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Tina Hassannia – No DVDs of Many Films by Women Directors

Thursday, March 31st, 2016

Tina Hassannia has a superb article on the lack of DVDs of films directed by women in Movie Mezzanine.

As she notes, “one consistent request on Twitter from female film critics and cinephiles in particular is more female-directed films. Last month, film critic Sophie Mayer analyzed Criterion’s entire collection and found that only 21 of their titles were directed or co-directed by women (including films released under Criterion’s Eclipse banner). That’s 2.6% of the whole collection, which in Mayer’s estimation is a ‘pretty meagre number.’

As telling as that number might be about a potential gender bias, the statistic only scratches the surface of what is a much broader and more complicated picture when it comes to releasing female-directed films on home video. It’s worth pointing out other characteristics of Criterion’s collection in relation to that figure.

While Mayer notes a higher number of films are directed by women in mainstream film—a still-measly 7%—Criterion’s titles represent a diverse number of cinemas that do not fall necessarily in the mainstream category; it would likely be impossible to determine the percentage of women directors in every national cinema around the world since the birth of movies. That number is likely to be much lower than 7%.

The 2.6% number also doesn’t account for the decades when there were few working women directors around the world. While women directed movies in the early Hollywood era, the profession became mostly male territory by the 1930s, and for several subsequent decades, there were almost no female directors working at all in the studio system (with some notable exceptions, like Ida Lupino). Even by the 1960s, some of the world cinemas we cherish today were only starting to find their roots and hadn’t yet standardized the practice, or even implicitly decided to allow, encourage, or prohibit women to helm a picture.

There were also more notable films made by women in the 1930s-1960s in other types of cinema—like avant-garde, independent, and documentary films—than in Hollywood. This hasn’t changed that much in the last half-century, as the gender bias in Hollywood continues to be a systemic problem. Even so, think of your favorite female-directed films: no matter which genre or country they hail from, the largest percentage were likely made in the 1970s or later.

Despite the continuing gender bias, more women have been making movies of note in the last 30 to 40 years than in the decades preceding. This is an important factor to consider, as more than half of Criterion’s collection are films that were made in the 1930s-’70s. Much of their library derives from a period when there were generally fewer working female filmmakers.

Instead of relying on statistics to examine Criterion’s collection, then, it may be more helpful to think of women-directed titles that deserve a deluxe treatment. No matter what the numbers, statistics, or decades show, given their power, Criterion would go a long way in challenging the canon by releasing more titles made by women. But the reality is that releasing films from a smaller demographic is much more difficult than one might imagine.

Last week, I queried Twitter for female-directed titles that should get the Criterion treatment. Great responses poured in, among them the films of Dorothy Arzner and Maya Deren, Claire Denis’s Beau Travail, Barbara Loden’s Wanda, and Jennie Livingston’s Paris is Burning. Some of these films, however, are already available from other distributors, some with restorations and supplements that are on par with or close to the quality associated with Criterion.”

All I can do is second this heartily, but also note that in addition to the directors mentioned, I would love to see a complete box set of the films of Alice Guy – some of her films are out on a Gaumont two disc set – Lois Weber (pictured at the top of this post), Ida May Park, and especially Ida Lupino, who is mentioned in this article, but whose pioneering work deserves a complete box set of all her work in the 1950s, when she was the only female director working in Hollywood. In any event, this is a real issue, one that won’t go away, and one that needs to be rectified, not only by Criterion, but by all the archival DVD labels – and no EST downloads, either. DVDs – restored, remastered, pristine, living – are the only way to go here.

This is a sharp, impassioned article – you can read the entire essay by clicking here.

Artificial Intelligence is Transforming The Web

Thursday, February 4th, 2016

As Cade Metz writes in a great article in Wired, AI technology is transforming the web – and the world.

As Metz writes, “yesterday, the 46-year-old Google veteran who oversees its search engine, Amit Singhal, announced his retirement. And in short order, Google revealed that Singhal’s rather enormous shoes would be filled by a man named John Giannandrea. On one level, these are just two guys doing something new with their lives. But you can also view the pair as the ideal metaphor for a momentous shift in the way things work inside Google—and across the tech world as a whole.

Giannandrea, you see, oversees Google’s work in artificial intelligence. This includes deep neural networks, networks of hardware and software that approximate the web of neurons in the human brain. By analyzing vast amounts of digital data, these neural nets can learn all sorts of useful tasks, like identifying photos, recognizing commands spoken into a smartphone, and, as it turns out, responding to Internet search queries. In some cases, they can learn a task so well that they outperform humans. They can do it better. They can do it faster. And they can do it at a much larger scale. If AI is the future of Google Search, it’s the future of so much more.

This approach, called deep learning, is rapidly reinventing so many of the Internet’s most popular services, from Facebook to Twitter to Skype. Over the past year, it has also reinvented Google Search, where the company generates most of its revenue. Early in 2015, as Bloomberg recently reported, Google began rolling out a deep learning system called RankBrain that helps generate responses to search queries. As of October, RankBrain played a role in “a very large fraction” of the millions of queries that go through the search engine with each passing second.

As Bloomberg says, it was Singhal who approved the roll-out of RankBrain. And before that, he and his team may have explored other, simpler forms of machine learning. But for a time, some say, he represented a steadfast resistance to the use of machine learning inside Google Search. In the past, Google relied mostly on algorithms that followed a strict set of rules set by humans. The concern—as described by some former Google employees—was that it was more difficult to understand why neural nets behaved the way it did, and more difficult to tweak their behavior.

These concerns still hover over the world of machine learning. The truth is that even the experts don’t completely understand how neural nets work. But they do work. If you feed enough photos of a platypus into a neural net, it can learn to identify a platypus. If you show it enough computer malware code, it can learn to recognize a virus. If you give it enough raw language—words or phrases that people might type into a search engine—it can learn to understand search queries and help respond to them. In some cases, it can handle queries better than algorithmic rules hand-coded by human engineers. Artificial intelligence is the future of Google Search, and if it’s the future of Google Search, it’s the future of so much more.”

A perceptive look at the future we all share; read the entire article here.

Pics or It Didn’t Happen – The Primacy of the Visual

Saturday, August 3rd, 2013

Here’s a fascinating article on the rising dominance of totally visual culture by CNN’s Todd Leopold.

As Leopold notes, “the blur of communications has progressed from letters and e-mails to texts, tweets and Instagram pictures. Long, detailed speeches have turned into clips, then sound bites, then Vines, Snapchat and animated GIFs. Yes, we’re adjusting to an image-intensive, brevity-favoring world, a world as close and available as our smartphone. It’s a fast-growing, hugely popular world that rewards short attention spans.

Instagram was born in 2010; as of June, it has 130 million monthly active users and 45 million photos posted per day. Vine, the six-second video app introduced by the Twitter folks in January, became the iTunes app store’s most popular free download within three months. It had 13 million users as of June, and its most active users post more than 14 Vines per day. Not to be outdone, Instagram launched its own short-video feature in June.

Users of Snapchat, a messaging platform popular with teens, exchange 200 million pictures a day. President Obama’s campaign used a Twitter photo to express thanks after his 2012 re-election; it became the most popular tweet in Twitter’s history. Danny DeVito sends out photo- bombing pictures of his ‘troll foot’ at every opportunity. Creative types have used Vine and Instagram to create memes, jokes and art. All this gives new meaning to the Internet rule, ‘Pics or it didn’t happen.’”

My thanks to Gwendolyn Audrey Foster for sharing this with me; fascinating reading.

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.

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 for more details.

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