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Posts Tagged ‘Frame by Frame videos’

Frame by Frame Video: Film Noir

Thursday, January 7th, 2016

Here’s a brief Frame by Frame video, directed by Curt Bright, in which I discuss Film Noir.

The scene above is from Jacques Tourneur’s noir classic Out of the Past (1947), and in this video I briefly discuss some of the more dominant characteristics of noir, in a video which was produced roughly at the same time my book Film Noir and The Cinema of Paranoia came out. Oddly enough, I never blogged directly on this video, and it’s too good to pass up, so here it is.

When Choice: The Library Journal reviewed Film Noir and The Cinema of Paranoia, they noted that “Dixon seeks to broaden the scope and definition of film noir by focusing on its most dominant motif–paranoia. Concentrating on that impulse, and also on fear and violence, the author demonstrates that these all-encompassing aspects of film noir are found not only in gangster/detective films of the 1940s but also in such genres as science fiction and horror.

Beginning with the pre-Code era, Dixon guides the reader through a comprehensive overview of the evolution of film noir to its present form, along the way presenting an enlightening examination of American and British society and politics and revealing the role film noir has played during certain periods.

[Dixon] demonstrates how film noir serves to contradict the false “feel good” images mediated to the public through movies and television programming. [Dixon]’s observations illustrate how paranoia, as constructed through the lens of film noir, proves more relevant than ever in lieu of the veil of fear that envelops every aspect of post-9/11 life.”

And that’s still true today – noir tells us how things really are.

Video: The Films of Val Lewton

Tuesday, December 22nd, 2015

Val Lewton was one of the most influential producers during the Golden Era of Hollywood in the 1940s.

I have blogged before – actually, four years ago – on the films of Val Lewton, but now Curt Bright has made a video on Lewton for our Frame by Frame series, in which I discuss Lewton’s work as a filmmaker creating an entirely new style of supernatural cinema – and his legacy goes well beyond that. Lewton was David O. Selznick’s right hand man on Gone With The Wind, one of the most ambitious and lavish films ever made, and shortly after that film wrapped, he accepted an offer from RKO Radio Pictures to create a series of low-budget horror films designed to break the Universal mold of Dracula, Frankenstein, The Mummy, The Wolf Man and so on.

Lewton stepped into the job, making superb films on minimal budgets – roughly $100,000 a film, using pre-sold titles assigned by the publicity department, on very short shooting schedules, and created some of the most effective and atmospheric films of the era, such as I Walked With A Zombie and The Cat People. Of all the producers working in Hollywood during the 1940s, Lewton was clearly the most intellectual, the most artistically ambitious, and perhaps the only producer of the era – though others might argue with this – who could rightly be called a creative artist, someone who contributed to his films on more than a bottom-line level.

Working with such talented people as well known director Jacques Tourneur, ace cinematographers Nicholas Musuraca and Roy Hunt, and giving people like Robert Wise and Mark Robson their first directorial assignments, Lewton created a series of memorable Gothic films in a very short space of time, and then – suddenly – it was over. A brief period at MGM, and finally Universal, led only to his early death from a heart attack in his late 40s – a tragic loss to the cinema. Clearly, he could have done so much more, but time was limited.

Here, let’s celebrate the films of Val Lewton – timeless classics, that still enthrall and thrill today.

Five New Videos on My Amazon Author Central Page

Wednesday, October 14th, 2015

I have five new videos posted today on my Amazon Author Central site – check them out!

Amazon is the world’s largest store for everything, of course, but they started out with books, and one of their most valuable features for an author is Amazon Author Central, where authors can put up a bio, a picture, some videos, and the latest blog posts that they have. I’ve been using the service for about four years, but have never blogged on it.

Today, however, I freshened up the site with five new-to-the-page videos, including one on “The Theatrical Experience” of going to the movies, as opposed to flopping down on the couch and watching Netflix, Amazon, or just plain old cable on the family flat screen – there really is a difference. As always, these videos are edited and directed by Curt Bright, to whom I send many thanks for his excellent work.

So here’s a link to the page, and an invitation from me to check it out – in addition to the videos, you can see the latest books I’ve published, in addition to earlier works which are also of interest, all in one place. No matter what you’re looking for, Amazon Author Central is one of the fastest and easiest ways to keep track of your favorite authors.

Amazon Author Central is a real service for all authors – fiction, theory, history – in short, all books.

New Video – Science Fiction Futurism

Friday, October 2nd, 2015

I have a new video out on Science Fiction Futurism and Ridley Scott’s The Martian.

Science fiction films have been predicting the future since Georges Méliès’s A Trip To The Moon in 1902, and as with that film, as much as they might get things right, they often err in describing what the future holds.

In this short video, edited and photographed by Curt Bright, I talk about some of the other films that have shaped our consciousness of the future, to mark the release today of Ridley Scott’s new film The Martian, such as Things To Come (1936), Metropolis (1927), Blade Runner (1982), 2001: A Space Odyssey (1968), and Robinson Crusoe on Mars (1964).

While these visions of the future are often fanciful, sometimes they hit the mark, as with hologram projection, talking computers, two-way television and numerous other technological advances. So click here, or on the link above to take a quick trip into the cinematic future, and remember, as Criswell famously noted, “we are all interested in the future, for that is where you and I will spend the rest of our lives.”

Maybe some of these things will actually come to pass.

New Frame by Frame Video – Comic Book Movies

Thursday, September 24th, 2015

I have a new video out today on comic book movies in the Frame by Frame series.

Working with Curt Bright, I have a new video out today on comic book movies – specifically, where they’re headed in the next five years. Disney, DC, and Marvel (which Disney owns) are all battling each other at the box office to create the most effective brand domination, but as you will see from the video, I think Marvel has a real head start, and probably will remain the major force in comic book films for the immediate future – even if DC is planning out to 2020. I just don’t think DC has the depth of characters that Marvel has in their “universe,” and that’s really where the problem starts – at least for DC.

With DC, you have Batman, Superman, Wonder Woman, The Flash, Green Lantern, and that’s about it – and a sure sign of this early exhaustion of possibilities is that DC is already reaching into the ranks of their villains for the upcoming Suicide Squad, which is an attempt to broaden their character horizons. The next stop after that is parody, and we’re already perilously close to that with some of the current crop of superhero / comic book films, such as the recent Green Lantern film, which did little to help the franchise, to put it kindly.

For the most part, though, it seems all too predictable – another Star Wars film every year for the next fifteen years from Disney, DC dutifully rolling out their own product, while Marvel does the same. And now Disney is doing a live-action Winnie The Pooh reboot, to be written and directed by Alex Ross Perry, while Godzilla is also being ramped up for yet another go-round, and the Maze Runner series, as well as the Hunger Games series, continue on for what is supposedly their final films – but are they really? Franchises exist to be extended interminably – just ask James Bond.

We’ll just have to wait and see- check out the video here and see what you think!

Behind The Scenes of Fritz Lang’s Metropolis (1927)

Sunday, September 13th, 2015

This fantastic behind-the-scenes photo shows workers on the set for the futuristic city of Metropolis.

As Wikipedia aptly notes, “Metropolis is a 1927 German expressionist epic science-fiction drama film directed by Fritz Lang. Lang and his wife Thea von Harbou wrote the silent film, which starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G.. It is regarded as a pioneering work of the science-fiction genre in movies, being among the first feature length movies of the genre.

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city’s ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Filming took place in 1925 at a cost of approximately five million Reichsmarks, making it the most expensive film ever released up to that point. The motion picture’s futuristic style shows the influence of the work of the Futurist Italian architect Antonio Sant’Elia.

The film met with a mixed response upon its initial release, with many critics praising its technical achievements and social metaphors while others derided its ’simplistic and naïve’ presentation. Because of its long running-time and the inclusion of footage which censors found questionable, Metropolis was cut substantially after its German premiere, and large portions of the film went missing over the subsequent decades.

A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2001, and the film was inscribed on UNESCO’s Memory of the World Register in the same year, the first film thus distinguished. In 2008 a damaged print of Lang’s original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010.”

Personally, I find the shorter cut preferable; the scenes found in Argentina were from a deeply scratched 16mm dupe negative, and even the most advanced digital technology made the sequences barely watchable. And it also seems to me that Lang more than makes his point in the previously existing 2 hour version, released by Kino in the US.

Nevertheless, no matter how you look at it, there would be no Blade Runner, no Star Wars, or any other Dystopian 99% vs. the 1% sci-fi film without the example of Metropolis, one of the most influential and socially significant films ever made, and one of Fritz Lang’s undisputed masterpieces.

If you haven’t seen it, check it out now!

Reset! More Than 700 Posts On This Blog! Back To The Top!

Saturday, September 12th, 2015

There are more than 700 entries on this blog. Click on the button above to go back to the top.

Frame by Frame began more than four years ago with a post on Nicholas Ray– now, with more than 700 posts & much more to come, we’re listed on Amazon, in the New York Times blogroll, and elsewhere on the net, as well as being referenced in Wikipedia and numerous other online journals and reference websites.

With thousands of hits every day, we hope to keep posting new material on films and people in films that matter, as well as on related issues, commercial free, with truly open access, for the entire film community. So look back and see what we’ve been up to, and page through the past to the present.

There are also more than 70 videos on film history, theory and criticism to check out on the Frame by Frame video blog, arranged in carousel fashion to automatically play one after the other, on everything from Fritz Lang’s Metropolis to film aspect ratios, to discussions of pan and scan, Criterion video discs, and a whole lot more.

So go back and see what you’ve been missing – you can always use the search box in the upper right hand corner to see if your favorite film or director is listed, but if not, drop me a line and we’ll see if we can’t do something about it. We’ve just updated our storage space on the blog, so there will be plenty more to come, so check it out – see you at the movies!

Click on the image above & see what you can find!

New Frame by Frame Video: War Movies

Friday, August 2nd, 2013

I have a new Frame by Frame video, directed and edited by Curt Bright, out today.

As historian and critic Tim Dirks notes on his excellent website, “war and Anti-War Films often acknowledge the horror and heartbreak of war, letting the actual combat fighting or conflict (against nations or humankind) provide the primary plot or background for the action of the film. Typical elements in the action-oriented war plots include POW camp experiences and escapes, submarine warfare, espionage, personal heroism, ‘war is hell’ brutalities, air dogfights, tough trench/infantry experiences, or male-bonding buddy adventures during wartime. Themes explored in war films include combat, survivor and escape stories, tales of gallant sacrifice and struggle, studies of the futility and inhumanity of battle, the effects of war on society, and intelligent and profound explorations of the moral and human issues. Some war films do balance the soul-searching, tragic consequences and inner turmoil of combatants or characters with action-packed, dramatic spectacles, enthusiastically illustrating the excitement and turmoil of warfare. And some ‘war’ films concentrate on the homefront rather than on the conflict at the military war-front. But many of them provide decisive criticism of senseless warfare.”

You can check out the video by clicking here, or on the image above.

Frame By Frame: Subtitles vs. Dubbing

Wednesday, September 5th, 2012

Subtitles rule.

I have a new episode out today in the Frame by Frame series, brilliantly edited by Curt Bright, in which I discuss the various disadvantages of dubbing, most tellingly that it separates the actor from his/her voice, and results in only half a performance, or less, on the screen. I watch subtitled versions of films whenever possible; sadly, most viewers seem to prefer dubbed versions, feeling that it’s too much work to watch an image and read the dialogue at the same time, but you get the real essence of a foreign language film when you view it with accurate subtitles — and I stress accurate subtitles — which you really don’t get when you see other actors providing their voices. Imagine Humphrey Bogart, or Marilyn Monroe, or John Wayne, or any other iconic American actor dubbed by someone else into another language; you’d miss all the nuances, the particular speech patterns, the pauses (as in John Wayne), the breathiness (in Monroe) or the world weary angst of Bogart’s raspy voice.

The image above is from Tomas Alfredson’s Let the Right One In (Swedish: Låt den rätte komma in, 2008), a film that would have been utterly ruined it it fell into the hands of a dubbing company; as it was, there was a terrible US remake of the film by Matt Reeves, titled simply The Right One (2010), which no one saw, and failed completely at the box office. The original film, in contrast, was a significant box office hit, and played around the world with subtitles, quite profitably. It’s a remarkable modern vampire film, and the actors are superb; much of the impact of the film would have been lost if the voices had been replaced with dubbing.

So the next time you have a choice on a foreign film, choose the subtitled version. It’s the only way to go.

Hollywood Blacklisting

Tuesday, August 28th, 2012

Left to right: Danny Kaye, Humphrey Bogart, Lauren Bacall and others protest at the HUAC Hearings.

I have a new video out today in the Frame by Frame series, directed and edited by Curt Bright, which I wrote and appear in, on the Hollywood Blacklist of the 1950s. About the Blacklist, the screenwriter Dalton Trumbo, one of its most celebrated personages, had this to say in 1970, when the Blacklist had begun to wane: “The blacklist was a time of evil, and no one on either side who survived it came through untouched by evil. Caught in a situation that had passed beyond the control of mere individuals, each person reacted as his nature, his needs, his convictions, and his particular circumstances compelled him to. There was bad faith and good, honesty and dishonesty, courage and cowardice, selflessness and opportunism, wisdom and stupidity, good and bad on both sides. When you who are in your 40s or younger look back with curiosity on that dark time, as I think occasionally you should, it will do no good to search for villains or heroes or saints or devils because there were none; there were only victims. Some suffered less than others, some grew and some diminished, but in the final tally we were all victims because almost without exception each of us felt compelled to say things he did not want to say, to do things that he did not want to do, to deliver and receive wounds he truly did not want to exchange. That is why none of us – right, left, or center – emerged from that long nightmare without sin.”

You can see the entire 10 minute video 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. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by 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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