Skip Navigation

Frame by Frame

Posts Tagged ‘Books’

Fantasia of Color in Early Cinema

Friday, May 22nd, 2015

Just as I finish up my book on black and white, Amsterdam University Press comes out with this fabulous book on early color filmmaking.

Fantasia of Color in Early Cinema by Giovanni Fossati, Tom Gunning, Joshua Yumibe and Jonathan Roson is a stunning look at early hand colored and dyed cinema, from the turn of the 19th to 20 the centuries, which collects in one volume an enormous number of gorgeous, hand colored images. As the press material for book notes, “we normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century. In this visually stunning book, the editors present a treasure trove of early color film images from the archives of EYE Film Institute Netherlands, bringing to life their rich hues and forgotten splendor.

Carefully selecting and reproducing frames from movies made before World War I, Fossati, Gunning, Rosen, and Yumibe share the images here in a full range of tones and colors. Accompanying essays discuss the history of early film and the technical processes that filmmakers employed to capture these fascinating images, while other contributions explore preservation techniques and describe the visual delights that early film has offered audiences, then and now. Featuring more than 300 color illustrations for readers to examine and enjoy, Fantasia of Color in Early Cinema will engage scholars and other readers of all ages and backgrounds.”

Early reviews have been rhapsodic, with Martin Scorsese declaring that “‘I could gaze at the images in this book for hours. They are as fascinating as illuminated manuscripts or magic lantern slides,” and artist Tony Oursler commenting “in the endless rewrite of art history the moving image seems indefinably futuristic. Fantasia of Color in Early Cinema makes the case for the importance of these mind-blowing masterpieces. These stunningly chromatic film stills link technology and the human touch while revealing one of film’s best kept secrets. Traditional painting and sculpture relies on reflected light while projected light opens a wildly new path of experimentation. Here we see, for the very first time, images made at the speed of light.”

You can see more images from book by clicking here, or on the image above.

Forthcoming Book – Black & White Cinema: A Short History

Wednesday, May 20th, 2015

Coming this Fall, 2015 from Rutgers University Press – the first history of black and white cinema.

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir’s moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones.

Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers’ appreciation of them is similarly waning. Black and White Cinema is the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and global overview of the era when it flourished, from the 1900s to the 1960s.

Acclaimed film scholar Wheeler Winston Dixon introduces us to the masters of this art, discussing the signature styles and technical innovations of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist. Giving us a unique glimpse behind the scenes, Dixon also reveals the creative teams—from lighting technicians to matte painters—whose work profoundly shaped the look of black-and-white cinema.

More than just a study of film history, this book is a rallying cry, meant to inspire a love for the artistry of black-and-white film, so that we might work to preserve this important part of our cinematic heritage. Lavishly illustrated with more than 40 on-the-set stills, Black & White Cinema provides a vivid and illuminating look at a creatively vital era.

“Dixon covers the entire history of black-and-white movies in one volume, and talks about the films and cinematographers who created these films, and often got little credit for their work. Fascinating and compelling, this is essential reading for anyone who loves movies.” —Robert Downey Sr., director, Putney Swope.

“Dixon has an encyclopedic knowledge of film history, and a subtle and well-honed aesthetic sense. He rescues important films from oblivion, and finds fresh angles of approach to films that are already familiar.” —Steven Shaviro, Wayne State University.

“Wheeler Winston Dixon’s colorful study of black-and-white cinema reaffirms yet again his unfailing expertise as a critic, historian, and dazzlingly fine writer. Indispensable for students, scholars, and movie buffs alike.” —David Sterritt, author of The Cinema of Clint Eastwood: Chronicles of America.

“In his latest book, Black and White Cinema, Wheeler Winston Dixon rediscovers the art of cinematography in those glorious black-and-white movies from Hollywood’s classic age.” —Jan-Christopher Horak, director, UCLA Film & Television Archive.

My thanks to all who helped with this extremely complex and ambitious project.

Forthcoming Book – Dark Humor in Films of the 1960s

Friday, May 15th, 2015

I have a new book from Palgrave Pivot this July – pre-order it here now!

As the promotional materials for the book note, “Dark Humor in Films of the 1960s presents six detailed chapters on various topics that relate to genre cinema, concentrating on films and filmmakers whose films offered wide ranging commentary on popular culture. Covering both little and well-known films and filmmakers (Vanishing Point, Marcel Hanoun, It’s a Mad, Mad, Mad, Mad World, Max Ophüls), Dixon’s writings draw on a multitude of critical, historical, and archival sources to capture the reader’s attention from start to finish.

Wheeler Winston Dixon is the James Ryan Professor of Film Studies, Coordinator of the Film Studies Program, and Professor of English at the University of Nebraska, Lincoln, USA. He is the author of Death of the Moguls: The End of Classical Hollywood, Streaming: Movies, Media and Instant Access, and Cinema at the Margins and editor, with Gwendolyn Audrey Foster, of the book series Quick Takes: Movies and Popular Culture.”

“Dixon is a first-rate film scholar, critic, and historian, and the qualities he has cultivated and refined over the years are evident in everything from the clarity, lucidity, and liveliness of his prose to the accuracy of his research, the force of his arguments, and the perspicuity of his judgments.” – David Sterritt, Chair, National Society of Film Critics

A short and concise look at some of the films that shaped a decade.

The Internet is Not The Answer – Andrew Keen

Wednesday, April 8th, 2015

Watch an interview with Andrew Keen on C-Span by clicking here, or on the image above.

As Andrew Naughton perceptively notes in his review of Keen’s book in The Guardian, “Andrew Keen – like many who were involved in the net in the early days – started out as an internet evangelist. In the 1990s he founded a startup in the Bay Area and drank the Kool-Aid that fueled the first internet bubble. But he saw the light before many of us, and rapidly established himself as one of the net’s early contrarians.

His first book, The Cult of the Amateur: How Today’s Internet Is Killing Our Culture, was a lacerating critique of the obsession with user-generated content which characterized the early days of web 2.0, and whenever conference organizers wanted to ensure a bloody good row, Andrew Keen was the man they invited to give the keynote address.

If his new book is anything to go by, Keen has lost none of his edge, but he’s expanded the scope and depth of his critique. He wants to persuade us to transcend our childlike fascination with the baubles of cyberspace so that we can take a long hard look at the weird, dysfunctional, inegalitarian, comprehensively surveiled world that we have been building with digital tools.

In that sense, The Internet Is Not the Answer joins a number of recent books by critics such as Jaron Lanier, Doc Searls, Astra Taylor, Ethan Zuckerman and Nicholas Carr, who are also trying to wake us from the nightmare into which we have been sleepwalking.

Like these other critics, Keen challenges the dominant narrative about the internet – that it’s a technology that liberates, informs and empowers people. The problem with this narrative, he points out, is not that it’s wrong – the network does indeed have the potential to do all of these marvelous things, and much more besides. The problem is that it’s not the whole story, and perhaps it will turn out to be the least important part of it.

The more important truth about the internet, Keen thinks, is that it has evolved into a global machine for creating a world characterized by vast and growing inequality. ‘The error that evangelists make,’ he writes, ‘is to assume that the internet’s open, decentralized technology naturally translates into a less hierarchical or unequal society.

But rather than more openness and the destruction of hierarchies, an unregulated network society is breaking the old center, compounding economic and cultural inequality, and creating a digital generation of masters of the universe. This new power may be rooted in a borderless network, but it still translates into massive wealth and power for a tiny handful of companies and individuals . . .’

Far from being the ‘answer’ to society’s problems, Keen argues, the internet is at the root of many of them. As a result, it poses an existential question for democracies everywhere: can elected governments control the waves of creative destruction now sweeping through our societies as the digital revolution gathers momentum?”

As Keen told Brian Lamb in an interview on C-SPAN on January 15, 2015, part of which included an excerpt from a TED Talk Keen delivered in Brussels, “we are being sold something also, which is a scam. Something which is undermining who we are as a species. One of the previous speakers talked about the importance of community-what I call the ‘cult of the social’- this idea that community is everything . . .

You come to these events and all you ever hear about is community, community, community. Community is supposed to be so wonderful. Community brings us together. These books-too many of them-all about the ‘we.’ All about how important it is for us to work together. All premised on this absurd idea that technology will finally enable community.

For those of you who read Marx’s German question, it’s really taken a lock stock and barrel from Marx – the idea that technology allows us to realize our species being, that we have this network, 2 billion people on it now, all this data, DNA. We are all becoming information, and we can share that information and become community. But of course, it’s nonsense. And worse than nonsense, it’s dangerous nonsense . . .

It’s dangerous because it’s not true. It’s dangerous for two reasons. Firstly, as [John Stuart] Mill realized in his great work On Liberty, it’s the interior that’s so important. And the role of government . . . is to protect that interior.  I’m a believer in the Mill-ian idea of protecting the individual to think for themselves and that the social tends to lend itself to conformity. So that’s the first thing.

The second thing is that the social – which I’m not against. I don’t think being social is a bad thing. I don’t think we should lock ourselves in our room. I’m not in favor of going back to the cave and separating myself from my fellow man. But the other problem is that social media in the digital age isn’t social. It’s an extension of the self. It’s an extension of the culture of narcissism that increasingly pervades the internet.

So when you go on Facebook, you’re not really networking. You’re not really being social – or some people of course are. But more and more people are using it- or on Instagram or any of these other networks or on Twitter. You’re using it to broadcast yourself, to show off yourself. And actually, ironically enough, it’s more and more alienating.

As I show in The Internet Is Not the Answer, a lot of research shows that the more people use Facebook, the lonelier they are, the more separate they are. So the social is actually fragmenting. It’s alienating, it’s atomizing.”

This is absolutely essential reading, as everyone piles on the digital bandwagon.

So That Happened – Jon Cryer’s New Memoir

Wednesday, April 8th, 2015

Jon Cryer’s memoir of his long and checkered career makes for surprisingly thoughtful, entertaining reading.

Show biz memoirs are usually “and then I did this” or “and then I met” or else redolent of both scandal and self-promotion, but despite the high octane material Jon Cryer has the ability to exploit, with the whole Two and A Half Men saga just a part of his many decades as an actor, Cryer’s So That Happened deals most effectively not with shock, but rather introspection – into his personal life, but more importantly, into the craft of comedy itself.

After his initial hits in films, Cryer wandered in the wilderness with a string of failed television pilots until he was considered within the industry to be almost “the kiss of death” for any new project, until, by a long and torturous route, he finally landed the gig on Two and a Half Men.

But his major discovery was that, for some reason, his mere presence on a set seems out of place for audiences, who are almost waiting for some misfortune to befall him, and when he registers confusion, disbelief, or irritation, the result is amusement, as if his very being is perpetually alien.

He also discusses the mechanics of building a joke; how the auditioning process in Hollywood has become completely corrupted by the fact that one has sign an agreement merely to audition for a part, with no assurance of getting it; how the entertainment industry is so mercurial that success can vanish literally overnight; and how his oldest friends sadly fell away when fame finally came to him.

Sad, ruminative, literate and deeply analytical, this book is a real surprise, and offers some genuine insight into why the entertainment world is so stratified today, into the superstar brackets and nothing else, as the middle class of movies, music, books and other media are shuffled off into VOD oblivion.

For Cryer, it’s a craft, but it’s also job, and you have to hit your marks and perform, no matter what. So That Happened is about the triumph of professionalism. As Cryer notes, “you can’t do television shows caring whether or not the network picks you up. You can only do them enjoying the work, because if you’re always on pins and needles about whether you’ll be picked up, you’ll lose your mind. I learned that the hard way.”

All in all, very much worth reading.

Patton Oswalt’s Silver Screen Fiend – An Absolutely Brilliant Book

Monday, January 12th, 2015

Patton Oswalt’s new memoir about four years of incessant movie watching is an amazing book.

Silver Screen Fiend: Learning About Life from An Addiction to Film is one of the most astonishingly erudite, unpretentious, and accessible volumes on the history and lure of the cinema ever written. It reminds me very much of Geoffrey O’Brien’s equally brilliant, and equally whacked-out book The Phantom Empire: Movies in the Mind of the 20th Century, which traced the history of movies from the beginning to the end of the “film” era, before the advent of digital cinema. But Oswalt’s book really has two tracks; his manic devotion to films being screened at The New Beverly Theater (in particular), a rep house in Los Angeles which up until recently ran some of the most adventurous programming around – sort of like The Thalia in the New York in the 1980s – and his struggle to establish own career as a writer, stand up comedian, and actor.

Essentially a memoir of four years of binge movie watching, running the gamut from everything from Mr. Sardonicus to The Garden of the Finzi Continis with every imaginable stop in-between, from Spaghetti westerns to Hammer horror to Billy Wilder’s early films to Jean Cocteau’s luminous masterpiece Beauty and The Beast, Oswalt uses his manic consumption of images in the service of a larger consideration of what the true nature of cinephilia is, how it can become a religion, how most people have no idea what intense labor making a film is, and how they also don’t particularly like to pull films apart analytically, because it spoils the illusory nature of the spectacle they’ve just witnessed.

Along the way, there are considerations of Vincent Van Gogh, the craft of comedy and how it pays to hang around with people who are smarter than you are – all through your life – so you can pick up some real response to your material, as well an almost elegiac sense of time past and irrecoverable, along with the experience of watching a film in a theater, when now it’s so much easier -as this blog as pointed out time and time again – to watch them at home.

I’ve only recently come to know Oswalt’s work as a comedian, as in his recent stand up routine “Selling Out,” in which he describes playing a gig at a casino for an obscene amount of money during which he doesn’t even have to tell a single joke to earn his paycheck – all the audience wants to do is yell “King of Queens!” and “Ratatouille!” at him in a drunken stupor – King of Queens being a blue collar sitcom that Oswalt co-starred in for nine years, which simultaneously made him a small fortune, and also established his mainstream career.

But he’s really doing most of his interesting work on the margins, as all artists do, and his standup material is both dangerous and sharply observed – like the best of Louis C.K. – and Oswalt’s skills as a writer are formidable, a sort of gonzo endless riffing that simply won’t shut up, reeling off factoid after factoid, one film after another, in an endless genre mashup that eventually pushes him over the edge and back into the light, and out of the darkness of the movie theater, having learned what he needed to know from the movies before getting on with his life.

In the first pages of Silver Screen Fiend, Oswalt tells the reader that she or he doesn’t “have to follow me into the darkness” of the movie theater, but by the end, having come off a four-year run of nonstop film viewing, he reiterates the opening with a slight variation: “listen – you don’t have to follow me into the sunshine. Is this your first time seeing Sunset Boulevard and Ace in the Hole? By all means sit and see ‘em. They’re great. I envy your getting to watch them with new eyes. But take what you need from them  and get out of the dark once in a while. You’re going to have more of the dark than you can handle, sooner than you think. The thing about the dark is, it can never get enough of you.”

So in the end it’s a cautionary tale, just like O’Brien’s brilliant book, in which binge viewing films provides “minimal proof that you’re still alive.” And yet the dazzling brilliance of classic cinema – both high and low art, as if such distinctions really exist -  comes through in the pages of this volume full force, a world which seems to be vanishing into the realms of streaming and isolated viewing, and the cinematic community along with it.

I never expected someone like Oswalt to come along and write a book like this – it’s smart, assured, and as he would probably say, “it absolutely kills.” It jumps off the page, and I read it straight through in one sitting, and then bought some copies for friends. For people in their 20s, this would be a great place to start seriously thinking about films. It’s also the document of a personal voyage that’s both harrowing and illuminating. By the way, the front cover is a still from The Colossus of New York – another really odd, really fascinating piece of work – so this volume is full of surprises from beginning to end.

Patton Oswalt’s Silver Screen Fiend: Learning About Life from An Addiction to Film - check it out!

The Essential Raymond Durgnat

Saturday, January 10th, 2015

Raymond Durgnat was one the founders of modern film criticism, always cutting against the prevailing grain.

Marginalized by many during his lifetime, Durgnat is finally getting some measure of the respect he so richly deserves. I remember giving a lecture a few years back on the dominance of structuralist and semioticist film criticism, and being surprised when a member of the audience in the back of the room raised his hand during the Q&A that followed to invoke Durgnat’s name, as one of the “forgotten” or deliberately neglected voices of contemporary film criticism, and wondering when and if he would ever be reclaimed by academe. Needless to say, I welcomed this question, and agreed that Durgnat’s contribution had been considerable, but also noted that he had been thrown out of favor by the French school of film “systematizing” criticism in the 1970s and 80s, and that as with all such shifts in public reception, Durgnat’s work was now obviously no longer in public view. I added that I hoped this matter would soon be rectified. Since Durgnat died in 2002, obviously, this work had to be done by others.

Thus, I was very pleased to read that Henry K. Miller has collected a vast trove of Durgnat’s writings and collected them in one volume from Palgrave Macmillan, appropriately entitled The Essential Raymond Durgnat. As the book’s publicity materials note, “Raymond Durgnat was a maverick voice during the golden age of film criticism. From the French new Wave and the rise of Auteurism, through the late 1960s counter-culture to the rejuvenated Hollywood of the 1970s, his work appeared in dozens of publications in Britain, France and the USA. At once evoking the film culture of his own times and anticipating our digital age, in which technology allows everyone to create their own ‘moving image-text combos’, Durgnat’s writings touch on crucial questions in film criticism that resonate more than ever today. Bringing together Durgnat’s essential writing for the very first time, this career-spanning collection includes previously unpublished and untranslated work and is thoroughly introduced and annotated . . .”

As Durgnat himself said of his approach to cinema in a 1977 interview, aptly entitled “Culture Always is A Fog,” “I’m an analogic thinker, not a digital one. Or rather I don’t think much in either-slash-or terms — digital ones, binary oppositions. Especially as having MBD (Minimal Brain Dysfunction), I have things like perseveration and word-substitution and reverse most numbers. And right and left. It’s hereditary, probably. At least there’s a history of left-handed mirror-writers and stammerers in the family. My brother as a child couldn’t even see the difference between his mirror-writing and regular writing. Maybe I’m dyslexic, but not for reading. Strange, eh? Maybe difficulties can make one over-compensate. Be doubly careful. It is a coordination affair, because I’ve got fast motor reflexes. In intellectual work I really think in two stages. Right brain dominance, which makes all sorts of approximate comparisons — that’s the analogic half — then a fairly separate phase of very light order with no affect. First I’m intuitive, muddled, fertile, and all my opinions are easily reversible. Then I reason. I learned math with difficulty because they never explained the principles, which I needed to analogize from.”

Wikipedia also offers this brief but accurate summary of Durgnat’s career and eventual eclipse, writing that “in the 1950s, he had written for Sight and Sound, but he later fell out with this British Film Institute publication after the exit of Gavin Lambert in 1957, often accusing it of elitism, puritanism and upper-middle-class snobbery . . . he did, however, return to write for another BFI publication, the Monthly Film Bulletin, in the years before its merger with Sight and Sound in 1991, and contributed to that publication again later in the 1990s.In the mid-’60s he was a major player in the nascent London Film-Makers’ Co-op, then based at Better Books off Charing Cross Road, a hub of the emerging British ‘underground.’ As the counter-culture turned left and, simultaneously, sought state funding for its activities, Durgnat looked to the past in major works on film style (Images of the Mind, 1968-9), Hitchcock and Renoir.

In the late 1970s he taught film at the University of California, San Diego alongside Manny Farber, Jean-Pierre Gorin and Jonathan Rosenbaum. Returning to the UK at the close of the decade, he launched a series of withering assaults on the linguistics-based film theory that had come to dominate the young film academia over the previous decade. Durgnat’s socio-political approach — strongly supportive of the working classes and, almost as a direct result of this, American popular culture, and dismissive of Left-wing intellectuals whom he accused of actually being petit-bourgeois conservatives in disguise, and dismissive of overt politicisation of film criticism, refusing to bring his own Left-wing views overtly into his writings on film — can best be described as ‘radical populist.’”

So this collection of Durgnat’s essential writing is a cause for celebration, and brings to the contemporary reader some sense of an alternative voice in film criticism that has been unjustly lost over time – the book received a rave review in the latest issue of Film Comment, with which I am happy to concur. You may not agree with him, but Durgnat’s urgent critical voice, always somehow instinctively at loggerheads with whatever the prevailing orthodoxy of the era was, is an essential element of modern film theory, one that I hope is coming back into vogue, based as it is on the humanist structures and concerns of the cinema, and not entirely dependent upon their formal characteristics.

See more about this excellent collection by clicking here.

Leonard Maltin’s 2015 Movie Guide – The Last Edition

Friday, December 26th, 2014

This is the last – the very last – edition of this iconic, essential movie guide.

Leonard Maltin’s Movie Guide has been a staple for film fans both serious and casual for decades – providing succinct summaries, reliable cast and director information, correct running times and aspect ratios, and w whole lot more. Maltin is a popular movie critic, so it’s not depth you get here, but encyclopedic grasp, much as with the late Ephraim Katz’s Film Encyclopedia, both pre-internet era staples. In recent times, the Internet Movie Data Base and to a lesser extent The All Movie Guide online have supplanted both these works, but with both these sources, you get facts, but not reliable opinions – it’s all fan stuff. The great thing about Maltin’s book is that it covers the classics, as well as more mainstream films, and Maltin knows what the films are trying to do – whether they’re aiming for something beyond mere entertainment, or just hoping for sheer escapism.

Thus, the news that Maltin is hanging it up after 45 years with this volume, because he simply can’t compete with the ubiquity of the web, is sad indeed. This newest edition omits silent films for the most part, and dropped some features that were useful in previous editions (lists of credits for actors and directors at the back of the book, for example), but what makes Maltin’s guide unique and extremely valuable is the even-handedness of his critical appraisal of each film, with entries written both by Maltin himself and his band of colleagues, especially Luke Sader. If you get this last edition – which right now is #1 on Amazon’s film book list – please get the oversize paperback edition, not the smaller pocket book size. The typeface is bigger, and the book is much easier to skim through, looking for your favorite titles.

And that’s a pleasure that you can’t replicate on IMDb. Just open Maltin’s book to any page, and start reading. Listed in strict alphabetical order, you’ll soon be careening from high to low art within just a few entries, browsing through cinema history in the company of someone who really does know the entire history of cinema. Not every film is listed here, of course- they couldn’t be, or the book would be several million pages long. And sometimes you’ll disagree with Maltin, whether you’re a serious academic or merely a recreational film viewer. But for an overview of film history available on both TV and DVD as well as streaming on the web, Maltin’s guide is hard to beat, and I for one am sorry to see it go.

As Pete Hammond wrote in Deadline of Maltin’s Movie Guide, “Director Noah Baumbach told Maltin he grew up with the book and actually referenced it in his 2010 film Greenberg. When someone asks the morose Ben Stiller how he’s doing, Stiller answers ‘okay’ and guesses ‘Leonard Maltin would give him two stars.’ Once Were Warriors director Lee Tamahori told Maltin, ‘I am thrilled to just be on the same page as Once Upon A Time In The West.’  Alexander Payne said a review in the Guide meant the most to him because it was ‘for the ages.’ Maltin says Billy Bob Thornton told him he spotted a copy for sale once in the Singapore Airport and it made him feel like there was a touch of home. In fact the Guide is sold around the world and has been translated into Italian and Swedish, among other languages.” For 45 years, Maltin’s Movie Guide was an essential film reference tool, and remains so today.

After 45 years, Maltin’s Movie Guide is no more – get a copy while you can.

The Triumph of Human Empire by Rosalind Williams

Tuesday, November 18th, 2014

Here’s a brilliant book on the intersection of science and romantic culture.

As the publisher’s website for this book notes, “in the early 1600s, in a haunting tale titled New Atlantis, Sir Francis Bacon imagined the discovery of an uncharted island. This island was home to the descendants of the lost realm of Atlantis, who had organized themselves to seek ‘the knowledge of Causes, and secret motions of things; and the enlarging of the bounds of Human Empire, to the effecting of all things possible.’ Bacon’s make-believe island was not an empire in the usual sense, marked by territorial control; instead, it was the center of a vast general expansion of human knowledge and power.

Rosalind Williams uses Bacon’s island as a jumping-off point to explore the overarching historical event of our time: the rise and triumph of human empire, the apotheosis of the modern ambition to increase knowledge and power in order to achieve world domination. Confronting an intensely humanized world was a singular event of consciousness, which Williams explores through the lives and works of three writers of the late nineteenth century: Jules Verne, William Morris, and Robert Louis Stevenson.

As the century drew to a close, these writers were unhappy with the direction in which their world seemed to be headed and worried that organized humanity would use knowledge and power for unworthy ends. In response, Williams shows, each engaged in a lifelong quest to make a home in the midst of human empire, to transcend it, and most of all to understand it. They accomplished this first by taking to the water: in life and in art, the transition from land to water offered them release from the condition of human domination.

At the same time, each writer transformed his world by exploring the literary boundary between realism and romance. Williams shows how Verne, Morris, and Stevenson experimented with romance and fantasy and how these traditions allowed them to express their growing awareness of the need for a new relationship between humans and Earth.

The Triumph of Human Empire shows that for these writers and their readers romance was an exceptionally powerful way of grappling with the political, technical, and environmental situations of modernity. As environmental consciousness rises in our time, along with evidence that our seeming control over nature is pathological and unpredictable, Williams’s history is one that speaks very much to the present.”

This is an absolutely remarkable achievement, managing to effortlessly synthesize science and the arts – two supposedly polar pursuits in the modern era – and demonstrates that each cannot function without the other, and that all of us are interconnected by both areas, which are of equal importance in the creation and continuance of our shared cultural heritage.

I’m still digesting this marvelous work, which took the author fully 20 years to complete, with some interruptions, and I’m surprised that it hasn’t gotten more attention – but perhaps that’s because the text’s message of inclusiveness is not one that’s currently popular.

Williams argues convincingly, without being strident about it, that without the Romantic instinct we will never really fully comprehend our human condition, and at the same time, provides a thorough yet concise outline of the work of Robert Louis Stevenson, Jules Verne – who despite his futuristic fantasies was not all that taken with the notion of what was then considered “progress” in the industrial era – and the author William Morris, whose work clearly needs wider attention.

The result is a fascinating and altogether indispensable book, which I urge you to read at once.

Marilyn Monroe Day By Day by Carl Rollyson

Monday, November 3rd, 2014

Want to know what Marilyn Monroe did nearly every single day of her life?

I’m not a Monroe cultist by any means, but Rollyson’s book is one of the most carefully detailed and dispassionate accounts of the actor’s life to appear in print. Rather than trying to psychoanalyze Marilyn, or judging her, or adding editorial opinion, Rollyson simply takes the reader practically day by day starting in 1950 – Monroe’s earlier years are more scantily documented, due to lack of data – and then follows her career right up to the moment of her untimely death.

Reading these flat, “just the facts” entries, one can see the enormous pressure Monroe was under to uphold her star image, fend off unwanted admirers, deal with actors and directors who were often unsympathetic, and bear the enormous weight of being an international sex symbol in an era that was both aggrandizing and unforgiving – in short, she lived most of her life in the spotlight, and it took an enormous toll on her, both personally and professionally.

As the book’s website notes, “In Marilyn Monroe Day by Day: A Timeline of People, Places, and Events, Carl Rollyson provides a documentary approach to the life and legend of this singular personality. With details of her childhood, her young adult years, her ascent to superstardom, and the hour by hour moments leading to her tragic early death, this volume supplements—and, in some cases, corrects—the accounts of previous biographies. In addition to restoring what is left out in other narratives about Marilyn’s life, this book also illuminates the gaps and discrepancies that still exist in our knowledge of her.

Drawing on excerpts from her diaries, journals, letters, and even checks and receipts—as well as reports of others—Rollyson recreates the day-to-day world of a woman who still fascinates us more than fifty years after her death. In addition to the calendar, Rollyson also profiles important figures in Marilyn’s life and includes a brief biography of the actress, providing a context for the timeline. An annotated bibliography of books and websites highlights the most reliable sources about Marilyn.”

What results is a unique document, rich in detail, compassionate, and superbly researched.

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. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or 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/