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Posts Tagged ‘New Books’

Essential Reading: A New Deal for The Humanities

Friday, November 20th, 2015

The humanities are essential for a well-rounded education.

As Rutgers University Press notes in their publicity materials for this timely volume, “many in higher education fear that the humanities are facing a crisis. But even if the rhetoric about ‘crisis’ is overblown, humanities departments do face increasing pressure from administrators, politicians, parents, and students.

In A New Deal for the Humanities, Gordon Hutner and Feisal G. Mohamed bring together twelve prominent scholars who address the history, the present state, and the future direction of the humanities. These scholars keep the focus on public higher education, for it is in our state schools that the liberal arts are taught to the greatest numbers and where their neglect would be most damaging for the nation.

The contributors offer spirited and thought-provoking debates on a diverse range of topics. For instance, they deplore the push by administrations to narrow learning into quantifiable outcomes as well as the demands of state governments for more practical, usable training.

Indeed, for those who suggest that a college education should be ‘practical’—that it should lean toward the sciences and engineering, where the high-paying jobs are—this book points out that while a few nations produce as many technicians as the United States does, America is still renowned worldwide for its innovation and creativity, skills taught most effectively in the humanities.

Most importantly, the essays in this collection examine ways to make the humanities even more effective, such as offering a broader array of options than the traditional major/minor scheme, options that combine a student’s professional and intellectual interests, like the new medical humanities programs.

A democracy can only be as energetic as the minds of its citizens, and the questions fundamental to the humanities are also fundamental to a thoughtful life. A New Deal for the Humanities takes an intrepid step in making the humanities—and our citizens—even stronger in the future.”

This is an essential volume; without the humanities, we really lose our own humanity.

New Book: Peter Stanfield’s The Cool and The Crazy

Tuesday, March 17th, 2015

Peter Stanfield’s new book is a crash course in 1950s pop cinema – not to be missed!

I had the opportunity to see this book in page proofs, whose title is a homage to William Witney’s classic teen film of the same name. It’s a magnificent piece of work, both from a critical and new historical perspective. As Rutgers University Press, the publisher of the book, notes of Stanfield’s volume: “Explosive! Amazing! Terrifying! You won’t believe your eyes! Such movie taglines were common in the 1950s, as Hollywood churned out a variety of low-budget pictures that were sold on the basis of their sensational content and topicality.

While a few of these movies have since become canonized by film fans and critics, a number of the era’s biggest fads have now faded into obscurity. The Cool and the Crazy examines seven of these film cycles, including short-lived trends like boxing movies, war pictures, and social problem films detailing the sordid and violent life of teenagers, as well as uniquely 1950s takes on established genres like the gangster picture.

Peter Stanfield reveals how Hollywood sought to capitalize upon current events, moral panics, and popular fads, making movies that were ‘ripped from the headlines’ on everything from the Korean War to rock and roll. As he offers careful readings of several key films, he also considers the broader historical and commercial contexts in which these films were produced, marketed, and exhibited. In the process, Stanfield uncovers surprising synergies between Hollywood and other arenas of popular culture, like the ways that the fashion trend for blue jeans influenced the 1950s Western.

Delivering sharp critical insights in jazzy, accessible prose, The Cool and the Crazy offers an appreciation of cinema as a ‘pop’ medium, unabashedly derivative, faddish, and ephemeral. By studying these long-burst bubbles of 1950s ‘pop,’ Stanfield reveals something new about what films do and the pleasures they provide.”

As I noted in my critical commentary for The Cool and The Crazy, the volume has “fresh ideas, fresh arguments, and a good feel for the 1950s—Stanfield has it all. This book is one of a kind,” while critic Will Straw adds that “this dazzling archaeology of cycles and genres in postwar cinema goes deep into cultural history, then pulls back to reveal patterns and movements unseen until Stanfield saw them. Highly recommended.”

New, dazzling, and absolutely cutting edge – the inner workings of 1950s American pop cinema.

The Permanent Crisis of Film Criticism by Mattias Frey

Monday, December 15th, 2014

Here’s an interesting book on the current state of film criticism – a real concern of this blog.

Published by Amsterdam University Press, Frey’s book posits that “film criticism is in crisis. Dwelling on the many film journalists made redundant at newspapers, magazines, and other ‘old media’ in past years, commentators have voiced existential questions about the purpose and worth of the profession in the age of WordPress blogospheres and proclaimed the ‘death of the critic.’ Bemoaning the current anarchy of internet amateurs and the lack of authoritative critics, many journalists and academics claim that in the digital age, cultural commentary has become dumbed down and fragmented into niche markets. Mattias Frey, arguing against these claims, examines the history of film critical discourse in France, Germany, the United Kingdom, and the United States. He demonstrates that since its origins, film criticism has always found itself in crisis: the need to show critical authority and the anxieties over challenges to that authority have been longstanding concerns.”

It’s refreshing to see someone taking a level-headed, non-apocalyptic look at this issue; as Frey argues, “film criticism has always found itself in crisis,” from the earliest iterations of the cinema, and the rise of poplar “fan magazines” as opposed to the serious study of the cinema.The gap between pop culture “reviews” of the latest blockbuster – actually just opinion pieces with little real critical analysis, usually posted in daily newspapers or on the web, and considered by most readers not familiar with the study of film to be serious reviews, and work that actually takes the film apart, places it within a critical and historical context, measures it against similar films from the past, and operates from a detailed understanding of the medium as a whole – has been an ongoing issue in film criticism from the 1900s onward.

Frey’s book offers an excellent overview of the history of this contest between superficial, throwaway writing and actual critical analysis, and as he puts it, demonstrates that “the need to show critical authority and the anxieties over challenges to that authority have been longstanding concerns” in film history, theory and criticism. This is fascinating and important reading, demonstrating that the problem here isn’t so much the web – it’s the fact that many of the people writing on the web on film, as well as numerous other topics, substitute their own personal likes and dislikes for any real, informed analysis. In film as in all the arts, the audience is really an afterthought; it’s what the creators of any given work of art want to express that is paramount.

You can read a pdf of the introduction the book 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. To contact Prof. Dixon for an interview, reach him at or

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