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Posts Tagged ‘Pop Culture’

A World of Constant Peril: Seriality, Narrative, and Closure

Tuesday, September 2nd, 2014

I have a new article out today in Film International on the impact of serials on contemporary cinema.

As I write, in part, “What are we watching now at the movies, or on television or Netflix for that matter? Serials – though now they’re called franchises, or mini-series, or ‘cable dramas,’ but they have the same structure, and the same limitations, the same narrative predictability. What will happen, for example, in the next episode of Game of Thrones? Who will be slaughtered, who will survive, who will make yet another grab for power? What scheme will the fictional Walter White (Bryan Cranston) come up with in the next episode of the recently concluded Breaking Bad? You’ll just have to tune in next week and find out, because all we’re leaving you with this week is an open ended ‘conclusion’ – whatever happens next, we’re not telling. But then again, when the trap is finally sprung, are the results all that surprising? Yet you keep coming back, week after week. You can’t stop watching . . .

And yet, unlike any other structural format in commercial cinema, even the theatrical cartoon, the original iteration of the motion picture serial has vanished from contemporary view. Nevertheless, when one compares both the overall narrative structure of these chapter plays, as well as the elaborate fight scenes, exoticist sets, and – despite what some may say – the absolutely one-dimensional nature of the characters, one can easily see where the films in the current Marvel or DC ‘universe’ came from – starting, of course, with the original Star Wars film in 1977, which was transparently formatted as a serial, replete with opening crawl title receding endlessly into infinity, and even an “episode number,” as if the entire film was just one section of a sprawling epic – which indeed it ultimately was.

Comic-Con, which now dominates the commercial film industry, with, for the most part the empty escapism of such films as James Gunn’s Guardians of the Galaxy (2014) – the runaway hit of the current summer – doesn’t want to admit it, but the truth of the matter is that these are films for children, as the serials were, and were relegated, in the 1940s and 50s, to Saturday morning entertainment. No one who made them had any illusions about them, and though they contained both the template for most contemporary Hollywood action and superhero films, they were designed to exist at the margins of the theatrical world, as something for adolescents to view before moving on to more demanding fare. Today, that more ‘demanding’ cinema has all but vanished, as comic book cinema moves to the mainstream, and erases nearly everything else.”

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

Some Final Thoughts on Reviewing Godzilla (2014)

Sunday, May 18th, 2014

This image of the Hollywood sign in collapse seems sadly appropriate for this post.

My review of the new Godzilla film seems to have sparked some real response, and in the comments section, I added these thoughts, which I think should be repeated here. In response to a number of people agreeing with my assessment of the film, and some people disagreeing, I added these final comments on both the film, and on reviewing films that I’m not fond of – something I don’t enjoy doing.

“I took no particular pleasure in doling out a bad review of the film — and I really went in expecting a genuine return to the roots of Godzilla, so to speak. But we have to keep these things in perspective. On one level, the whole thing is ridiculous – I mean, who really cares if a Godzilla reboot works? On the other, the original film was such a serious and potent metaphor for the nuclear decimation of Japan in 1945 that to see the whole concept turn into just another monster movie is a real betrayal of the 1954 original.

Pop thought it may be, the first Gojira had depth, which this film lacks; then again, I wish Edwards would go back to smaller, more thoughtful projects, but now that Hollywood has him in its grasp, there’s little likelihood of that. The 2014 Godzilla reminded me most strongly of Ataque de Pánico! (Panic Attack!; 2009), a short film made by another spfx wizard, Fede Alvarez on a dimestore budget, which also led to another Hollywood deal.

So it’s like this; make one good film with no money, then Hollywood snaps you up, and you make one bad film after another which is totally compromised by studio/exec interference, but they’re still hits because the studios have sunk so much money into them that they can’t afford to let them die, so they promote the hell out of them, and thus they become ’successes,’ and so you do another.

So I’m waiting for Manoel de Oliveira’s next film, which will have no money, lots of ideas, and will no doubt challenge and engage me more than this — but circling around all of this for me is my conviction that the 1954 Gojira and Oliveira’s The Strange Case of Angelica (2011) are roughly approximate in seriousness of intent, and that a stronger case needs to be made for Ishirō Honda in the first film. The genre really doesn’t matter here; it’s seriousness of intent.” As Honda himself famously noted, “monsters are born too tall, too strong, too heavy—that is their tragedy,” and that’s the tragedy of this film, too.

And that’s more than enough on that topic.

News Flash – Bunny Eating Raspberries!

Saturday, May 10th, 2014

When I got up yesterday morning, this was the most popular video on YouTube.

It then had about 300,000 views. I went to the gym, worked out, came home, and it was still there, with 300,000 more views. By Saturday night, it had 2,285,415 views, and was still going strong. By 8:21 AM on Sunday, it had 3,703,441 views, and had knocked the trailers for several “big” summer movies out of the top spot. By Sunday afternoon, it had amassed 4,217,784 views, and by Sunday night, 5,461,489 views, and showed no signs of slowing down. As of Tuesday May 13th, it was still climbing, with an amazing 8,502,302 views. So what it is it?

It’s 33 seconds of a rabbit, in close-up, eating some raspberries, so you can’t say that it’s inaccurately described. At least no one is getting killed, there isn’t some horrible disaster, and perhaps that’s the point – this rabbit doesn’t know about any of this, and simply wants to eat some raspberries, even if she/he doesn’t know what raspberries are – they’re sure tasty!

Perhaps more than a century after the cinema was invented, we’ve gone back to the days of the Lumière Brothers, who simply photographed the world around them in static, one minute films with no camera movement, showing workers leaving their bicycle factory, or people walking in the park, or a baby having a snack – and why not? It’s pure, simple, clear, and innocent.

When Andy Warhol first started making films in the early 1960s, with such titles as Eat (45 minutes of a man eating a mushroom), Sleep (6 1/2 hours of a man sleeping), Haircut (33 minutes of a man getting a haircut), to say nothing of his long series of several hundred 3 minute “screen tests,” he was doing much the same thing.

Perhaps we’ve come full circle again, to meditate on real life.

Oculus: Another Look In the Haunted Mirror

Friday, April 11th, 2014

I have a new review essay out on the film Oculus in Film International.

As I write, “Oculus is a rather pretentious title for a rather straightforward movie, but despite the assembly line nature of its’ construction, the film still has something going for it. At first it’s hard to say precisely what the film has to offer, because on the surface it deals with so many basic and time-worn horror conventions that it seems to be almost aggressively unoriginal. But as the film picks up speed, and accelerates its march towards death and damnation, it gathers a certain sort of peculiar power that isn’t without value. I’m not about to give away the ending here, or any of the major plot twists, because those are the main things the film has to recommend it. Yet having said that, there’s a certain Resnais-like fatalism to the film that reverberates in one’s memory, despite the workmanlike nature of the film as a whole.

Though released theatrically today, April 11, 2014, the film was shot in 2012-2013, and was first screened on September 8, 2013, at the Toronto International Film Festival. It’s yet another of the Jason Blum / Blumhouse Productions, all of which are low budget horror films, and the best of which to date is The Purge. Blum has a deal with Universal under which he cranks out numerous horror films in the $3 million or so range, but many of them don’t even see the light of day in DVD or streaming format, much less get a theatrical release. His idea is to keep on cranking out as many films as he can, and then see if anything sticks.

Despite the fact that there are a number of cinematic corpses, so to speak, sitting around in Blum’s vaults, with the number of films Blum makes, some of them are bound to hit. The Purge is going into a sequel, which from the looks of the trailer seems a sort of knock off of Walter Hill’s The Warriors (1979) – the premise being that for twelve hours all criminal acts are legal, which acts as a societal safety valve. In the sequel, The Purge: Anarchy, a group of people are left outside when the purge starts, and have to run across a city in lockdown to safety, but it lacks Ethan Hawke in the lead, and screams “knock off” in every department. But I digress.

Oculus is about a haunted mirror, a staple of cinematic fantasy since the days of Georges Méliès. It’s been used in countless episodes of television series, such as Thriller and Twilight Zone, though my favorite variation on this well-worn theme remains the episode of the classic omnibus British horror film Dead of Night (1945), directed by Robert Hamer, in which Joan Cortland (Googie Withers) buys an ornate, oversize antique mirror as a gift for her husband Peter (Ralph Michael), only to discover that the previous owner killed his wife in front of it in a fit of jealousy, and that Peter is now falling under the mirror’s influence, as well. It’s one of the great horror stories of the cinema, and remains the most effective version of this tale, but for all that Oculus still has, as I suggested, something to add to the subgenre.”

You can read the entire essay here. Here’s looking at you, kids!

The Spartans Meet The Muppets, or 300: Rise of an Empire

Tuesday, March 18th, 2014

I have a review essay out today on the new film 300: Rise of An Empire in Film International.

As I write, “It would be a mistake to dismiss director Noam Murro’s sword and sandal “historical” pageant 300: Rise of an Empire (2014) entirely, if only because mainstream pop culture films can often tell us more about the times we live in than so-called ‘quality’ films, since they pander so shamelessly to their audiences. So it is with 300: ROAE, but let me hasten to add that most of what it has to tell us is unintentional freight. The makers of this film – the producers, screenwriters and the director – wanted a serviceable follow-up to Zack Snyder’s 2007 original, to create what could be a profitable franchise, if properly handled – and Murro delivered it. It’s a maelstrom of unending cruelty, barbarism, and conflict.

You want endless, mindless, slow motion violence, delivered with a minimum of dialogue or motivation (other than the standard ‘I want revenge’ card)? You got it. Battlefields littered with corpses? Check. Huge, panoramic vistas that trail off into infinity, as the protagonists strike heroic poses in the twilight? Coming up! Spectacular battles on sea and land? Gotcha! Sex scenes with a dollop of violence? Of course! It’s all here, trotted out to meet audience demand, something Murro is no stranger to. Murro has directed numerous high-end commercials and videos, and one feature, Smart People (2008), starring Dennis Quaid and Sarah Jessica Parker. He’s even worked with The Muppets! Now, if only he could learn to direct people.

That’s probably good training for this film, because most of the cast walks through their paces like so many automatons; what really saves the film as a visual construct is Murro’s sense of non-stop kineticism, which is easily the equal of some of the best action directors in motion picture history. Mind you, I’m talking sheer technique here, not resonance; the film is as empty as it is dazzling, but nevertheless, some main points come to mind. Watching the film, I kept thinking of what a first rate talent like Sam Peckinpah might have done with similar material in his prime; ‘Bloody Sam’ would have been right at home here, provided he was willing to bring the film in on time and under budget.”

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

Andy’s Gang, or Saturday Morning of the Living Dead

Friday, August 16th, 2013

I have a new article in Film International on the utterly bizarre 1950s children’s television show Andy’s Gang.

As I write, in part, “let us now consider Andy’s Gang, a horrific children’s television show from the 1950s. For those who live outside the United States, and didn’t grow up during the Cold War, this series may be absolutely unknown, and if this is the case, you can be thankful. For Andy’s Gang is the most twisted, most willfully odd and perverse television show imaginable, no matter what age group it’s aimed at. As one viewer put it, ‘the show reminds me of something David Lynch would come up with,’ but actually, that’s selling the show short. This one is truly off the charts, existing in a hermetically sealed land all its own, a phantom zone of non-performance and non-participation which is staggering in its dimensions and implications.

That’s quite a claim, but if I had to compare Andy’s Gang to anything else that comes under the heading of a moving image construct, I’d be almost instantly reaching for the horror films Castle of the Living Dead (1964), The Torture Chamber of Dr. Sadism (1967), or Dr. Tarr’s Torture Dungeon (1973, a.k.a. The Mansion of Madness). For here is a television show, ostensibly aimed at children, in which the host never met – not even once – any of the members of his supposed audience, or was even in the same room with them, or even the same year – and which is comprised of such serial repetition of actual footage, as well as ceaselessly repeating its own internal structure, that it almost defies description. Indeed, as I’ll show later, there are virtually web support groups for aging baby boomers who seem to have been traumatized by the show as children, more than 53 years after the final episode of the series aired.

Saturday morning television in the United States in the 1950s belonged exclusively to children; this was a holdover from the tradition of Saturday morning shows in movie theaters in the 1920s through the early 1950s, when boys and girls would rush down to the local theater to see a double bill of two genre films, usually a western and/or a science-fiction or horror film, plus some cartoons, a chapter of a serial or ‘cliffhanger,’ some trailers, travelogues, shorts, and other assorted screen fare. When television took hold in the mid 1950s, it spelled the death of these morning screenings – serials, for example, ceased production entirely in 1956 as a direct result of competition from television – and television did its best to slavishly copy the model the movie theaters had followed so successfully.

So, on Saturday morning network television, you could forget about anything aimed at an adult audience; instead, one got a nonstop diet of such series as Kukla, Fran And Ollie, Howdy Doody, Flash Gordon, Lassie, Annie Oakley, Ding Dong School, The Paul Winchell Show, The Roy Rogers Show, Captain Z-RO, The Rootie Kazootie Club, Winky Dink And You, Super Circus, The Cisco Kid, Sky King, Captain Midnight, Rocky Jones, Space Ranger, The Pinky Lee Show, Sheena, Queen Of The Jungle and many more.

Each of these shows had their own peculiarities; Howdy Doody was a live puppet show, with a real live ‘Peanut Gallery’ where kids would scream and holler as the show progressed – in short, genuine audience interaction; Flash Gordon, starring Steve Holland, was filmed in West Berlin in converted beer halls on a miniscule budget; Winky Dink and You encouraged kids to actually draw on the picture tubes of their television sets with crayons to trace this week’s mystery clue – one was supposed to place a special “magic screen,” actually thin plastic film, over the screen before marking it up, but many kids, enthralled by the suspense, simply forgot this part of the process – and so on.

But Andy’s Gang was a breed apart. One thing above all set it apart from its competitors; all of the shows listed above were fiction, and presented themselves as fiction, and the audience – except perhaps for the very young viewers – recognized this. But Andy’s Gang was fiction masquerading as reality. None of it was real; the whole series was a fictive construct. But it didn’t start out that way; it took the death of the original host, and a canny television producer/director possessed of a peculiar vision to make this particular Twilight Zone of fantasy/reality.”

You can read rest of the article by clicking here, or on the image above; an amazing cultural Cold War artifact.

Inside The Asylum: The Outlaw Studio That Changed Hollywood

Friday, July 26th, 2013

I have a new article on The Asylum Studio in Los Angeles in the latest issue of Film International.

As I write, “Some people get into the movie business because they have a passion for film. Some have dreams of creating the ‘great American movie,’ or rising to the top of the Hollywood Dream Factory. But as mainstream films become ever more expensive, routinely costing $100,000,000 or more simply to produce, and then under-performing at the box office – Pacific Rim and The Lone Ranger are two prime examples – it seems that the old system of making movies is broken.

The risks are simply too great – a few bad bets can sink a studio. Low budget films like The Purge and The Conjuring, both made for a pittance, rule the multiplexes. Spectacle and special effects just don’t bring in audiences anymore; people want something new, and outrageous, for their entertainment dollar. And a relatively new studio in Hollywood, The Asylum, is dedicated to doing just that; giving the viewer something the majors won’t. Something like Sharknado (2013).

The Asylum is following in a long line of low budget Hollywood production companies. Independent film studios, like American International Pictures in the 1950s and 60s, and Roger Corman’s New World Pictures and Concorde/New Horizons in the 1970s and 80s, offered viewers something the mainstream studios couldn’t; films aimed directly at their target audience – outlaw movies that made up their own rules as they went along.”

You can read the rest of the article on this fascinating studio here, or by clicking on the image above.

The Hunger Games: Catching Fire – First Trailer

Monday, April 15th, 2013

Liam Hensworth, director Francis Lawrence, and Jennifer Lawrence on the set of Catching Fire (2013).

The Hunger Games: Catching Fire, the second installment in the Hunger Games trilogy, opens this coming November, and for once, I am more interested in the sequel than in the original. The reason: Donald Sutherland is more front and center, and he was the best thing about the first film; as you will see in the trailer, he’s joined by the always excellent Philip Seymour Hoffman, and the effortless manner in which these two superb actors play off each other is a delight to behold. Jennifer Lawrence is back, and just on the evidence presented here, seems much more assured in her role as Katniss Everdeen; Stanley Tucci and Woody Harrelson also return, so the cast is exceptionally strong. But the real difference here is that Francis Lawrence, an expert action director with a real edge of brutality in his visuals, is at the helm, and I think that the results will be much more interesting than the rather bland and uninvolving original, indifferently directed by Gary Ross. In any event, here’s the first trailer; judge for yourself.

Click here, or on the image above, to see the first trailer for the film.

Mr. B.I.G.

Monday, April 15th, 2013

Orson Welles and director Bert I. Gordon on the set of Gordon’s film Necromancy (1972).

He never made any big budget films, and never really made any truly successful films, but Bert I. Gordon’s threadbare special effects extravaganzas, if that’s the right word for them, have a place in the affections of many film goers from the 1950s and 1960s. With such titles as The Cyclops, The Amazing Colossal Man, Beginning of the End (all 1957), Earth vs. the Spider, War of the Colossal Beast, and Attack of the Puppet People (all 1958), along with many other films to his credit, Gordon seemed obsessed with films that employed bargain basement trick photography (which Gordon himself was responsible for) to create images of enormous animals, insects, and/or humans wreaking havoc on society, shot in matter-of-fact black and white, and presented with ruthless economy in every department.

For sheer absurdity, they’re hard to top; perhaps my favorite moment in any of his films comes in Earth vs. The Spider, in which a group of teenagers accidentally discover a truly enormous and seemingly lifeless arachnid in a local cavern. The spider is subsequently transported to the local high school gymnasium (of course) for further study. Naturally, the students decide that this would be an excellent time for a rock and roll dance party, which awakens the spider, allowing it to embark on yet another murderous rampage. It’s all junk, but it’s pop art junk, and a real part of the American cinema experience in the 1950s, and for 75 minutes or so, worth the time to view as an authentic talisman of a vanished era. Still alive as of this writing, Gordon is in retirement, but his films are shown all the time on television, and many are available on DVD.

To see a brief video interview from 2010 with Bert I. Gordon, click here or on the image above.

Donny Miller Interview in Film International

Wednesday, March 6th, 2013

I recently did an interview with the artist Donny Miller for Film International.

As I wrote in that issue of FI, “Donny Miller is one of the more interesting visual artists working today; he’s active not only in graphics and painting, but also video art, performance art, and site-specific installations. He is best known for his book Beautiful People with Beautiful Feelings (2006), which juxtaposes near-advertising images of glamorous men and women culled from clip out art with sardonic commentaries on the human condition. But there’s much more to Miller than that, as a brief tour of his work on the web illustrates. Intrigued by Miller’s take on contemporary society, and also by his turn towards more optimistic work in his recent Universe series, and other new works, I interviewed him by telephone at his home in Los Angeles on February 24, 2013; what follows is an edited transcript of that conversation.”

And you can read the entire interview 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 numerous books and more than 70 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. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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