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Posts Tagged ‘Film Criticism’

Leslie Reed on The New Book Series “Quick Takes”

Monday, March 13th, 2017

Our new Quick Takes series is taking off!

As Leslie Reed writes of our new book series in UNL Today, “ Quick Takes, a new series of short books on popular culture topics edited by University of Nebraska-Lincoln professors Gwendolyn Audrey Foster and Wheeler Winston Dixon, launches March 17 with the publication of Disney Culture by John Wills and Zombie Cinema by Ian Olney. Foster and Dixon . . .will oversee at least 12 books in the series, to be published by Rutgers University Press over the next three years.

‘Gwendolyn and I think about interesting topics that people might want to know about, and then we find the top experts in the field to write about it,’ Dixon said. ‘It’s a bleeding-edge, major book series on pop culture.’

The Quick Takes books have been in the works for about two years. Loosely patterned after the British Film Institute’s Film Classics series, the Quick Takes books will range from 30,000 to 40,000 words, making them pocket-sized and readable in one sitting. Paperbacks and E-books will cost $17.95; cloth copies are priced at $65.

‘They’re free of jargon, direct and accessible,’ Dixon said. ‘We’re aiming at college kids, pop culture fiends and the general public.’ ‘These are topics that are really important in the 21st century,’ Foster said. ‘The series is designed to introduce them to the widest possible audience.’

The first two books have been well received by critics. In Disney Culture, Wills, director of American Studies at the University of Kent in Canterbury, England, explores how Disney grew from a small animation studio to a global media giant. Critic Blair Davis describes Disney Culture as a ‘well written and thoroughly engaging overview’ of the Disney Empire.

Olney is an associate professor of English at York College of Pennsylvania, who received his doctoral degree in English and Film Studies from Nebraska. In Zombie Cinema, he explores why the genre has captured the imagination of 21st century audiences. Critic Stephen Prince said Zombie Cinema is a ‘zesty tour through an amazingly prolific and popular contemporary film cycle.’

Future volumes will feature rock-and-roll movies, action movies and comic-book movies, among other topics. Digital Music Videos by Steven Shaviro of Wayne State University in Detroit, and New African Cinema by Valérie K. Orlando of the University of Maryland are due to be released in April. The book series will be showcased at the Society for Cinema & Media Studies March 22-26 in Chicago.”

Thanks, Leslie, for an excellent overview of the series, which promises to be quite exciting.

Sweet and Lowdown: Woody Allen’s Cinema of Regret

Sunday, March 5th, 2017

Lloyd Michaels has an excellent new book out on the cinema of Woody Allen.

As the publisher, Wallflower Press / Columbia UP note on their website, “Over a career that has spanned more than six decades, Woody Allen has explored the emotion of regret as a response to the existentialist dilemma of not being someone else.

Tracing this recurrent theme from his stand-up comedy routines and apprentice work through classics like Annie Hall, Manhattan, The Purple Rose of Cairo, Hannah and Her Sisters, and Bullets Over Broadway as well as less esteemed accomplishments (Another Woman, Sweet and Lowdown, Cassandra’s Dream), this volume argues that it is ultimately the shallowness of his protagonists’ regret—their lack of deeply felt, sustained remorse—that defines Allen’s pervasive view of human experience.

Drawing on insights from philosophy, theology, psychology, and literature, the book discusses nearly every Woody Allen film, with extended analyses of the relationship films (including Alice and Husbands and Wives), the murder tetralogy (including Match Point and Irrational Man), the self-reflexive films (including Stardust Memories and Deconstructing Harry), and the movies about nostalgia (including Radio Days and Midnight in Paris).

The book concludes by considering Allen’s most affirmative resolution of regret (Broadway Danny Rose) and speculating about the relevance of this through-line for understanding Allen’s personal life and prospects as an octogenarian auteur.”

Lloyd Michaels edited the journal Film Criticism from 1977 through 2015 and has published four previous books on cinema, and this is one of his most ambitious and transcendent works – absolutely essential reading for anyone interested in American cinema, and the fate of the individual talent in contemporary Hollywood. It’s also nice to see that the book is named after Sweet and Lowdown – one of my favorite Woody Allen films, and arguably Sean Penn’s finest performance.

Available now from your local bookseller; a book not to be missed.

New Book Series: “Quick Takes: Movies and Popular Culture”

Tuesday, February 21st, 2017

Gwendolyn Audrey Foster and Wheeler Winston Dixon announce their new book series.

Gwendolyn Audrey Foster and Wheeler Winston Dixon are proud to announce the publication of the first two volumes in their new book series Quick Takes: Movies and Popular Culture from Rutgers University Press – Disney Culture by John Wills, and Zombie Cinema by Ian Olney.

Disney Culture explores the Walt Disney Company, which has grown into a diversified global media giant. But is it still possible to identify a coherent Disney ethos? Examining everything from theme parks to merchandising to animation to live-action films, Disney Culture proposes that they all follow a core corporate philosophy dating back to the 1920s.

Zombie Cinema notes that the living dead have been lurking in popular culture since the 1930s, but they are now ubiquitous. Presenting a historical overview of zombies in film and on television, Zombie Cinema also explores this globalized phenomenon, examining why the dead have captured the imagination of twenty-first-century audiences worldwide.

Early reviews are excellent: Blair Davis, author of Movie Comics: Page to Screen/Screen to Page writes that in Disney Culture, “Wills makes a strong contribution to both the fields of media studies as well as Disney scholarship with this concise, well written and thoroughly engaging overview of how the cultural, artistic, and economic factors surrounding the Disney corporation intersect.”

Janet Wasko, author of Understanding Disney: The Manufacture of Fantasy adds that “Disney Culture is a notable addition to the growing critical work on Disney and its cultural significance. Wills skillfully dissects the Disney ethos and even challenges the multimedia giant to ‘mean something beyond merchandise’ in the twenty-first century.”

Of Zombie Cinema, Stephen Prince, author of Digital Visual Effects in Cinema: The Seduction of Reality writes,”Zombie Cinema is a brisk, informative read that gives us a zesty tour through an amazingly prolific and popular contemporary film cycle. He’s clearly done his homework in excavating – or disinterring, as the case may be – zombie movies from disparate cultural and historical contexts.”

Rick Worland, author of The Horror Film: An Introduction notes that “what the vampire was to the 1980s and 90s, the zombie has become for early twenty-first century audiences, the monster of choice, spreading through a multitude of media texts. [In Zombie Cinema] Ian Olney organizes the history of the zombie in popular culture from Haitian voodoo practice to the present, providing clear analysis of its evolution and development. Theoretically informed, the writing is engaging and accessible throughout.”

New African Cinema by Valérie K. Orlando, and Digital Music Videos by Steven Shaviro are forthcoming soon.

Click here for more information on the new series.

New Article: “Service Providers” : Genre Cinema in the 21st Century

Wednesday, February 15th, 2017

I’ve just published a new article in QRFV on 21st century genre filmmaking.

As I write in the article, Harrison Ford in 2013 noted that “‘I think the success of Comic-Con is based on the partnership between the fans and the service providers, the entities—I won’t necessarily call them filmmakers —that supply the film product that supports their particular interest, whether it’s vampires or science-fiction fantasies of Transformers or whatever is going on . . .’

When Harrison Ford made these comments to Adam Sternbergh, a reporter for The New York Times, no particular controversy ensued. Ford was simply stating a fact: Directors today, most of whom work within rigid genre formats, are indeed little more than ’service providers,’ who create long, loud, open-ended and ultimately unsatisfying “epic” films for an ever more indiscriminate audience.

Yet, it’s really not the fault of the viewers who flock to see the endless interactions of Star Wars, Harry Potter, Star Trek and other franchise films; they simply don’t know any better. There is nothing else on offer at the multiplex, and with everything online — behind a pay wall, usually with a subscription attached —any impulse to be adventurous in one’s viewing habits died long ago. It’s like McDonald’s: It is what it is, nothing more or less, and it’s reliably available, and always the same.

As Derek Thompson wrote in 2014, ‘The reason why Hollywood makes so many boring superhero movies [is because] studios were better at making great movies when they were worse at figuring out what we wanted to see,’ adding that ‘Hollywood has become sensational at predicting what its audiences want to see. And, ironically, for that very reason, it’s become better at making relentlessly average movies …

In 1950, movies were the third-largest retail business in America, after grocery stores and cars …Watching films approached the ubiquity of a bodily function: Every week, 90 million Americans—60 percent of the country—went to the cinema, creating an audience share that’s bigger than today’s Super Bowl.

The six major studios (MGM, Warner Bros., Paramount, Twentieth Century-Fox, and RKO) could basically do whatever they wanted and be sure to make money. Owning their own theater chains (which accounted for half their total revenue), they controlled the means and distribution of a product that was as essential to mid-century life as grilled chicken. Surprise, surprise: Virtually all their films made money.’” Not so today.


American International Pictures and Teen Films

Friday, January 27th, 2017

High School Caesar was one of the many AIP teen films of the 1950s – with a neat twist.

High School Caesar – a great title, by the way – was one of the many teen exploitation films released through American International Pictures in the mid to late 1950s, and represented the first time that a film production company directly targeted a teenage audience.

While the majors dithered and tried to return to the past, AIP – headed by co-founders James H. Nicholson and Samuel Z. Arkoff – stepped in to fill the gap the studios wouldn’t; films aimed at teenagers, which were as up to date as could possibly be.

In many ways, AIP changed the film business entirely in its most influential period from roughly 1955 through 1967, working closely with house director Roger Corman, who directed most of AIP’s output. But AIP also did a brisk business in “pick up” films, which were made by smaller companies and then distributed through AIP. High School Caesar belongs in the latter category.

Shot in Chillicothe, Missouri by the small company Marathon Productions, and directed by O’Dale Ireland, the film stars smooth-talking, baby faced John Ashley as Matt Stevens, who, unbeknownst to the teachers and principal at the local high school, runs a protection racket and other assorted graft schemes, terrorizing the students with impunity.

Made in a few weeks for roughly $100,000, the film was shot on actual locations, featured local residents in bit parts, and represents a kind of home-brew egalitarian filmmaking from an era in which anyone with a minimal budget and a good idea could get a theatrical release for their film – impossible today.

And if you can lift a great plot from William Shakespeare while keeping things contemporary – hey, why not? It also worked because the film spoke directly to its intended audience – not down to it. In general, AIP flourished because:

*AIP realized that no one was making films teenagers really wanted to see. AIP churned out one teen film after another, in a variety of genres, from horror to comedy to science-fiction to musicals, usually shot in a week, in black and white, on budgets in the $100,000 range – no more.

*AIP realized the importance of advertising, and would often spend more on promoting a film than actually making it. In addition to garish posters and “sensational” trailers, AIP’s sales staff would speak directly to teenagers, theater owners, and keep up on the latest trends, to deliver product that would find a ready audience.

*AIP invented saturation booking. Saturation booking, which has now become the standard for major film releases, opens a film everywhere at once so that it makes as much money up front as possible, before negative word of mouth sets in.

*AIP realized they had to control both halves of the double-bill. From the 1930s though the end of the 1970s, movies usually weren’t “stand alone” releases as they are today. Films were paired in a double bill, with an “A” on the top half, and a “B” or re-released film as the second part of the program. The second feature was often rented for a flat rate, rather than a percentage of the box office, so –

*AIP made double-bill combo pictures and sold them only as a double-bill, thus retaining all the box-office revenue, rather than splitting the box office receipts with another, larger company.

*AIP made their films available to drive-ins and distributors on a much more favorable financial basis. Where the majors would often insist on a 90/10 split of box office revenues for the first week of a film – which is why concession stand prices are so high – AIP would deal directly with theater chains and drive-ins (then a major factor in distribution) on a 50/50 basis, thus undercutting the majors.

*And finally, and amazingly, AIP was the first company to realize that summer was a great time to release a film. Until AIP came along, the majors thought that in the summer, everyone was on vacation, and didn’t want to see any movies until the Fall and/or Winter. AIP immediately swept in with summertime double-bills that caught teen audience attention, and pretty much created the summer movie season as we know it today.

So, back to High School Caesar. The film was a solid hit when released by AIP, and director O’Dale Ireland made a few other films, but nothing with as much box-office impact, a film that even spawned a hit single with the same title. But the residents of Chillicothe, where the film premiered at the local theater to record crowds, never forgot the film – which is run on TCM from time to time – or the impact it had on the community.

So in 2014, the local high school drama group decided rather than staging a traditional play for the year, they would do a video remake of High School Caesar, using a completely non-professional cast. Shot in a matter of weeks, with many of the local residents from the original film returning to the cast – now as mothers, fathers, grandfathers and grandmothers, in supporting roles – the new version was warmly received by the community. You can read the whole story of the 2014 remake by clicking here.

A remake of a local “classic” – a fitting tribute to the film, and to AIP.

Jean Renoir: A Biography by Pascal Mérigeau

Friday, January 20th, 2017

Now we have the definitive book on Jean Renoir, in a superb English translation.

As the Running Press, which has published Jean Renoir: A Biography in the United States notes of this excellent volume – clocking in at nearly 1,000 pages, but absolutely page-turning in its intensity and incredibly detailed research – “originally published in France in 2012, Pascal Mérigeau’s definitive biography of legendary film director Jean Renoir is a landmark work—the winner of a Prix Goncourt, France’s top literary achievement. Now available in the English language for the first time, Jean Renoir: A Biography, is the definitive study of one of the most fascinating and creative artistic figures of the twentieth century.

The French filmmaker made more than forty films from the silent era to the late ’60s and today he is revered by filmmakers and seen by many as one of the greatest of all time. Renoir made acclaimed movies in France, America, India, and Italy and became a writer during the last part of his life. Drawing from unpublished or little known sources, this biography is a completely fresh approach to the maker of Grand Illusion and The Rules of the Game, redefining the very function of the movie director and simultaneously recounting the history of a century.”

Renoir was indeed one of the greatest of all filmmakers, noted for his humanism and his ability to move smoothly from one genre to another without a pause, as well as having a career not only in France, but in the United States in the 1940s at the now defunct studio RKO Radio Pictures, then journeying to India to make the first color film there, The River (1951), before returning to France in the 1950s to make a final group of masterpieces, and eventually settling in California before his death.

Mérigeau’s magisterial biography clearly surpasses all existing writing on Renoir, and it’s amazing that we had to wait four years for this remarkably deft translation by Bruce Benderson – and that the book is only available in paperback. Renoir’s The Rules of the Game (1939) is routinely included in nearly every “ten best films of all time” list, but his other work, especially his work in America, clearly deserves more attention, which Mérigeau ably supplies.

While the publicity materials tout that fact that the book is supposedly the first to examine Renoir’s unfinished Hollywood film The Amazing Mrs. Holiday (1943) - which isn’t true; this has been common knowledge for quite some time – and also makes much of Renoir’s leftist work in France in the mid 1930s, for me the most intriguing sections came on such films as his American noir The Woman on the Beach (1947), which has long been known to have a troubled production history – yet Mérigeau has additional material on this film as well.

I had known that the finished film was sneak previewed to a teenage audience expecting an RKO musical or screwball comedy, and that the resultant debacle led to a savage recut of the film, but Mérigeau has unearthed the fact that the film was actually shot twice to appease both audiences and the censors – the original version, now lost; and the final version, with a different actor in a key role.

So, 2016 ended with a landmark volume on Robert Bresson, another giant of the cinema; now, in the opening days of 2017, we are given a superb – and smoothly translated – life of one of the greatest filmmakers of all time, exploring not only his films, but also his life, and the way in which he viewed the human condition with both the greatest sympathy, as well as a sharply clinical eye.

This book is a must for anyone interested in the cinema – a major accomplishment.

Roger Corman – Film As Art and Business

Wednesday, September 28th, 2016

Nick Pinkerton has a revealing interview with Roger Corman in the September 2016 issue of Film Comment.

As he passes his 90th birthday, and moves towards his 91st, Roger Corman remains very much in the game in the world of commercial cinema, but as always, he balances art with commerce, and even as he makes some films that are frankly commercial enterprises, one must remember that his ultra-commercial film production company in the 1970s and 80s, New World, also served as the American distributor for the films of Truffaut, Bergman, and other frankly “art” filmmakers, and that as theatrical distribution collapsed around the world, he was one of the last to make sure that even the most difficult films still found an audience.

As Corman states at the end of Pinkerton’s interview: “The film industry will always exist, but it will no longer be the film industry. It will be digital or possibly virtual reality, or holograms. I think of it as an industry, a business, and an art form. Today, the business end of it has become more powerful than the art form. I think what we need to save it—although it’s making real money and it’s not in real trouble—to reinvigorate it is to remember this is an art form as well as a business. You can’t continually spend $100- or $200-million dollars on a superhero picture. You’ve got to at least let some films come through that are closer to art.”

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

New Article – Kelly Reichardt: Working Against The Grain

Thursday, June 9th, 2016

I have a new article on the films of Kelly Reichardt in Quarterly Review of Film and Video.

As I write in the article on her film River of Grass, ”like so many of Reichardt’s protagonists, Cozy and Lee want to leave the lives they’re drifting through behind, but they have no clear idea – indeed no idea at all, what to do about it. They have no money, no real aim, in life, but they’re not so much hopeless as they are bereft of imagination. There’s a world out there beyond Florida, but somehow, home is home, and that’s where they seem to be stuck, in a state of permanent stasis.

And, of course, the film has many stylistic and thematic debts, which Reichardt is all too willing to acknowledge. As she told Iain Blair, in River of Grass ‘I can clearly see Godard’s influence, and noir and early Terrence Malick. It’s all laid quite bare.’ The film was recently restored as part of a Kickstarter campaign by Oscilloscope Laboratories, and released as an extra on Oscilloscope’s DVD of Reichardt’s ultra-realistic, almost existential Western Meek’s Cutoff (2010). It’s a solid first effort, and certainly offers an early clue to the direction her career was heading in.

Reichardt followed this up with two shorter films, Ode (1999), clocking in at 48 minutes, which is a sort of riff on the plot of the 1960s pop song hit Ode to Billy Joe, and then two very short films: Then A Year (2001), dealing with the consequences of a ‘crime of passion,’ and Travis (2004), centering on the human cost of Iraq war. But at the same time, Reichardt’s enthusiasm for making films had dwindled; these newer films were shorter, less ambitious, and she was clearly backpedaling in her career – indeed, she wondered if she had any real future as a filmmaker in any realistic sense, even working at the margins of the industry.

River of Grass has made something of a splash on the festival circuit, being nominated for Best First Feature, Best First Screenplay, and Best Debut Performance (Lisa Bowman), as well as the rather enigmatically named Someone to Watch Award at the 1996 Independent Spirit Awards, as well as being nominated for the Grand Jury Prize at the Sundance Film Festival in 1994, and for Best Feature Film at the Torino International Festival of Young Cinema – but none of those nominations translated into a win, and gradually, the ‘heat’ surrounding Reichardt began to wear off.

As she admitted to Iain Blair, ‘making [River of Grass] was a real eye-opener, and even going to Sundance and all of it – that was my first realization that it was different for women in this business. There were just two of us women filmmakers at Sundance in ’94, and there was no sense of camaraderie or welcoming – no fault of Sundance. And I took it really personally and it took me a long time to get over it. That was a part of my retreating afterwards.

The other part was, I just couldn’t get financing, and it was so frustrating. I tried so hard to be a more avant-garde, less narrative filmmaker, but it just didn’t come naturally to me. I went to L.A. for a while, and Jodie Foster was going to produce a film I was doing, but it never got made. I simply didn’t have the social skills needed to operate in the business. So I went back to Super 8, which is what I’d done in college.

It seemed like nothing happened during my time in L.A., but I’d worked – in the art department – on Poison, and I became friends with (director) Todd Haynes. And he introduced me to (novelist) Jonathan Raymond, and one of his stories became the basis for Old Joy (2006) – but I had no idea when we did it that it’d even become a feature.’”

In short, it’s a tough world out there, but Kelly Reichardt keeps working, which is the only way to get anything to happen, no matter what your chosen field. Unfortunately, the article is behind a paywall, but you can gain access through Love Library Reference, if you’re interested, and in the meantime, check out some of Reichardt’s superb films – she’s one of the most truly original directors working in America today.

That’s Kelly Reichardt – working against the grain.

Complete Online Index – “A Short History of Film”

Thursday, April 28th, 2016

A scholar in Germany has created a complete online index to A Short History of Film, 2nd edition.

A scholar in Germany has compiled a complete list of all the films mentioned in A Short History of Film, 2nd edition (Rutgers University Press, 2013), written by Gwendolyn Audrey Foster and myself, with images of either the poster, or the DVD for each film, complete with links to reviews, purchase points, and other information on the film – as well as lots of opinions, of course – which seems like rather an amazing undertaking.

All told, the list covers more than 2,000 films, and runs to 21 webpages in the list, and can serve as a very useful way to access the films discussed in the volume. So if you’re reading A Short History of Film, 2nd edition, or using it for a class, and would like detail on access to some of the many films mentioned – the images here show just a few of the many titles covered in the volume – just consult this list, click on the title, and see what’s available.

A very useful guide – many thanks to the person who did so much work on this.

Video Essay: What is Neorealism?

Saturday, April 2nd, 2016

Here is a brilliant video essay by the filmmaker / critic :: kogonada on two versions of one film.

When director Vittorio De Sica, above, was hired by David O. Selznick (the “O”, he admitted, stood for nothing, being entirely his own invention to make his name sound more prestigious – or so he imagined) to direct a film starring Selznick’s wife, Jennifer Jones, and the American actor Montgomery Clift, a clash of visions was almost inevitable, given Selznick’s well known penchant for interfering with a director’s work (as was the case with Alfred Hitchcock, who got around the problem by shooting precisely what he needed for a film, and no more, starting with his first film for Selznick, Rebecca [1940]), which reached manic levels as Selznick’s career as a producer deteriorated.

As :: kogonada writes in his introduction to this brilliant examination of the film Terminal Station aka Indiscretion of American Wife, “what rival visions would emerge if you pitted the director of The Bicycle Thieves against the producer of Gone with the Wind on the same movie material? History can tell us . . . every cut is a form of judgment, whether it takes place on the set or in the editing room. A cut reveals what matters and what doesn’t. It delineates the essential from the non-essential. To examine the cuts of a filmmaker is to uncover an approach to cinema.

The happenstance of Vittorio De Sica’s Terminal Station and David O. Selznick’s Indiscretion of an American Wife offers a rare opportunity to compare two cuts of the same film from a leading figure of neorealism and a leading figure of Hollywood. If neorealism exists, it is in contrast to the dominant approach to moviemaking, shaped and exemplified by Hollywood. In comparing Terminal Station to Indiscretion of an American Wife, we must ask, ‘what difference does a cut make?’”

For those not familiar with the saga of the making – and unmaking – of this film, Wikipedia offers this brief, sad summary: “Terminal Station (Italian: Stazione Termini) is a 1953 film by Italian director Vittorio De Sica. It tells the story of the love affair between an Italian man and an American woman. The film was entered into the 1953 Cannes Film Festival. The film is based on the story Stazione Termini by Cesare Zavattini. Truman Capote was credited with writing the entire screenplay, but later claimed to have written only two scenes.

The film was an international co-production between De Sica’s own company and the Hollywood producer David O. Selznick, who commissioned it as a vehicle for his wife, Jennifer Jones. The production of the film was troubled from the very beginning. Carson McCullers was originally chosen to write the screenplay, but Selznick fired her and replaced her with a series of writers, including Paul Gallico, Alberto Moravia and Capote. Disagreements ensued between De Sica and Selznick, and during production, Selznick would write 40- and 50-page letters to his director every day, although De Sica spoke no English. After agreeing to everything, De Sica has said, he simply did things his way.

Montgomery Clift sided with De Sica in his disputes with Selznick, claiming that Selznick wanted the movie to look like a slick little love story, while De Sica wanted to depict a ruined romance . . . The original release of the film ran 89 minutes, but it was later re-edited by Selznick down to 64 minutes and re-released as Indiscretion of an American Wife (and as Indiscretion in the UK). Clift declared that he hated the picture and denounced it as ‘a big fat failure.’ Critics of the day agreed, giving it universally bad reviews. The two versions have been released together on DVD by The Criterion Collection.”

Taking advantage of the existence of these two highly different and in a sense competing versions of the film, :: kogonada has created a side-by-side comparison of the two edits of the film, showing how Selznick simplified and “dumbed down” the American cut, while De Sica left more to the audience’s imagination, rather than spelling everything out as Selznick insisted. De Sica’s original version, though not his best work, is clearly a much more resonant film; Selznick’s edit, chopped down to a minimal 64 minutes, accomplishes nothing less than the destruction of De Sica’s film – but now we can see the original version, and the recut – and what a difference there is between them!

This is a fascinating experiment – and demonstrates why Hollywood films are so often deeply unsatisfying.

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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