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Posts Tagged ‘Gwendolyn Audrey Foster’

Gwendolyn Audrey Foster Screening at Studio 44 – Stockholm

Tuesday, August 15th, 2017

Gwendolyn Audrey Foster’s video is being screened at Studio 44’s Short Film Festival in Stockholm, Sweden.

Gwendolyn Audrey Foster‘s video, Sleeping with The Fishes, is being screened by invitation at as part of the Studio 44 Short Film Festival, hosted by the Stockholm Culture Festival, August 15 – 20, 2017. Studio 44, Stockholm, Sweden, curated by Helena Norell and Mats Landström.

Studio 44 is an artist run collective in Stockholm; the Studio 44 Short Film festival is a wide-ranging event including animation, narrative, documentary, experimental video and film, feminist, queer, and anti-racist films, featuring work by 40 film and video artists from 15 different countries.

You can view Foster’s films on Vimeo by clicking here.

You can view Foster’s Vimeo Channel by clicking here.

As Foster says of her work, “chance is my favorite collaborator. I often allow ideas to emerge by manipulating images and sound with little or no intentional ‘plan.’ I create abstracts, slow films, unusual sound designs, music, and video installations that are described as hypnotic, surreal, and enigmatic.

I like to explore liminal spaces between film & video, real & virtual, abstract & representational, aesthetic & philosophical; disrupting binaries whenever possible. Some of my films are punk feminist, political and eco-critical; confrontational and abrasive, but other times I fashion slow cinema, inviting contemplation and active meditation.”

As Foster notes of Sleeping with The Fishes, the work is “a surrealist collage in honor of Luis Buñuel and André Breton. ‘Give me two hours a day of activity, and I’ll take the other 22 in dreams.’―Luis Buñuel. ‘Words have finished flirting. Now they are making love. The same is true of images.’―André Breton.”

Foster’s films have been screened at The Nederlands Filmmuseum, The Rice Museum, The Collective for Living Cinema, Swedish Cinemateket, National Museum of Women in the Arts, DC, Bibliotheque Cantonale, Lausanne, Switzerland, International Film Festival of Kerala, India, Films de Femmes, Créteil, Outfest, The Museum of Modern Art, Women’s Film Festival of Madrid, Kyobo Center, Korea, Santa Barbara Museum of Art, Metropolitan Museum of Art, Université Laval, Quebec, Forum Yokohama, Anthology Film Archives, Amos Eno Gallery, NY, SLA 307 Art Space, NY, Maryland Institute College of Art, NETV, and festivals and venues around the world. This is yet another honor in her career as a video artist.

This is a remarkable accomplishment; congratulations to Gwendolyn on this event.

Nell Shipman and Back To God’s Country

Wednesday, June 28th, 2017


Here’s an excellent article from Offscreen on the pioneer filmmaker and film actor Nell Shipman.

As the author of the piece, David George Menard, writes, “to discuss the role of women in Canada’s film culture, and even in Hollywood’s film culture, over a period of about a hundred years, is to discuss absence, gaps, discontinuities, and distortion. The images of women in feature films are distorted by a male dominated industry, and at times, inflated through men’s visual obsessions. The trend in any film culture over the last century has been to display the images of women as adjuncts to images of men.

The visual ideas of women have been represented as symbols of ‘otherness’, reflecting the male dominated world of filmmaking, a world of male narcissism and power. Although women have made great contributions to the world of film throughout its history, such efforts have been obscured and belittled —the visions and voices of the women of cinema have been suppressed.

This historical fact is unfortunate because there were great women film pioneers such as Alice Guy who made the first edited fiction film, La Fee Aux Choux (1896); Esther Shub who created the art of compilation film, as seen in The Fall Of The Romanov Dynasty (1927); Lotte Reiniger who made a feature length film a decade before Disney, as seen in The Adventures Of Prince Ahmed (1926); and finally there was Nell Shipman from Canada, also a scriptwriter and a star actress who performed as the principal protagonist in one of Canada’s earliest major feature length film, Back To God’s Country, released on October 27th, 1919.

In the early days of cinema, many young women embarked on acting careers to become Hollywood starlets. Some of the actresses who succeeded at this grand and noble endeavor sometime showed remarkable versatility behind the cameras, and many of them became writers, directors, and producers. Nell Shipman was one of these talented women. She was born Helen Barham in 1892, Victoria, British Columbia.

At the young age of thirteen, she left home to attend acting school. In 1907, she performed in the Jesse Lasky play The Pianophiends. In 1909, she was the leading lady in the Charles Taylor play The Girl From Alaska. In 1910, she got the leading role in The Barrier, a play produced by the famous Canadian producer and theatrical entrepreneur Ernest Shipman, whom she married in 1911.

Thereafter, Nell and Ernest moved to Pasadena, California, in an attempt to wedge their way into the film business. In 1912, Nell Shipman won a script writing contest sponsored by the Tally Theater in Los Angeles, and her winning script, Outwitted Billy, was produced by Selig Polyscope in 1913. In 1914, she scripted the first film produced in Australia, Shepherd Of The Southern Cross.

In 1915, she accepted the leading role in a film, produced by the Vitagraph studios, playing a character from a script adapted from James Oliver Curwood’s novel God’s Country And The Woman. The picture, her first film for a major film company, was an outstanding success, and resulted in movie contracts with Vitagraph, Fox, and Lasky for 1916-17, a period in which she completed thirteen films. All of Nell Shipman’s film experience to this point set the stage for one of Canada’s earliest feature length film, Back To God’s Country.”

There’s much more to read; click here, or on the image above, to read the entire essay.

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.

Denis Côté’s Joy of Man’s Desiring and Bestiare on DVD

Friday, February 24th, 2017

Denis Côté’s superb films Bestiaire and Joy of Man’s Desiring are finally available on DVD.

As I wrote of Côté’s work in conjunction with an interview I did with him for Senses of Cinema in June, 2015, “Denis Côté is a young Canadian filmmaker who has burst onto the international film scene with a group of challenging and innovative movies in the past few years. Born 16 November, 1973 in New Brunswick, Canada, Côté began his career with a group of short films, and made his first feature in 2005, Drifting States (Les états Nordiques), which won the Golden Leopard at the Locarno International Film Festival.

Since then, Côté has worked a number of commercial and/or personal projects, most notably Curling (2010), a father/daughter family drama that was exceptionally well received by audiences and critics alike; Bestiaire (2012), a “docufiction” – that’s my own term – film centering on the animals who populate a tourist destination zoo in Canada; and Vic+Flo Saw A Bear (Vic+Flo ont vu un ours, 2013), a harrowing tale of two women trying to make it on the outside after a stint in prison, and how the world conspires against them to make redemption – at least in life – almost impossible. Vic+Flo Saw A Bear was probably Côté’s most successful film to date, and was screened at more than 90 festivals around the world.

Côté’s Joy of Man’s Desiring (aka Que ta joie demeure, 2014), which documents, after a fashion, daily life on the factory floor, as workers methodically partner with their machines to create the staples of daily existence, is one of his most individual works. In all these projects, Côté offers his own unique take on concepts of narrative in his fiction films, and reportage in his documentaries, to create a series of films that are at once open-ended, mysterious, and subtly disturbing.”

Since them, Côté has completed Boris sans Béatrice, a typically uncompromising film centering on a marriage falling apart, which was selected to compete for the Golden Bear at the 66th Berlin International Film Festival –  now available on DVD from K Films. I saw Boris sans Béatrice on streaming video, but of course the chance to own a hard copy of the film can’t be passed up. Côté is a one-of-a-kind filmmaker, who is only now getting some measure of the attention he deserves; his work increases in depth and resonance with the passage of time, and he’s clearly a major talent.

I want to especially thank Gwendolyn Audrey Foster for introducing me to Côté’s work – it’s magical.

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.

The HearteartH 2016 International Videoart Project

Friday, January 13th, 2017

Here’s a great chance to see some bleeding edge video art- work you can’t see anyplace else.

Gwendolyn Audrey Foster and Wheeler Winston Dixon’s videos The Gaia Triptych and Human Scale are being screened as part of the HearteartH 2016 International Videoart Project, curated by Sonia Armaniaco and Maria Korporal, at the website <www.visualcontainer.tv>, January 13 – February 15, 2017. You can see the entire program – which runs several hours – by clicking here, or on the image above.

As the group’s website notes, “HearteartH is a collective project for artists and media makers ideated by video artists Sonia Armaniaco and Maria Korporal. The concept took life from these two interlocking words: HEART and EARTH. The strong symbolism of the two words, which are inevitably associated with life, has a strong pull. One is drawn into it. In the almost fateful dependence of these terms of one another, they seem inextricably linked together, even permanently, forever.

The assembly of Heart and Earth in the title, in one word, follows this substantive consequence. The nearly identical letters gives the impression of an anagram, and so the title gets something of a magic spell from which we cannot escape. Due to the large H at the beginning and end of the word, the title sounds as a breath. Heartearth is so an unlimited ongoing project, as well as the topic has no end, ‘life goes on’, ‘the earth continues to rotate.’ In this doubling of the word is a power that can give life.

As Life is always looking for additions and adjustments, Art as well has the force to open new viewpoints and new feelings about this peculiar theme; Art which is so close and yet so far away, and which can be so beautiful and at the same time frightening. Or Art could provide an opportunity to think about it.”

Videos In The Program:

Alessandra Arnò: Earth, 3:14
Alessandro Amaducci: Bloodstream, 7:15
Alessandro Amaducci: A Tell-Tale Heart, 3:31
Abdoul-Ganiou Dermani: “Ega” (Money), 1:36.
Aliénor Vallet: Horizon Vert Azur (Green Azure Horizon), 5:00.
Andrew Payne: Moon and cloud movements 3 , 1:00.
Angiola Bonanni: Love Woes, 12:05.
Annique Delphine: Plethora, 3:21.
Barbara Brugola: Lapse of View, 3:19.
Barbara Wolters: Intervention, 2:58.
Brian Kane: Being Human: Al Design, 2:42.
Bunker Media: Earth, 2:10
claRa apaRicio yoldi: Zoom in, 3:19.
Damira Piližota: Hurry, 1:03.
Daniel Ivan: Haiku, 5:05.
Eija Temisevä: Searching for Sense, 4:58.
Eija Temisevä: Vitality of a tree, 3:15.
Eleonora Manca: METAMOR(pH), 4:11.
Eleonora Manca: I Sing The Body Electric_Psyché, 1:26.
Erick Tapia: TERRITORIUM, 3:25.
Florent Texier: Les Vapeurs (The Steams), 2:11.
Fran Orallo: Vulcano, 4:08.
Fran Orallo: Beats, 4:30.
Gaetano Maria Mastrocinque: Argille, 5:48.
Gisela Weimann: Welt in Flammen – World in Flames – Monde en Flammes, 11:37.
Gwendolyn Audrey Foster: Virtual Gallery – The Gaia Triptych, 1:14.
Heli Ström: Refuge, 3:00.
Irina Gabiani: Neither a beginning nor an end, 1:40.
Irina Gabiani: I don’t think you can, 3:43.
Isabelle Hayeur: Pulse, 3:00.
JfR (Jean-Francois Réveillard): BREATH, 2:00.
Johanna Speidel: The Mirror, 5:26.
Jukka-Pekka Jalovaara: K.E.R.O.S.E.N.E poems from the planet, 7:08.
Kim Dotty Hachmann & Ginny Sykes: Healing Grounds, 3:38.
Larry Wang: All is Serene, 1:18.
Larry Wang: BARCODE, 2:17.
Laura Focarazzo: Hunting, 6:15.
Lino Strangis: Metaphysical Orogeny, 7:44.
Lotte Geeven: The sound of the earth, 1:14.
Maria Koehne: Standing Still, 5:44.
Maria (Felix) Korporal: Underwater Desert, 2:35.
Mariangela Ferraris aka MaryMee: .flow, 00:59.
Mariangela Ferraris aka MaryMee: 01.Hello World!, 01:49.
Mariel Gottwick: Meine Weltshow, 8:00.
Miriam Dessì: Fertilia, 4:59.
Mr. Armtone: Mistabishi – Druggers End (Mr. Armtone Video-Edit), 3:24.
Murat Sayginer: Volans, 2:33.
Myriam Thyes: Global Vulva, 6:20.
Paolo Bandinu: No Country, 2:21.
Pèninsolar: Under The Hanoi Monorail, 4:47.
s-ara (Sandra Araújo): Rio-me porque és da aldeia e vieste de burro ao baile, 2:53.
Sandra Becker 01: pachamama4.0, 3:11.
Reelvision: acqua vitae, 2:37.
Sarah Wölker: eNe mEne mIlchzahN, 5:22.
Shivkumar K V: one good cause…, 2:47.
Sonia Laura Armaniaco aka §vonica: GAIA, 3:49.
Sonia Laura Armaniaco aka §vonica: no more UPGRADE , 7:57.
Stephan Groß: Die Liebe in den Zeiten der EU (Love in the time of the EU), 5:57.
Susanne Kunjappu-Jellinek: Heart of RootsEarth of Fruits, 2:47.
Sylviatoyindustries (Sylvia Toy St. Louis): VOICE: A Fly-by on Lyssa’s Maiden Voyage (festival cutting 2), 0:42.
Takehito Etani: Transparent Footprints of Invisible Giants / San Francisco Chapter, 3:27.
TinyarVisuals (Tina Sulc): Illusion of Hydrosphere, 2:52.
Tiziano Bellomi: Winter 2015/2016, 0:51.
Tom Albrecht: Eivergrabung, 3:56.
Vladislav Solovjov: Home, 1:13.
Wheeler Winston Dixon: Human Scale, 4:21.
ydl (Yannick Dangin Leconte): Propagande, 4:44.

Read more about the collective and their work by clicking here: much better than average television!

Dixon and Foster – Sla307 Art Space Video Screening

Sunday, November 27th, 2016

On November 12, 2016, Gwendolyn Audrey Foster and I had a screening of our videos in New York City.

Here’s a brief, time lapse video shot by Laura Zavecka of our video show at the Sla307 Art Space on West 30th Street in Manhattan on November 12, 2016. We had a great crowd – notice how a lot of people coming tumbling in the door just as the lights go down – and the projection and the crowd response were excellent. It’s one of the first time these videos, all of which are on Vimeo online, have been projected for an audience. We had another screening of our work on the previous evening, November 11th, at the Amos Eno Gallery in Brooklyn.

As mentioned in UNL Today, “Wheeler Winston Dixon, professor of film studies, and Gwendolyn Audrey Foster, professor of English and film studies, had two screenings of their new video work. The screenings took place on Nov 11 in The Amos Eno Gallery in Brooklyn, New York and Nov. 12 at The Sla307 Art Space, in New York City. Videos by Dixon include Life of Luxury, An American Dream and Beat Box. Foster’s videos include Echo and Narcissus, Mirror, Tenderness, and more.” It was a great evening, and we look forward to more screenings in the future.

Click here, or on the image above to see the video.

Gwendolyn Audrey Foster’s “Men and Machines” Series on Vimeo

Thursday, November 24th, 2016

Gwendolyn Audrey Foster has a new series of videos on the theme of “Men and Machines.”

“The meaning of things lies not in the things themselves, but in our attitude towards them. The machine does not isolate man from the great problems of nature but plunges him more deeply into them.” — Antoine de Saint-Exupery

“It is interesting to view Nature through the lens of construction ‘sight’ – after all – is Nature itself not the Mother of all construction sites? I wonder if we have always viewed the world as a potential building site? The binary between these coexistent worlds is not so easily defined. Are domesticated plants and meadows, for example, all that ‘natural’ — or are they not liminal hybrids; both ‘natural’ and ‘artificial?’ Are machines ‘natural’ or hybrid and liminal?

Modern experience of the environment is mediated through a mechanical duo-consciousness. I admire the often breathtaking beauty of ‘Nature’ as an ongoing organic ‘construction site’; but I am also in awe of human industry and construction – particularly our aural and visual resonances – waste and decay in tracings, relics, and ruins.

The ‘Men and Machines’ series invites meditation into the complex relationship between man, machine, and ‘Nature’ – the politics, philosophy and aesthetics of the sights and sounds of industry as they are mechanically mediated and manufactured by the camera eye and ear.” – Gwendolyn Audrey Foster

Videos in the “Men and Machines” series include:

Echo and Narcissus – vimeo.com/187504524

Construction Site – vimeo.com/188719797

Johnny’s Machines – vimeo.com/188380596

Machine – vimeo.com/190509450

Inside – vimeo.com/189477394

Col Bleu – vimeo.com/185865697

Mirror – vimeo.com/184270334

Not – vimeo.com/172252797

Waste – vimeo.com/165976297

Product – vimeo.com/179584124

Selfie – vimeo.com/178762302

Foster’s meditational videos are both moving and insightful – essential viewing.

Dixon & Foster Video Shows in NYC November 11 & 12

Sunday, November 20th, 2016

From The UNL Newsroom: Two New Video Shows in New York City.

As mentioned in UNL Today, “Wheeler Winston Dixon, professor of film studies, and Gwendolyn Audrey Foster, professor of English and film studies, had two screenings of their new video work. The screenings took place on Nov 11 in The Amos Eno Gallery in Brooklyn, New York and Nov. 12 at The Sla307 Art Space, in New York City. Videos by Dixon include Life of Luxury, An American Dream and Beat Box. Foster’s videos include Echo and Narcissus, Mirror, Tenderness, and more.”

We’re grateful to the galleries for inviting us to screen our work, and for the excellent turnout at both shows, especially the Saturday screening in Manhattan. Altogether, we screened some 40 new films in two one-hour programs, with excellent projection and sound, and a deeply appreciative audience. Indeed, since these videos are publicly curated on Vimeo, this was the first time that they’ve been screened in full theatrical format, which was an experience in itself.

Again, thanks to everyone involved for making these programs possible.

Gwendolyn Audrey Foster on Masaki Kobayashi’s “Kwaidan” (1964)

Monday, July 4th, 2016

Gwendolyn Audrey Foster has a new essay out on the classic Japanese supernatural film Kwaidan.

As Foster writes, in part, in the latest issue of Senses of Cinema, “along with Kenji Mizoguchi’s Ugetsu Monogatari (1953) and Akira Kurosawa’s adaptation of William Shakespeare’s Macbeth, Throne of Blood (Kumonosu-jō, 1957), Masaki Kobayashi’s Kwaidan (1964) – aka Kaidan, or ‘ghost stories’ – is one of the peaks of the Japanese cinema during its golden era, and one of the most superbly atmospheric supernatural films ever produced in any country. It’s also a terrific example of how a portmanteau film can work successfully, harking back to Ealing Studios’ multi-director Dead of Night (1945), and gesturing towards the multi-story films of Amicus in the 1960s.

Kobayashi’s filmography as a director isn’t extensive, with only 21 feature films to his credit throughout his entire career, yet each of his projects has an individual stamp that makes them deeply personal. His earlier films are both gritty and introspective, and seem nothing at all like Kwaidan: one of Kobayashi’s most compelling early films is the brutal baseball noir drama I Will Buy You (Anata kaimasu, 1956), in which a young player rises to the top of Japanese professional baseball, revealed to be little more than a racket.

Kobayashi’s other major works include the epic trilogy The Human Condition (1959 – 1961), which clocks in at an astonishing 9 hours and 47 minutes in its entirety, and Harakiri (Seppuku, 1962), a suitably violent and nihilistic samurai film. Most of Kobayashi’s work is in black and white, but in Kwaidan he evokes a world of heavily stylized colour, and creates one of the most sensual and strangely evocative supernatural films ever made. It remains one-of-a-kind not only for Kobayashi, but also for what has been loosely called ‘the horror film’: Kwaidan doesn’t deal in shock imagery, but rather in an ever-mounting sense of psychological dread.

Based on Lafcadio Hearn’s anthology of Japanese tales of the supernatural, Kwaidan: Stories and Studies of Strange Things (1904), the film is structured in four parts. ‘The Black Hair’ follows a warrior who leaves his first wife for a second marriage to gain greater status, only to find the promise of a ‘better life’ is an empty one indeed. ‘The Woman of the Snow’ is a tale of supernatural vengeance in which a woodcutter falls in love with a Yuki-onna, or ‘snow woman’ – a spirit who wanders the woods – with unexpected results.

‘Hoichi the Earless’ deals with a blind musician who discovers that he has been unwittingly singing for a family of ghosts, resulting in dire consequences. The last section (which the spectator is invited to complete in their own mind) is ‘In a Cup of Tea,’ the philosophically deepest and most challenging of the tales, in which a writer is continually disturbed by the unexpected sight of a face in – as the title suggests – his cup of tea.

Winner of the Special Jury Prize at the 1965 Cannes Film Festival, and honored with an Academy Award nomination for Best Foreign Language Film the same year, Kwaidan is one of the most sumptuously mounted horror films ever made, shot in moody, otherworldly colour that would be evoked again in Dario Argento’s Suspiria (1977), in true TohoScope ratio 2.35:1 by the gifted cinematographer Yoshio Miyajima, with stunning art direction by Shigemasa Toda.”

You read the entire essay by clicking here, or on the image above – enjoy!

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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