 22, 2015, “The Associated Press is uploading more than 550,000 video clips to YouTube — covering news events dating back to 1895 — which the news org said will be the largest collection of archival news content on the Google-owned platform to date.

AP, together with newsreel archive provider British Movietone, will deliver more than 1 million minutes of digitized film footage to YouTube. The goal: to provide high-profile, searchable repositories that let documentary filmmakers, historians and others find news footage, and to promote licensing deals for rights to use the video.

The archival footage includes major world events such as the 1906 San Francisco earthquake, exclusive footage of the bombing of Pearl Harbor in 1941, the fall of the Berlin Wall and the 2001 terrorist attacks on the U.S. Celeb footage includes Marilyn Monroe captured on film in London in the 1950s and Twiggy modeling fashions of the 1960s, as well as segments on Muhammad Ali, Charlie Chaplin, Salvador Dali, Brigitte Bardot and Elvis Presley.

The content is available on two YouTube channels: AP Archive and British Movietone, whose collection spans from 1895 to 1986. Last year, U.K. newsreel archive company British Pathé uploaded its entire 100-year library of 85,000 historic films in HD to YouTube, comprising some 3,500 hours of footage.

Much of the material AP is putting on YouTube is already searchable and available to preview on aparchive.com. Alwyn Lindsey, AP’s director of international archive, said putting the content on the world’s biggest Internet-video platform will increase the exposure of the collection. ‘We found documentary filmmakers tend to start their searches for footage on YouTube, and this gives them a route back to AP,’ Lindsey said.

‘The AP Archive footage, combined with the British Movietone collection, creates an incredible visual journey of the people and events that have shaped our history,’ Lindsey said. ‘At AP we are always astonished at the sheer breadth of footage that we have access to, and the upload to YouTube means that, for the first time, the public can enjoy some of the oldest and most remarkable moments in history.’”

An amazing event, which could only happen in the digital era!

Andrew Wallenstein on The New Video Ecosystem

Saturday, May 9th, 2015

Our viewing habits have changed dramatically, as Andrew Wallenstein notes in Variety.

As he writes, “watching TV used to be so simple, or at least it seems that way in retrospect. First there were just a handful of networks. Then broadcast TV gave way to cable. But even as the number of channels multiplied exponentially, it was all still easy to understand, not to mention incredibly profitable: The combination of advertising and affiliate fees delivered approximately $90 billion annually to a small group of content companies.

That was then, this is now: Advertising revenues and multichannel subscriptions are endangered by significant ratings declines across the cable TV landscape as audiences — particularly younger viewers — get bombarded by a dizzying array of cheaper programming choices delivered over the Internet. Some, like Netflix, charge viewers a monthly fee; others, like many of the ventures pitching advertisers at this week’s NewFronts presentations in New York, are as free as broadcast television.

Many of these ventures are backed by the biggest companies in the tech sector. Which isn’t to say the incumbent entertainment conglomerates are simply sitting on the sidelines while the challengers eat their lunch. To the contrary, Hollywood’s participation in the likes of Sling TV and HBO Now is something akin to baby Kal-El launching out of planet Krypton in Superman: A culture facing the threat of extinction is seeking to find life for itself elsewhere in the solar system.”

A fascinating article, with superb graphics and excellent detail – click here, or above to read it all.

Web Changes Everything for Indie Films and TV Series

Monday, April 13th, 2015

This is a key moment – Netflix and other web providers are producing both “TV” series and theatrical films.

As Dina Gachman reports in Studio System News, “Netflix is buying feature films, Woody Allen is making an Amazon show, and A-list Oscar winners have no problem taking a role in a TV show or miniseries, even at the height of their career. In other words, it’s an exciting time for television. The landscape is changing so rapidly it’ll give you whiplash.

That’s all great news for actors, writers, and producers – and maybe not-so-great news for theater chains, whose owners were recently up in arms about Netflix buying Cary Fukunaga’s feature film Beasts of No Nation for a reported $12 million. Features and television are experiencing an indie revolution – just look at the Best Picture Oscar nominees this year. The vast majority of the nominees were made outside of the studio system, with Warner Bros. American Sniper being the oft-cited exception.

In television, the traditional process of getting a pilot made is still the norm, but there are more channels, more online platforms, and more opportunities for writers and producers to get their project made than ever before. Going the independent route and shooting the pilot yourself is one option, and the stigma of making a pilot DIY-style is quickly becoming a thing of the past [and] while it hasn’t become the norm, indie pilots are definitely becoming an increasingly common route for creators who want to get their passion project off the ground, by any means necessary.

Former House EP Katie Jacobs and veteran indie producer Nick Wechsler (Drugstore Cowboy, Reservation Road, Magic Mike) have recently teamed to produce an independent pilot called Dr. Del, with John Hawkes starring and John Sayles writing. They’ll shoot the pilot on their own, with total creative freedom, and then take it to cable and broadcast network.”

As she puts it, “there really is no excuse not to make your pilot anymore.”

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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