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Posts Tagged ‘The Academy of Motion Picture Arts and Sciences’

The New Audience: Moviegoing in a Connected World

Sunday, April 26th, 2015

The Academy is also running this interesting evening on May 12, 2015, on the future of cinema in the digital era.

As the program notes explain, “The Academy looks at the past, present and especially the future of moviegoing in this discussion moderated by Krista Smith, Vanity Fair’s executive West Coast editor.  Oscar-nominated producer and Academy member Michael Shamberg conceived and helped shape the program in consultation with the Academy.

Just as the television boom of the 1950s inspired filmmakers to expand the size and shape of the movie screen, today’s filmmakers and studios want to take advantage of the wide variety of platforms on which contemporary audiences view films.

Everything from portable devices to streaming videos competes with the traditional movie theater as the preferred ways to watch films for much of the current generation. The evening will include notable media-savvy contributors who will first offer their unique perspectives on the topic and then participate in a panel discussion moderated by Smith.

Professor Henry Jenkins, the Provost’s Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California, will discuss key historic shifts in motion picture viewing and fandom, describing how our social experiences in and around cinema have shifted over time, and what they look like in today’s networked era.

The president of BuzzFeed Motion Pictures and web pioneer Ze Frank will compare the way today’s digitally oriented audiences relate to content with the more traditional relationship between moviegoers and the theatrical experience.

Team Oscar winner Tayo Amos will speak about what it means to grow up as a digital native filmmaker and media consumer in the world of social media, and explain how social media and the Internet are changing storytelling for her generation.

The final speaker will be Oscar-winning filmmaker John Lasseter, the chief creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor for Walt Disney Imagineering. The evening will also include archival footage, courtesy of the Academy Film Archive, showcasing early audiences interacting with movies and a look at past predictions of moviegoing in the 21st century.

Again, admission is just $5, and this promises to be an informative and deeply interesting evening.

This Is Widescreen – The Academy of Motion Picture Arts and Sciences

Sunday, April 26th, 2015

The Academy of Motion Picture Arts and Sciences is running an excellent new series on widescreen cinema.

From May 1st through June 19th, the Academy of Motion Picture Arts and Sciences is a running a widescreen “retrospective” of the some of the most innovative CinemaScope and related processes films from the 1950s and 1960s – with the 1960 arguably being when the format reached its zenith. As their program notes for the series comment, “cinema has endured for decades through changes in technology and competing visual platforms, and now you can discover how studios and filmmakers – long before tablets, smartphones and the Internet – responded when audiences began trading regular visits to the movies for the ease and affordability of the first small screen: television.

In response, many impressive widescreen cinematic formats were rolled out around the world and capitalized on the breathtaking width of the projected image, not to mention the heightened fidelity of stereophonic sound, to achieve effects far beyond the reach of TV sets.

This Is Widescreen offers a colorful assortment of films (including classic musicals, crime films, sci-fi chillers, ghost stories and more) that demonstrate how filmmakers found new means of engaging the flexibility of the cinema and the key larger-than-life film formats in the ’50s and ’60s – from the launch of Cinerama in 1952 and the subsequent widescreen boom that included CinemaScope, VistaVision, Todd-AO and others – plus highlights from the first wave of ‘Scope filmmaking from around the globe.”

Admission to each screening, projected immaculately in 35mm format, is a mere $5 (!!), and the opportunity to see these remarkable films on the big screen in their original aspect ratio shouldn’t be missed. All screenings will feature pre-show presentations including shorts, trailers, cartoons and/or behind -the-scenes footage. Feature films screened during the series are:

Cinerama Holiday – May 1 at 7:30 pm
Lola Montès - May 7 at 7:30 pm
Carmen Jones and Bigger Than Life – May 8 at 7:30 pm and 9:30 pm
The Hidden Fortress – May 14 at 7:30 pm
To Catch a Thief
and Artists and Models – May 15 at 7:30 pm and 9:30 pm
Shoot the Piano Player and Lola – May 21 at 7:30 pm and 9:20 pm
Invasion of the Body Snatchers and Beyond a Reasonable Doubt – May 22 at 7:30 pm  and 9:05 pm
Last Year at Marienbad and The Innocents – May 28 at 7:30 pm and 9:20 pm
Oklahoma! - May 29 at 7:30 pm
A Woman Is a Woman and Cruel Story of Youth – June 4 at 7:30 pm and 9:10 pm
The Vikings – June 5 at 7:30
Kwaidan - June 11 at 7:30
Grand Prix – June 12 at 7:30
The Big Gundown and Dragon Inn – June 18 at 7:30 pm and 9:35 pm

For more information on each program, click on the links above – not to be missed!

The Continuing Battle to Save Classic Films

Thursday, February 5th, 2015

Richard Verrier has an excellent piece in the Los Angeles Times on the battle to save the films of the past.

As Verrier writes, “Inside a 260,000-square-foot warehouse just over the Grapevine off Interstate 5, an archivist from the Academy of Motion Picture Arts & Sciences clambered up a ladder to inspect a stack of dusty 35-millimeter film cans . . . The man on the ladder pulled several silver-colored canisters off the shelf and plunked them on a pallet that would later be shrink-wrapped and loaded onto a truck for delivery to the academy’s film archive. By the end of the day, some 5,000 cans of film would find a new home at the academy.

That left just 40,000 cans to go in the mission to rescue Hollywood’s ‘orphan films’ — movies abandoned by producers or the companies that financed them. Patiently watching over the operation was Greg Lea, a cheerful native of west London and fervent film historian. He and his colleagues at Deluxe Entertainment Services Group have spent the last two years trying to return the forgotten films, some dating back half a century, to their rightful owners. Most are art house or independent films that never made it to the big leagues.

‘This is 20th century American history, so you don’t want it to be lost,’ Lea said. ‘It may be someone’s dream that didn’t get abandoned, but they couldn’t afford to move the project any further. When you’ve got someone’s dreams, you don’t want to end up throwing them in the trash can.’ The end of film is a dramatic story in Hollywood. Paramount made headlines last year when it told exhibitors it would release virtually all future movies digitally. Most theaters around the country have invested millions to ditch their film projectors and install digital systems.

Slackening demand for film prints prompted Deluxe and Technicolor to close their film labs, laying off hundreds of workers. Fujifilm Corp. has exited the movie film business, leaving Eastman Kodak as the sole remaining major supplier of film stock. Kodak filed for bankruptcy protection in 2012, though several studios have banded together to keep the company’s film business alive.

Although digital technology enables studios to distribute movies much more cheaply than film, not everyone is happy about film’s pending demise. Prominent directors, including Christopher Nolan and Quentin Tarantino, have opposed the relentless march to digital formats, contending the medium is inferior to 35-millimeter film. But there is a more fundamental question: When Hollywood goes all digital, what happens to the film legacy left behind?

It’s not an idle question. The original negatives of some 90% of the films made between 1901 and 1929 no longer exist. The same nearly happened in the 1970s when studios decided to divest themselves of nitrate film, which was used before 1950 and was highly flammable.  For the last two years, Deluxe has worked closely with the major studios and others to ensure that tens of thousands of film negatives were rightfully claimed.

But many more are orphans — produced by companies that either forgot about them, went out of business or no long wanted to pay to keep them in storage facilities . . . ‘Some companies make a decision that they don’t really want it anymore,’ Lea said. ‘It’s somebody else’s problem. You can understand it. But for those of us who want to preserve the film history, it’s the wrong decision.’”

You can read the entire story 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 wdixon1@unl.edu or wheelerwinstondixon.com

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