Skip Navigation

Frame by Frame

Archive for the ‘Webcasts’ Category

News Flash – Bunny Eating Raspberries!

Saturday, May 10th, 2014

When I got up yesterday morning, this was the most popular video on YouTube.

It then had about 300,000 views. I went to the gym, worked out, came home, and it was still there, with 300,000 more views. By Saturday night, it had 2,285,415 views, and was still going strong. By 8:21 AM on Sunday, it had 3,703,441 views, and had knocked the trailers for several “big” summer movies out of the top spot. By Sunday afternoon, it had amassed 4,217,784 views, and by Sunday night, 5,461,489 views, and showed no signs of slowing down. As of Tuesday May 13th, it was still climbing, with an amazing 8,502,302 views. So what it is it?

It’s 33 seconds of a rabbit, in close-up, eating some raspberries, so you can’t say that it’s inaccurately described. At least no one is getting killed, there isn’t some horrible disaster, and perhaps that’s the point – this rabbit doesn’t know about any of this, and simply wants to eat some raspberries, even if she/he doesn’t know what raspberries are – they’re sure tasty!

Perhaps more than a century after the cinema was invented, we’ve gone back to the days of the Lumière Brothers, who simply photographed the world around them in static, one minute films with no camera movement, showing workers leaving their bicycle factory, or people walking in the park, or a baby having a snack – and why not? It’s pure, simple, clear, and innocent.

When Andy Warhol first started making films in the early 1960s, with such titles as Eat (45 minutes of a man eating a mushroom), Sleep (6 1/2 hours of a man sleeping), Haircut (33 minutes of a man getting a haircut), to say nothing of his long series of several hundred 3 minute “screen tests,” he was doing much the same thing.

Perhaps we’ve come full circle again, to meditate on real life.

The DGA Visual History Archive – Director Interviews Online Here

Sunday, April 27th, 2014

The DGA Visual History Program offers an excellent collection of free video interviews with directors.

As the Directors Guild of America website notes, “founded in 2000, the DGA’s Visual History Program has conducted more than 160 interviews with directors and director’s team members discussing their careers and creative processes in film, television and other media.” These include such luminaries as Agnes Varda, Constantine Costa-Gavras, Claude Lelouch, Robert Altman and many, many others. You can see the interviews by clicking on the image above, and then searching the data base, or clicking on the images of some of the directors featured this month. My friend Dennis Coleman brought this to my attention; many thanks, Dennis! This is is an incredible resource.

Click here, or on the image above, to access these remarkable video interviews.

wheelerwinstondixon.com

Thursday, January 9th, 2014

I’ve moved my website to wheelerwinstondixon.com – follow me there!

Take a look at the image above, and you’ll see how it works.

The new website is much cleaner, has more information, and works more smoothly.

At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.

This is where you will find me from now on; the old website is dead, so let’s move on into the future.

The Invisible Cinema of Marcel Hanoun

Sunday, November 24th, 2013

I have an new essay in Film International on the deeply underappreciated filmmaker Marcel Hanoun.

As I note at the beginning of my article, “When Marcel Hanoun died on September 22, 2012 at the age of 82, it caused barely a ripple in the media, and even in the world of experimental cinema. And yet Hanoun was a major filmmaker, whose near total critical eclipse after an initial burst of critical interest is an indictment of cinema history as a function of canon. It’s true that Hanoun’s films are difficult, but no more so than Jean-Luc Godard’s, who was a fan of Hanoun’s work; it’s true that Hanoun turned his back on commercial cinema to work as a perennial outsider, but again, cinema has many rebellious figures in its history who continue to hold a claim on our memory.

But Hanoun is in death, as he was in life, an almost phantom figure, ‘discovered’ in the early 60s, and then summarily dismissed. There is a French Wikipedia page on Hanoun, cited in the works below, but not one in English. Most of his films, with the exception of his first, Une Simple Histoire (1958), are not readily available. His list of film credits on official websites like IMDb is woefully inaccurate. What critical writing there is on him in English is mostly from the 1960s and 70s, and after that, it just stops. Indeed, for most of his films, there’s scant information to be had in any language. To me, this is inexplicable. Hanoun’s importance is clear. Nevertheless, it’s a sobering fact; most people have never heard of Marcel Hanoun.”

You can read the rest of this article here; again, my thanks to Daniel Lindvall, editor of Film International.

Cinecittá Opens Its Doors to The Public

Sunday, October 6th, 2013

Cinecittá, one of the world’s most important film studios, has just begun public tours for the first time.

A friend sent me this video report from Romereports.com on Cinecittá, Italy’s iconic film studio, which has just opened its door to public tours for the first time. Founded by Benito Mussolini, the studio cranked out pro-fascist feature films during the war years, but also served as a training ground for such major figures as Federico Fellini, Michelangelo Antonioni, Vittorio De Sica and many others, all of whom would eventually establish the modern Italian cinema. As the report notes, “cinema and only cinema can skip thousands of years and take us from Imperial Rome to Romantic times. It also breaks natural limits and shows the depths of sea on board this submarine, used in the World War II movie U-571. A compass will prove useless if we want to find those wonderful places: they all belong to Cinecittá studios, the dream factory that never closes. Its 75 years of history can now be enjoyed for the first time.

[Said Giuseppe Basso, delegate administrator of Cinecittá], ‘we have a [tour] route that talks about the mystery of cinema, of how a movie is made. Another area talks about the atrezzo, the construction of the scenarios, the background where a movie was shot, and the costumes of famous actors and actresses. We also have a route specially designed for kids that explains the [workings of the studio's] backstage. And one of our guides will also show you [the] permanent scenery. You have to visit this place because it’s historical. It keeps 76 years of glorious history of cinema [alive], national and international. Italy’s most important films were shot and are still shot in Cinecittá. Opening our doors to the public is a great novelty. A tourist that visits Rome can come to Cinecittá and find something new.’”

Click here, or on the image above, to view a video Cinecitta’s backstage tour; if in Rome, by all means, visit!

Kevin Spacey on The Future of Televison

Sunday, August 25th, 2013

Kevin Spacey has a few words of wisdom on the future of broadcast television and convergence with the web.

Spacey, who gave the keynote James MacTaggart Memorial Lecture at the Edinburgh Television Festival on August 23rd, as reported in The Guardian — one of my favorite newspapers — told the audience that “clearly the success of the Netflix model – releasing the entire season of House Of Cards at once – has proved one thing: the audience wants control. They want freedom. If they want to binge – as they’ve been doing on House Of Cards – then we should let them binge. [This] demonstrated that we have learned the lesson that the music industry didn’t learn – give people what they want, when they want it, in the form they want it in, at a reasonable price, and they’ll more likely pay for it rather than steal it. If you watch a TV show on your iPad is it no longer a TV show? The device and length are irrelevant. For kids growing up now there’s no difference watching Avatar on an iPad or watching YouTube on a TV and watching Game Of Thrones on their computer. It’s all content. It’s all story.”

You can view video excerpts from the lecture here — about five minutes, condensed — and Spacey makes some very good points.

‘In Broad Daylight: Movies and Spectators After the Cinema’ by Gabriele Pedullà

Sunday, August 18th, 2013

I have a review of Gabriele Pedullà’s book In Broad Daylight in the new issue of Film International.

As I write, “This slight but explosive volume, published in an English translation by Verso in 2012, has been kicking around on my work desk for about a year. I wrote a rather negative review of it for Choice, the library journal, and while I don’t want to recant anything I said there, I nevertheless find the book sticking with me in ways I hadn’t anticipated. I don’t agree with most of what Pedullà has to say, as I’ll detail, but he puts up a good fight.

Pedullà, a professor of Contemporary Literature at the University of Rome 3 and visiting professor at Stanford, is first and foremost a polemicist – he’s the guy who throws verbal bombs into the mix, and phrases statements of opinion as if they were fact. But for all of that, there is really very little that’s controversial here. Pedullà’s main thesis is inarguably correct, at least from my perspective; the era of dominance for the theatrical exhibition of motion pictures is finished. Or as he puts it on the opening page of his book,

‘The age of cinema, it is commonly claimed, is now drawing to a close. Day after day signs of a profound change in our relationship with moving images proliferate. The winnowing of box-office receipts, the shrinking size of the audience, the decreasing time lag between a film’s theatrical release and it commercialization on video, television’s growing cultural prestige: these indications, at once social, economic and aesthetic – only make the prophecy all the more credible. If cinema for decades represented the standard and even optimal filmic experience, the touchstone for all other forms of viewing, this formerly undisputed and indisputable centrality is today contested at its very core.’

All true, and yet, as I thought then, and still do now, Pedullà protests too much. The impact of web here is barely even mentioned, and as for ‘television’s growing cultural prestige,’ I have serious doubt about that. For Pedullà, the idea that viewing a film in a theater is the optimal way to see a film is an object of ridicule; summoning up derisively the words of Chris Marker as a member of the ‘old guard,’ Pedullà quotes Marker as noting that ‘on television, you can see the shadow of a film, the trace of a film, the nostalgia, the echo of a film, but never the film,’ and then takes Jean Eustache to task for the similar statement that ‘you can discover a film only at the movie theater.’

To these statements, which to my mind have more than a grain of truth to them, Pedullà’s disdain notwithstanding, I would add the words of the late director Roy Ward Baker, a friend of mine, who directed the only really first-rate film on the Titanic disaster (A Night To Remember, 1958). During an afternoon’s discussion in 1994 at his home in London, Baker told me that he’d been shocked by the impact of viewing a recent theatrical screening of A Night To Remember at a retrospective of his work at Britain’s National Film Theatre.

As Baker told me, ‘I felt like I was seeing it for the first time, you know? Like it was real again. I’d grown so used to seeing it on television, I’d forgotten what it was really like.’ Then, he leaned forward and said two sentences that I have never forgotten since; at least for me, they cut to the center of this entire argument. ‘You see’ Baker said, ‘on television, or on a DVD, you can inspect a film. But you can’t experience it.’ That comment hit me like a bolt of lightning; true, direct, and utterly incisive.”

You can read the entire review by clicking here, or on the image above.

Before They Were Movies

Monday, August 12th, 2013

Today I took part in a radio discussion of books made into films on the NPR affiliate KNPR, Las Vegas.

Thanks to producer Ian Mylchreest, I was asked to appear with Rebecca Romney of Bauman’s Rare Books to discuss famous books that have been made into films, including The Great Gatsby, To Kill A Mockingbird, Gone With the Wind and many more. As the show’s website above notes, “Bauman’s Rare Books in the Palazzo Shoppes has assembled an exhibition of novels that became famous films. The store has everything from a signed copy of Gone with the Wind to first editions of J.K. Rowling’s Harry Potter series. We look at some of the books and the movies that were made — what kind of books makes a great movie?” It was a fascinating discussion, and you can listen to it by clicking here, or on the image above.

Many thanks to KNPR for this opportunity; I had a great time.

Streaming: Movies, Media and Instant Access on “Inquiry” with Mark Lynch

Thursday, August 1st, 2013

I just did an interview with host Mark Lynch on the radio program Inquiry, from NPR affiliate WICN in Worcester, MA, on my new book, Streaming.

As it says on the website for the podcast of the show, “Tonight on Inquiry we welcome back Wheeler Winston Dixon. He is the James Ryan Endowed Professor of Film Studies and professor of English at the University of Nebraska, Lincoln. His new book is Streaming: Movies, Media and Instant Access. Professor Dixon declares that we are now in the “postfilmic era”, a time when movie film will no longer exist and all movies will be shot digitally. DVDs will also cease to exist as all films will be “streamed” and movie houses, those that are still extant, will only show digital copies of movies. But what are the implications of all of this for the art of film, the preservation of old films and how we watch movies? The answers are disheartening and  a little bit frightening. Tune in and find out why.”

And you can tune in by clicking here, or on the image above.

Streaming Directly from the Cloud to Your Brain

Thursday, July 11th, 2013

I have a new interview in Moving Image Archive News on my recent book, Streaming.

As I note in the interview, “I’ve watched film change and morph for more than half a century. As I grew up, everything was being shown in theaters in 35mm, and at colleges, universities and libraries in 16mm, and there was, of course, no such thing as home video, VHS or DVD. Films screened on television were really ’streaming’ – they were broadcast at a certain date and time, and you had to be present at that time to see them.

I remember vividly setting my alarm clock for 1 a.m. or later to see films on WCBS TV’s The Late Show, and then The Late, Late Show, and even The Late, Late, Late Show, which is how I saw most of the classics growing up. I would also haunt revival theaters in New York City, such as the Thalia and the New Yorker, to see the classics projected in their proper format.

Video, of course, has been around since the early 1950s, but I don’t think anyone, even professional archivists, ever thought it would completely replace film, but it has. 16mm is completely defunct as a production medium, except in the case of Super 16mm which is used sometimes in features (such as The Hurt Locker) to save costs, but then blown up to 35mm, or now, skipping that step entirely and moving straight to a DCP.

Film is finished. It’s simply a fact. 35mm and 16mm projection are now a completely rarity, and screenings on actual film are becoming ‘events,’ rather than the norm. This is simply a platform shift, and it comes with various problems, mainly archiving the digital image, which is much more unstable than film.

But with the image quality of RED cameras for production, and digital projection taking over, it’s an inescapable fact that shooting on film is now the moving image equivalent of stone lithography. So now, my own viewing habits have moved to DVD and Blu-Ray, and I have a ridiculously large collection of DVDs in my home library, some 10,000 or more.

I have to have them in this format, because I can’t count on the quality of streaming videos from Netflix, Amazon, or other online sources. Blu-Ray, in particular, yields a truly remarkable image. So that’s how I watch films now, and in any event, the revival houses, even in major cities, are all now pretty much a thing of the past.”

You can read the entire interview by clicking here, or on the image above.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him wdixon1@unl.edu or his website, wheelerwinstondixon.com

RSS Frame By Frame Videos

  • War Movies
    UNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
  • Frame By Frame - Hollywood Composers
    UNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/