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.
Archive for the ‘Webcasts’ Category
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.”
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.”
Always a few steps ahead of the game when it comes to distribution and exploitation of his product, Roger Corman has cut a deal with YouTube to stream his library of more than 400 films on his own YouTube channel, films that he either produced or directed, with the initial emphasis on the more “mainstream” fare, but who knows what will happen as the channel evolves?
Let’s not forget that when no one else would strike a deal with Ingmar Bergman for the American rights to his masterpiece Cries and Whispers, Corman stepped in with a telephone offer to distribute the film in the US based solely on two conditions; one, that it be a “representative Bergman film,” and two, that it was shot in color. This was no problem for Bergman, who readily agreed, and the film went on to become Bergman’s biggest American hit, which Corman booked in not only legitimate theaters, so to speak, but also in drive-ins.
Roger Corman has inspired dozens of filmmakers, actors, writers, and marches very much to his own drum; he was finally recognized by the Academy of Motion Picture Arts and Sciences with a special Academy Award© for his lifetime contribution to the cinema. Corman has directed and produced, or served as the co-producer or distributor, for a lot of excellent films, and he’s constantly, even in his 80s, reinventing himself to keep up with the times.
Streaming is the way to go these days, and Roger is one of the first to jump on the bandwagon with a pay channel in this area; judging by the enthusiastic comments from his many fans, the channel should be a solid hit, and hopefully he’ll run some of the more interesting arthouse films he championed in the 1970s and 80s along with the solidly commercial work; this could be a very interesting undertaking.
As WICN’s website notes, “during the Golden Age of Hollywood, there were the ‘Big Five’ studios that included MGM, Paramount, Twentieth Century Fox and Warner Brothers. But in addition to these giants of film making, there were also a number of smaller studios. Some of these lesser studios produced fine major films like Gone With the Wind and Spellbound, while others concentrated on serials and “B” films. Each of them has a fascinating history. On this Inquiry we welcome back Wheeler Winston Dixon and we continue our conversation about his book Death of the Moguls: The End of Classical Hollywood. Tonight we concentrate on the stories of these smaller studios like United Artists, David O. Selznick (shown here with Jennifer Jones) and Republic Pictures, the films they produced, the stars, and the unusual lives of the men who headed these studios. If you love film, do not miss this interview!”
As Seth Colter Walls reports in the Browbeat section of Slate, “for the next 83 days, Medici.tv will be presenting a TV-quality broadcast of the recent Italian premiere of a new opera by Philip Glass. Titled The Perfect American—and adapted from Peter Stephen Jungk’s novel of the same name—it’s a tale of Walt Disney’s last days, in which the media titan slips in and out of what we might call empirical reality.
In it, Walt Disney, while supervising the team that is building one of the Animatronic American Personages that have become part of his parks’ public lore, gets into a debate with his Robot Lincoln—about the scope of Honest Abe’s liberalism, and whether it properly extends to Martin Luther King Jr.’s March on Washington and the bearded hippie set.
The schism between the robot and Disney’s technicians stems from the surprising fact that the animatronic Lincoln seems to have a mind of his own. And so the developer team brings Lincoln to Disney, who tries to convince the robotic president that they both belong to the same class of Iconic American. (‘We’re folk heroes, Mr. President. But we have enemies …’)
Not getting quite the response he wants, Disney tries another tack, by asking (among other things): ‘Martin Luther King, Eldridge Cleaver, is that what you wanted? Doesn’t that go too far even for you, Mr. President? The black people’s march in Washington; would you really agree with that?’”
As the liner notes for the world premiere of the opera at the Teatro Real de Madrid add, “The Perfect American is a fictionalized biography of Walt Disney’s final months. We discover Walt’s delusions of immortality via cryogenic preservation, his tirades alongside his Abraham Lincoln talking robot, his utopian visions and his backyard labyrinth of toy trains.
Yet, if at first Walt seems to have a magic wand granting him all his wishes, we soon discover that he is as tortured as the man who crosses his story, Wilhelm Dantine, a cartoonist who worked for him, illustrating sequences for [the film] Sleeping Beauty. Dantine is fascinated by the childlike omnipotence of a man who identifies with Mickey Mouse, and desperately seeks Disney’s recognition at the risk of his own ruin.
Walt’s wife Lillian, his confidante and perhaps mistress Hazel, his brother Roy, his children Diane and Sharon, his close and ill-treated collaborators, and famous figures such as Andy Warhol, all contribute to the opera’s animation, its feel for the life of the Disney world.”
Typically brilliant stuff from Philip Glass, who has a long tradition of composing some of the late 20th and early 21st century’s most engaging and innovative music. Don’t miss the opportunity to see this remarkable, original, and compelling piece of work.
This afternoon, I had the good fortune to talk with Mark Lynch for his NPR show Inquiry from WICN radio, on my new book Death of the Moguls. In the 1930s and 40s the great Hollywood studios were ruled by a small group of men who had complete control over which films got made and what stars got to appear in those films. These moguls rule was absolute and together they had a feeling of “absolute immortality.” They were the real gods of Hollywood. But after they died, the era of the classic Hollywood studio also came to an end and the studios lost their individual identities. Here, I get a chance to talk about the book with Mark Lynch; we ran out of time just as we were getting started! Hope to do it again.
I have a new video out in my Frame by Frame series, edited and directed by Curt Bright, on the filmmaker Ridley Scott. You can view it by clicking here, or on the image above.
As Wikipedia notes, “Sir Ridley Scott (born 30 November 1937) is an English film director and producer. Following his commercial breakthrough with Alien (1979), his best-known works are sci-fi classic Blade Runner (1982), Thelma & Louise (1991), best picture Oscar-winner Gladiator (2000), Black Hawk Down (2001), Matchstick Men (2003), Kingdom of Heaven (2005), American Gangster (2007), Robin Hood (2010), and Prometheus (2012).
Scott is known for his atmospheric, highly concentrated visual style, which has influenced many directors. Though his films range widely in setting and period, they frequently showcase memorable imagery of urban environments, whether 12th century Jerusalem (Kingdom of Heaven), contemporary Osaka (Black Rain) or Mogadishu (Black Hawk Down), or the future cityscapes of Blade Runner. Scott has been nominated for three Academy Awards for Directing (for Thelma and Louise, Gladiator and Black Hawk Down), plus two Golden Globe and two BAFTA Awards. He was knighted in the UK 2003 New Year Honours list. He is the elder brother of the late Tony Scott.”
As Barnes reports, “Movie attendance hit a 16-year low in 2011. Star wattage continues to dim. DVD sales keep plunging. Almost none of the films being honored at Sunday’s Academy Awards have struck a mainstream nerve.
Yet Hollywood has a noticeable spring in its step. After all, it’s not the music business.
Instead of Hollywood suffering its own Napster moment — the kind of digital death trap that decimated music labels first through the illegal downloading of files and then by a migration to legal downloads almost solely through iTunes — several deals announced this month have it feeling more in control.
While studios still consider piracy a huge problem and feel stymied by Silicon Valley (and Washington politics), they nevertheless control their content. And now the Web is coming to them.
Google is developing a home entertainment device and several media companies have announced plans for new online streaming services. Taken together, the moves mean no supplier will have a monopoly over the distribution of films and television on the Internet. With more buyers comes leverage, and higher prices for content
‘The mood has shifted from,”Oh, my God, our business models are broken and we’re going to be cannibalized” to something resembling euphoria,’ said Peter Guber, a former chairman of Columbia Pictures who is now chief executive of the Mandalay Entertainment Group, which has interests in movies, TV and sports. ‘Studios see a robust, accelerating online market.’”
It makes sense; with admissions at a 16 year low, the viewers have to be somewhere, and unlike the music business, it seems that Hollywood has figured this out in time for a variety of reasons.
Here’s a great little clip from the Los Angeles Times‘ Envelope Directors Roundtable series, in which five directors discuss how they evaluate their work on a daily basis, and also what they think of criticism of their work, as moderated by Oliver Gettell.
The directors are Martin Scorsese (Hugo), Michel Hazanavicius (The Artist), Alexander Payne (The Descendants), George Clooney (The Ides of March) and Stephen Daldry (Extremely Loud & Incredibly Close).
Daldry seemingly doesn’t even know how to approach the question; Clooney talks about the difference between being an actor, and being a director, and observes that of reviews, if you get fifty positive notices and one negative one, you’re going to forget all about the praise and focus only on the lone dissenter; Alexander Payne says that he lives with perpetual bi-polarism (“Some days I am Orson Welles. Other days I am the worst loser, impostor, know-nothing, wannabe filmmaker in the world. I believe both with equal conviction”); Hazanavicius thinks that you really can’t judge your work objectively on the set, because who knows what it’s going to look like “four months later in an editing room”; and Scorsese views the whole thing with a certain air of Olympian detachment, observing that “If you read the good [reviews], you might believe those, and if you read the bad ones, you certainly believe those. At a certain point, you’ve got to work.”
About the Author
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 numerous books and more than 70 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 at 402.472.6064 or email@example.com.
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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/