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New Book – Dark Humor in Films of the 1960s

Tuesday, July 21st, 2015

I have a new book from Palgrave Pivot on the “sick” humor films of the 1960s.

As the promotional materials for the book note, “Dark Humor in Films of the 1960s presents six detailed chapters on various topics that relate to genre cinema, concentrating on films and filmmakers whose films offered wide ranging commentary on popular culture. Covering both little and well-known films and filmmakers (Vanishing Point, Marcel Hanoun, It’s a Mad, Mad, Mad, Mad World, Max Ophüls), Dixon’s writings draw on a multitude of critical, historical, and archival sources to capture the reader’s attention from start to finish.

Wheeler Winston Dixon is the James Ryan Professor of Film Studies, Coordinator of the Film Studies Program, and Professor of English at the University of Nebraska, Lincoln, USA. He is the author of Death of the Moguls: The End of Classical HollywoodStreaming: Movies, Media and Instant Access, and Cinema at the Margins and editor, with Gwendolyn Audrey Foster, of the book series Quick Takes: Movies and Popular Culture.”

Here are some early comments by reviewers:

“Dixon is a first-rate film scholar, critic, and historian, and the qualities he has cultivated and refined over the years are evident in everything from the clarity, lucidity, and liveliness of his prose to the accuracy of his research, the force of his arguments, and the perspicuity of his judgments.” – David Sterritt, Chair, National Society of Film Critics

“The Dixon dynamo’s done it again. In a swift and assured push, he opens doors to the sights, sounds—and smells—of the other world cinematic story. He peels back eyelids for us to see one built not only on the backs of the Griffiths, Hitchcocks, Bunuels, and Truffauts, but on the extraordinary creativity of those pushed into penumbric shadows; those cineastes like Max Ophüls, Juan Orol, Marcel Hanoun, and D. Ross Lederman who dared to bend minds and expectations at any cost. We have our world cinematic critic and he’s invited us to strap ourselves for a journey to the chaotic dark side of world cinematic history. As with Kubrick’s Major T.J. ‘King’ Kong, with Dixon you’re in for a hell of a ride!” – Frederick Luis Aldama, Arts & Humanities Distinguished University Professor and author of The Cinema of Robert Rodriguez

“Wheeler Winston Dixon’s new collection of essays, Dark Humor in Films of the 1960s, offers even more than its title promises.  To be sure, its opening essay presents a richly detailed and thoughtful meditation on the iconoclastic ‘sick’ humor of sixties films from Dr. Strangelove to Putney Swope.  But readers will also find much else of value, including pieces on the unsung Hollywood auteur D. Ross Lederman, the lost version of the 1971 cult road movie classic Vanishing Point, and the fatalistic noir films of Max Ophüls.  All are written with Dixon’s customary verve, wit, and attention to historical detail, making this book a must for any serious student of cinema.” – Ian Olney, author of Euro Horror: Classic European Horror Cinema in Contemporary American Culture

“This book glitters with a treasure of informative, witty, and acute insights into films and filmmakers too long neglected in their unconventional but deeply provocative importance.  No one writes about film with more infectious vivacity than Wheeler Winston Dixon, especially in these pages.” – Murray Pomerance, author of The Eyes Have It: Cinema and the Reality Effect

A short and concise look at some of the films that shaped a decade.

Forthcoming Book – Dark Humor in Films of the 1960s

Friday, May 15th, 2015

I have a new book from Palgrave Pivot this July – pre-order it here now!

As the promotional materials for the book note, “Dark Humor in Films of the 1960s presents six detailed chapters on various topics that relate to genre cinema, concentrating on films and filmmakers whose films offered wide ranging commentary on popular culture. Covering both little and well-known films and filmmakers (Vanishing Point, Marcel Hanoun, It’s a Mad, Mad, Mad, Mad World, Max Ophüls), Dixon’s writings draw on a multitude of critical, historical, and archival sources to capture the reader’s attention from start to finish.

Wheeler Winston Dixon is the James Ryan Professor of Film Studies, Coordinator of the Film Studies Program, and Professor of English at the University of Nebraska, Lincoln, USA. He is the author of Death of the Moguls: The End of Classical Hollywood, Streaming: Movies, Media and Instant Access, and Cinema at the Margins and editor, with Gwendolyn Audrey Foster, of the book series Quick Takes: Movies and Popular Culture.”

Here are some early comments by reviewers: “Dixon is a first-rate film scholar, critic, and historian, and the qualities he has cultivated and refined over the years are evident in everything from the clarity, lucidity, and liveliness of his prose to the accuracy of his research, the force of his arguments, and the perspicuity of his judgments.” – David Sterritt, Chair, National Society of Film Critics

“The Dixon dynamo’s done it again. In a swift and assured push, he opens doors to the sights, sounds—and smells—of the other world cinematic story. He peels back eyelids for us to see one built not only on the backs of the Griffiths, Hitchcocks, Bunuels, and Truffauts, but on the extraordinary creativity of those pushed into penumbric shadows; those cineastes like Max Ophüls, Juan Orol, Marcel Hanoun, and D. Ross Lederman who dared to bend minds and expectations at any cost. We have our world cinematic critic and he’s invited us to strap ourselves for a journey to the chaotic dark side of world cinematic history. As with Kubrick’s Major T.J. ‘King’ Kong, with Dixon you’re in for a hell of a ride!” – Frederick Luis Aldama, Arts & Humanities Distinguished University Professor and author of The Cinema of Robert Rodriguez

“Wheeler Winston Dixon’s new collection of essays, Dark Humor in Films of the 1960s, offers even more than its title promises.  To be sure, its opening essay presents a richly detailed and thoughtful meditation on the iconoclastic ‘sick’ humor of sixties films from Dr. Strangelove to Putney Swope.  But readers will also find much else of value, including pieces on the unsung “B” Hollywood auteur D. Ross Lederman, the lost version of the 1971 cult road movie classic Vanishing Point, and the fatalistic noir films of Max Ophüls.  All are written with Dixon’s customary verve, wit, and attention to historical detail, making this book a must for any serious student of cinema.” – Ian Olney, author of Euro Horror: Classic European Horror Cinema in Contemporary American Culture

“This book glitters with a treasure of informative, witty, and acute insights into films and filmmakers too long neglected in their unconventional but deeply provocative importance.  No one writes about film with more infectious vivacity than Wheeler Winston Dixon, especially in these pages.” – Murray Pomerance, author of The Eyes Have It: Cinema and the Reality Effect

A short and concise look at some of the films that shaped a decade.

Reset! Check Out Frame by Frame from 2011 To The Present!

Monday, December 29th, 2014

Click on the button above to check out this blog from the first entry to the present!

Frame by Frame began more than three years ago with a post on Rebel Without A Cause – now, with more than 590 posts & much more to come, we’re listed on Amazon, in the New York Times blogroll,  the Film International 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!

So click on the button & see what you can find!

Frame by Frame Videos on Film History, Theory, and Criticism

Tuesday, June 24th, 2014

Here’s a carousel of more than sixty videos in my Frame by Frame series; click here, or above, to play!

Frame by Frame is a series of short videos I made with Curt Bright on film theory, history, and criticism — each is about 3 minutes long or so. Episodes of Frame by Frame cover The Hollywood Blacklist, Ridley Scott, Commercials in Movie Theaters, Inception, 3-D, Film Critics, War Movies, Film Composers, Buster Keaton, Charlie Chaplin, Subtitles vs. Dubbing, The Aura, John Ford, Remakes, Special Effects, John Huston, Ridley Scott, Fritz Lang, Howard Hawks, Alice Guy Blaché, Oscar Micheaux, Horror Movies, Deep Focus, Pan and Scan, Jean-Luc Godard, Camera Movement, Metropolis, Psycho, Movie Trailers, Laurel and Hardy, The Three Stooges, Minorities in American Film, The King’s Speech, Alfred Hitchcock, The Great Gatsby in 3-D, Digital Cinema, Special Effects, John Huston, Manoel de Oliveira, Orson Welles, Martin Scorsese, Westerns, Nicholas Ray, Busby Berkeley, Claire Denis, Woody Allen, Film Archives, George Cukor, Roger Corman, Billy Wilder, trailers, the Hollywood Ratings System, and many other topics.

Check it out! Useful for your classes; feel free to download as you see fit; use as you wish.

Roger Corman’s The Intruder (1962)

Sunday, July 7th, 2013

I have an article in the new Senses of Cinema 67 on Roger Corman’s film The Intruder.

As I note at the beginning of my essay, “in the early 1960s, director Roger Corman was on fire. Coming off a wave of ultra-exploitational titles for the fledgling film production/distribution company American International Pictures (AIP), which arguably defined late 1950s teen cinema, with such titles to his credit as Premature Burial, Pit and the Pendulum, Creature from the Haunted Sea (all 1961), Last Woman on Earth, The Little Shop of Horrors, House of Usher (all 1960), The Wasp Woman and A Bucket of Blood (both 1959), as well as She Gods of Shark Reef, Teenage Cave Man, Machine-Gun Kelly, War of the Satellites, I Mobster (all 1958), and Sorority Girl, Teenage Doll, Rock All Night, The Undead, Attack of the Crab Monsters and Not of This Earth (all 1957), Corman had mastered genre filmmaking, and was looking around for a new challenge.

The range of Corman’s work during this period is astounding; Pit and the Pendulum and House of Usher were the first two Gothic horror films in Corman’s long-running and highly influential series based on the works of Edgar Allan Poe; A Bucket of Blood and The Little Shop of Horrors were two of the first truly ’sick’ comedies, both shot in a matter of days; Machine-Gun Kelly introduced a young Charles Bronson to audiences, in a period piece designed as a nod to the Warner Bros. gangster films of the 1930s; Teenage Doll and Sorority Girl were pure teen exploitation; and Attack of the Crab Monsters, War of the Satellites and Not of This Earth were clear-cut science fiction.

Most of Corman’s films during this formative period were shot in a week, on budgets of $100,000 or less – The Little Shop of Horrors was famously shot in two days and a night, for roughly $40,000 – although the Poe films represented a real step up for the young director, at least in terms of physical production values. With 15-day schedules, budgets in the $300,000 to $400,000 range, Panavision and Pathécolor, Corman could relax a little, and take some more time with the material.

But even on these films, he often finished ahead of schedule, and he seemed driven to make one film after another, all of them incorporating thematic concerns outside the realm of conventional genre cinema; teen crime, peer pressure, consumerist materialism, even humanist parables, as in Teenage Cave Man, in which the ‘Stone Age’ the protagonists are living in is revealed in the film’s final moments as actually being a post-apocalyptic world after the Third World War has destroyed most of the planet.

While Corman could dabble in social commentary in these films in a rather light and tangential fashion, as a lifelong liberal filmmaker he longed to do something utterly uncompromising. Bolstered by the continuing commercial success of all of his previous films, he decided to direct a film on the racial tensions of the 1960s, shot on location in the American South. And so, right in the middle of his run of commercially successful films for AIP, Corman went off on his own and, with his own money and no studio support, made The Intruder (1962) for a mere $80,000, creating one of the most brutal, honest, and unflinching examinations of American racism in cinema history.”

You can read the rest of the article by clicking here, or on the image of William Shatner above.

Roger Corman on The Fast and The Furious

Friday, June 14th, 2013

Since we seem to be in a Corman mood, here’s Roger’s story of the genesis of the Fast and Furious franchise, which he had a hand in inaugurating.

At 87, Corman is still on top of it — when the Fast and Furious franchise started at Universal, they had a film, but they didn’t like the title. Roger suggested casually that he had produced a film, The Fast and The Furious, also about car racing, in 1954, and that perhaps that might be a good title. Universal jumped at it, but being cognizant of the fact that Corman’s film had used the title more than half a century earlier, felt obliged to cut a deal with Corman for the use of the title, with fascinating results.

Listen to the whole story in Corman’s own words by clicking here, or on the image above.

Roger Corman’s You Tube Channel

Saturday, June 8th, 2013

Legendary producer/director Roger Corman is launching a pay YouTube channel on June 13th; click here, or on the image above, to listen to Corman introduce the new venture.

Always a few steps ahead of the game when it comes to distribution and exploitation of his product, Roger Corman has cut a deal with YouTube to stream his library of more than 400 films on his own YouTube channel, films that he either produced or directed, with the initial emphasis on the more “mainstream” fare, but who knows what will happen as the channel evolves?

Let’s not forget that when no one else would strike a deal with Ingmar Bergman for the American rights to his masterpiece Cries and Whispers, Corman stepped in with a telephone offer to distribute the film in the US based solely on two conditions; one, that it be a “representative Bergman film,” and two, that it was shot in color. This was no problem for Bergman, who readily agreed, and the film went on to become Bergman’s biggest American hit, which Corman booked in not only legitimate theaters, so to speak, but also in drive-ins.

Roger Corman has inspired dozens of filmmakers, actors, writers, and marches very much to his own drum; he was finally recognized by the Academy of Motion Picture Arts and Sciences with a special Academy Award© for his lifetime contribution to the cinema. Corman has directed and produced, or served as the co-producer or distributor, for a lot of excellent films, and he’s constantly, even in his 80s, reinventing himself to keep up with the times.

Streaming is the way to go these days, and Roger is one of the first to jump on the bandwagon with a pay channel in this area; judging by the enthusiastic comments from his many fans, the channel should be a solid hit, and hopefully he’ll run some of the more interesting arthouse films he championed in the 1970s and 80s along with the solidly commercial work; this could be a very interesting undertaking.

Click here for a more detailed article on Corman’s Drive In Theater.

Roger Corman to Remake Eight Poe Movies in 3-D

Thursday, December 20th, 2012

As Alex Ben Block writes in The Hollywood Reporter, Roger Corman, at 86, is still cranking them out.

As he notes, “Roger Corman [. . .] is making new versions of eight low-budget horror films based on stories by 19th century American writer Edgar Allan Poe that he adapted and directed in the 1960s. House of Usher will be followed by The Pit and the Pendulum, Premature Burial, Tales of Terror, The Raven, The Haunted Palace [actually based on H.P. Lovecraft's novella The Case of Charles Dexter Ward], The Masque of the Red Death and The Tomb of Ligeia.

This time, Corman will produce but not direct the films, with the first to shoot in 2013, followed by two a year after that on budgets of $2 million to $2.5 million (the originals were shot for $250,000 to $350,000, not adjusting for inflation, on 15-day schedules). Like [the original versions, made for American International Pictures], his New Horizons Productions will not pay for rights because the source material is in the public domain.

The new productions will be self-financed by Corman’s New Horizons Productions, which will give the films at least a short domestic theatrical release and offer international rights at the American Film Market. “Now being able to do them in 3D and with a lot of computer graphics, we can do things we never dreamed of doing before,” he says. But that won’t include more violence. “Poe always worked with the unconscious mind, and there’s a lot of fantasy,” he explains. It may include more erotic material, in keeping with Poe’s approach, but Corman says there will probably still be no nudity.

Corman, honored at the first Governors Awards in 2009, says his biggest concern is replacing his legendary leading man Vincent Price, who died in 1993. Corman hopes to find a fiftysomething actor known from TV who, he says, can bring the same level of ’sensitivity and neuroticism that Vincent was able to bring.’ Corman has Mike McClain, who wrote his last movie – The Haunted, a Chinese co-production shot in in that country — working on the Usher script. Already a living legend [. . .] why does Corman continue to work at his age? He replies with one of his typically to-the-point comments: ‘I simply love making motion pictures.’”

Actually, Corman has already produced a low-budget remake of The Masque of the Red Death in 1989, directed by Larry Brand, toplined by Patrick Macnee and Adrian Paul. While nowhere nearly as effective as Corman’s 1964 version, starring Vincent Price and Hazel Court, and immaculately photographed by the great Nicolas Roeg, it was still an interesting piece of work. But as Corman says, he simply can’t stop making movies. At the very least, the films will prove an excellent training ground for perhaps the very last group of Corman’s protégés, who will then go on to bigger and better projects. It’s a return to the past, but I wish he was doing something new.

Then again, as a pre-sold franchise, the new Poe films should do well in the marketplace.

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 wdixon1@unl.edu or wheelerwinstondixon.com

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