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Posts Tagged ‘Wheeler Winston Dixon’

Forthcoming, 2017 – A Brief History of Comic Book Movies

Friday, October 21st, 2016

Richard Graham and I have a forthcoming book on comic book films, from Palgrave Macmillan.

A Brief History of Comic Book Movies traces the meteoric rise of the hybrid art form of the comic book film. These films trace their origins back to the early 1940s, when the first Batman and Superman serials were made. The serials, and later television shows in the 1950s and 60s, were for the most part designed for children.

But today, with the continuing rise of Comic-Con, they seem to be more a part of the mainstream than ever, appealing to adults as well as younger fans. This book examines comic book movies from the past and present, exploring how these films shaped American culture from the post-World War II era to the present day, and how they adapted to the changing tastes and mores of succeeding generations.

Broken down into chapters that cover the origins of the comic book film, the films in the DC and Marvel “Universe” series, animé films, as well as indies and outliers, this is a book that covers the entire history of the genre in one compact volume.

Here’s some early critical commentary:

“This history of an under-studied field is original, enlightening, and exemplary. I recommend it highly.” – David Sterritt, Editor-in-Chief, Quarterly Review of Film and Video

“Engaging and very accessible…its value to readers will continue even as many more films enter into production and distribution.” – Cynthia J. Miller, co-editor of 1950s “Rocketman” TV Series and Their Fans: Cadets, Rangers, and Junior Space Men

Out in January 2017 – see you then with more on this project!

Vimeo vs. Theatrical or, The 21st Century Cinematheque

Tuesday, October 18th, 2016

Vimeo is the 21st century version of the experimental cinematheques of the 1960s.

I’m old enough to remember the countless theatrical screenings I’ve attended in my life, both of mainstream and experimental films, and there’s still – after all these years – no substitute for seeing a film in a theater, properly projected on a big screen. But times change, and we change with them. Theatrical repertory houses have all but died off, projection on 35mm film is now a boutique item – sort of like watching an opera live – and the cost of making films in traditional media has skyrocketed.

I’ve had many screenings of my films over the years at museums and galleries, and I’m deeply grateful for the experience of having a live audience – there’s nothing like it – but we have to realize that much of this resides in the past. The future is online, and as David Bowie observed way back in 2002 with typical prescience, the world is going to streaming as the preferred form of access for books, movies and music, adding that “it’s terribly exciting. But on the other hand it doesn’t matter if you think it’s exciting or not; it’s what’s going to happen.”

So although I have two video shows coming up in New York, which I’m very excited about – at the SLA 307 Gallery and The Amos Eno Gallery, offering the chance to interact with a live audience – in many ways, the audience on Vimeo is just as real, and the videos are seen by a vastly larger number of viewers. Just yesterday, I received an invitation to participate in group exhibition in Bologna, Italy – by using Vimeo as part of a group installation – that I never would have had the chance to appear in, were it not for the global reach of Vimeo on the web.

YouTube has a much wider audience, of course, but the quality of the image, and the control that one has over the video files that one uploads, is vastly inferior to the degree of artistic and viewer control that one has on Vimeo. It’s the first high-definition video upload site, and although there is more and more that’s commercial on the site, by and large it’s a place for artists, which is as it should be. It gives all video and filmmakers a chance to reach out to the entire world. Thanks to Bill Domonkos for the gif above; he’s a superb artist, whom I met through Vimeo; much appreciated.

The image above is from my video Real & Unreal: click here, or on the image above, to access my Vimeo site.

New Frame by Frame Video: François Truffaut

Friday, September 9th, 2016

I have a new video on the late French filmmaker François Truffaut, one of the great romantics of the cinema.

It’s been a while since I dropped a new video in the Frame by Frame series, directed by Curt Bright, so here’s a new one on François Truffaut, the great French filmmaker who, along with Jean-Luc Godard, Agnès Varda, Eric Rohmer, Claude Chabrol and just a few others personified the energy and vitality of the Nouvelle Vague – the New Wave of French cinema that took hold in the early 1960s.

Truffaut most famous film is undoubtedly the semi-autobiographical The 400 Blows (1959), but more than a little ironically, he’s most known to American audiences for his work as an actor – a task he performed in several of his own films – in Steven Spielberg’s Close Encounters of the Third Kind (1977), during which he wrote the scripts for his next three films during production breaks.

Starting as a critic, as I recount in my book The Early Film Criticism of François Truffaut, Truffaut was something of a firebrand – which he later regretted to a degree when he became a director himself – but soon found his true calling behind the camera, creating a series of luminous masterpieces that helped to define the French cinema during this vital and prolific era.

His early death in 1984 robbed us of one of the great talents of the cinema, but fortunately, Truffaut was extremely prolific, and left behind a body of work that is at once deeply felt and also somewhat caustic in its view of live, love, and the travails of the human condition. Truffaut’s work is absolutely essential to any understanding of the cinema, and so if you haven’t seen one of his films, please stream one tonight – and be dazzled.

You can see the video by clicking here, or on the link above – enjoy!

New Book – “Hollywood in Crisis or: The Collapse of The Real”

Saturday, August 13th, 2016

Wheeler Winston Dixon has published a new book, Hollywood in Crisis or: The Collapse of the Real.

Hollywood in Crisis or: The Collapse of the Real examines late stage capitalism in films, detailing the Hollywood production process, and explores the benefits and downsides of social media in relationship to the cinema, outlining the collapse and transformation of the Hollywood movie machine in the twenty-first century, and the concomitant social collapse being felt in nearly every aspect of society.

Examining key works in contemporary cinema, analyzing Hollywood films and the current wave of independent cinema developed outside of the Hollywood system as well, Dixon illustrates how movies and television programs across these spaces have adopted, reflected, and generated a society in crisis, and with it, a crisis for the cinematic industry itself.

The book is available online now, by clicking here or on the image above, as well as in hardcover format.

New Article: “It’s All About Relationships” – An Interview with Peter Medak

Thursday, August 11th, 2016

I have a new article out today – a career interview with director Peter Medak in QRFV.

As I write in my introduction to the interview, “by his own admission, Peter Medak has had a very unusual career as a director. Forced to leave his homeland at the age of 18 during the Hungarian Revolution, leaving his parents behind in the process, Medak fled to London, then a welcoming haven for emigrants, and began a film career from the absolute bottom rung of the business, eventually working his way up to his first film as a director, Negatives, in 1968.

Along the way, he had a lot of good luck, and made many connections within the film business that were of great value to him later – and still are today – but after the critical and commercial success of arguably his most famous film, The Ruling Class (1972), for which Peter O’Toole was nominated for an Academy Award for Best Actor, Medak made the great mistake of doing a favor for his friend, the actor Peter Sellers, by agreeing to undertake the direction of Ghost in The Noonday Sun (1973), a film which soon ran aground due to Sellers’ capricious demands and the interference of his friend, the British comic Spike Milligan.

Completed but immediately shelved by the studio, the blame for Ghost in The Noonday Sun’s failure fell, unfairly, on Medak, who suddenly found himself going from “hot” to “not” status almost overnight, beginning a long period of working on films that he didn’t really believe in to pay the rent, until he managed to break the losing streak with the ghost story The Changeling, starring George C. Scott and Trish Van Devere, and more spectacularly with The Krays (1990) and Let Him Have It (1991), two films in which Medak finally had a free hand.

But even when he worked in television, Medak’s visual style and his skill with actors always shines through, and as we both agreed during this interview, there’s nothing wrong with working on an episode of a series like Breaking Bad – “Peekaboo,” in 2009 – and Medak continues to be active to the present day, and is now working on a documentary of sorts on the film that almost ended his career, with The Ghost of Peter Sellers, a work in progress which reunites the surviving cast members of that memorable debacle for a fascinating “what went wrong?” trip down memory lane.”

What followed was a fascinating and frank interview with a gifted filmmaker; I hope you get a chance to read the article, which is unfortunately behind a paywall. But you should be able to gain access easily enough through many of the online databases that UNL subscribes to, and I hope you’ll take a moment to read the really amazing adventures of this uncompromising artist – who suffered through a difficult time, and came out the other end with two stunningly successful films.

I’m glad I got a chance to talk to Peter – it’s great stuff.

Wheeler Winston Dixon – New Films Posted on Vimeo

Sunday, July 31st, 2016

I have a number of new films posted on Vimeo, all in digital HD.

The titles include An American Dream, Real and UnrealStill Life, Light and ShadowCaptive AudienceClosed Circuit, The Shapes of Things, Summer Storm, CityLago di Garda and Acceleration and many more. You can check them all out by clicking on the image above, or the individual links for each title. I’ve been working on these films for the past couple of years, but all were released in 2016. They range in length from a half an hour to two minutes, and cover a number of different topics and approaches. They’re ”cinepoems” in the tradition of Man Ray, gathering widely disparate images together into an often conflicting, sometimes coherent whole.

An American Dream traces the rise of late-stage capitalism in the United States, and the decline of personal interaction. Money, violence, and consumerism dominate the images here, as befits a society in which 1% of the populace control 99% of the nation’s wealth, leaving the rest of us as mere spectators. In the final analysis, An American Dream is a requiem for a society in which inequality is the new norm.

Of An American Dream, critic Peter Monaghan noted that “the film’s theme is the rise of late-stage American capitalism, and the decline of personal interaction amidst increasing attachment to money, violence, and consumerism,” while David Finkelstein wrote that “watching An American Dream, hypnotized by the beautiful motion of slowly flying fragments of glass accompanied by heavenly voices, is like washing down several Valium pills with a martini, and musing on the state of American life as you drift off into a long, imperturbable sleep.”

Of the much more optimistic Still Life, critic Jorge Orduna wrote that “the world turns. The oceans give and take their power. The trees grow, the sun rises and sets, and we all go through it daily, and yet we don’t think about it. In this collection of images, you’re forced to think about it, even if it’s only for a brief time. For 30 minutes, you see both the stillness and motion of life. Watching the film without interruption, with headphones on, you feel as though you’re in your own cocoon, and by the end, you’ll have a new appreciation for the world around you.”

I have a show coming up this Fall at the Amos Eno Gallery in New York, but you can see the films now, right here on Vimeo. But they do look better on a large screen. So if you’ve got a video projector lying around the house, try one of the longer ones, like An American Dream, Real and UnrealStill Life, or The Shapes of Things, and see what you think. Those are perhaps my favorites of the group of films, and The Shapes of Things, especially, looks fabulous when projected in a theatrical setting. So get a blanket, some lawn chairs, and set it up in the backyard, or on the rooftop – after all, they’re free – something else I like about them.

Click on the various links or the image above, and have a look.

New Film – “Galaxie” (2016)

Wednesday, July 6th, 2016

I have a new film on Vimeo in HD – Galaxie - view it by clicking here, or on the image above.

“A trip through the galaxies of one’s imagination, for Eddie Constantine and Gregory Markopoulous. Sound: the signals picked up by the spaceship Voyager on its journey through the cosmos.” – Wheeler Winston Dixon

“We owe our existence to stars, because they make the atoms of which we are formed. So if you are romantic you can say we are literally starstuff. If you’re less romantic you can say we’re the nuclear waste from the fuel that makes stars shine. We’ve made so many advances in our understanding.

A few centuries ago, the pioneer navigators learnt the size and shape of our Earth, and the layout of the continents. We are now just learning the dimensions and ingredients of our entire cosmos, and can at last make some sense of our cosmic habitat.” — Sir Martin Rees, Astronomer Royal of Great Britain

Enjoy the view!

New Article – Kelly Reichardt: Working Against The Grain

Thursday, June 9th, 2016

I have a new article on the films of Kelly Reichardt in Quarterly Review of Film and Video.

As I write in the article on her film River of Grass, ”like so many of Reichardt’s protagonists, Cozy and Lee want to leave the lives they’re drifting through behind, but they have no clear idea – indeed no idea at all, what to do about it. They have no money, no real aim, in life, but they’re not so much hopeless as they are bereft of imagination. There’s a world out there beyond Florida, but somehow, home is home, and that’s where they seem to be stuck, in a state of permanent stasis.

And, of course, the film has many stylistic and thematic debts, which Reichardt is all too willing to acknowledge. As she told Iain Blair, in River of Grass ‘I can clearly see Godard’s influence, and noir and early Terrence Malick. It’s all laid quite bare.’ The film was recently restored as part of a Kickstarter campaign by Oscilloscope Laboratories, and released as an extra on Oscilloscope’s DVD of Reichardt’s ultra-realistic, almost existential Western Meek’s Cutoff (2010). It’s a solid first effort, and certainly offers an early clue to the direction her career was heading in.

Reichardt followed this up with two shorter films, Ode (1999), clocking in at 48 minutes, which is a sort of riff on the plot of the 1960s pop song hit Ode to Billy Joe, and then two very short films: Then A Year (2001), dealing with the consequences of a ‘crime of passion,’ and Travis (2004), centering on the human cost of Iraq war. But at the same time, Reichardt’s enthusiasm for making films had dwindled; these newer films were shorter, less ambitious, and she was clearly backpedaling in her career – indeed, she wondered if she had any real future as a filmmaker in any realistic sense, even working at the margins of the industry.

River of Grass has made something of a splash on the festival circuit, being nominated for Best First Feature, Best First Screenplay, and Best Debut Performance (Lisa Bowman), as well as the rather enigmatically named Someone to Watch Award at the 1996 Independent Spirit Awards, as well as being nominated for the Grand Jury Prize at the Sundance Film Festival in 1994, and for Best Feature Film at the Torino International Festival of Young Cinema – but none of those nominations translated into a win, and gradually, the ‘heat’ surrounding Reichardt began to wear off.

As she admitted to Iain Blair, ‘making [River of Grass] was a real eye-opener, and even going to Sundance and all of it – that was my first realization that it was different for women in this business. There were just two of us women filmmakers at Sundance in ’94, and there was no sense of camaraderie or welcoming – no fault of Sundance. And I took it really personally and it took me a long time to get over it. That was a part of my retreating afterwards.

The other part was, I just couldn’t get financing, and it was so frustrating. I tried so hard to be a more avant-garde, less narrative filmmaker, but it just didn’t come naturally to me. I went to L.A. for a while, and Jodie Foster was going to produce a film I was doing, but it never got made. I simply didn’t have the social skills needed to operate in the business. So I went back to Super 8, which is what I’d done in college.

It seemed like nothing happened during my time in L.A., but I’d worked – in the art department – on Poison, and I became friends with (director) Todd Haynes. And he introduced me to (novelist) Jonathan Raymond, and one of his stories became the basis for Old Joy (2006) – but I had no idea when we did it that it’d even become a feature.’”

In short, it’s a tough world out there, but Kelly Reichardt keeps working, which is the only way to get anything to happen, no matter what your chosen field. Unfortunately, the article is behind a paywall, but you can gain access through Love Library Reference, if you’re interested, and in the meantime, check out some of Reichardt’s superb films – she’s one of the most truly original directors working in America today.

That’s Kelly Reichardt – working against the grain.

Fast Company’s Stephanie Vozza on “Your Brain on TV”

Monday, June 6th, 2016

Writing in the journal Fast Company, Stephanie Vozza tracks the effect of television on your brain.

As she notes, “I’ve never seen Game of Thrones, I don’t know what the Scandal is, and I couldn’t name a single ‘real’ housewife. I thought I didn’t watch much television and that taking a 30-day break would be a piece of cake. I was wrong.

The average adult watches 2.8 hours per day of television, according to the American Time Use survey from the Bureau of Labor Statistics. Another study puts this number higher, at four hours and 15 minutes each day. I added up all of the viewing at my house, and we were definitely on the high side.

  • A one-hour standing date with Judge Judy, marking the official end of my workday
  • An hour of news
  • Thirty minutes of Jeopardy (because it’s educational)
  • And an hour-plus of mindless shows before bed

A lot of research has been done around TV viewing and children, and Adam Lipson, a neurosurgeon with IGEA Brain & Spine, says one of the best studies is from Tohoku University in Japan. ‘They noted thickening of the frontopolar cortex, which is related to verbal reasoning ability, and also correlated with a drop in IQ in proportion to the number of hours of television watching,’ he says. ‘In addition, they noted thickening in the visual cortex in the occipital lobe, and in the hypothalamus, which may correlate with aggression.’

Studies involving adults have tied television watching to Type 2 diabetes, depression, and even crime, adds Lipson. ‘Many of the studies report adverse effects with television watching greater than one hour per day,’ he says. ‘There have been EEG studies that demonstrate that television watching converts the brain from beta wave activity to alpha waves, which are associated with a daydreaming state, and a reduced use of critical thinking skills.’

Eric Braverman, founder and president of Path Foundation NY, a nonprofit research organization devoted to brain health, is a little more blunt: ‘The boob tube turns you into a boob,’ he says. ‘Television mesmerizes people and turns them into intellectual spectators. It feeds passivity and makes you less engaged.’

Ouch. But he’s right. Once the blue glow fills a room, I often find it hard to break away. Television watching is a habit my husband and I started as kids; we both grew up spending ‘family time’ around programs like Love Boat and Fantasy Island. He agreed to take the challenge with me. No TV. No Netflix. No live streaming anything. ‘How hard could it be?’ we thought.

During the first few days we were at a loss for what to do. It had been our routine to watch whatever is on TV after dinner, and suddenly we were both dumbstruck for ideas. So we went to sleep at 8:30 p.m. Then a new routine kicked in.

We started cooking together, took the dogs on longer walks, completed tasks around the house that had been on the to-do list for too long, and had great conversations over a glass of wine. On Friday and Saturday nights when we didn’t have plans with friends, we listened to CBS Radio Mystery Theater on YouTube, a radio program we had both loved as kids.

While week one was filled with fighting the urge to turn on the TV and brainstorming other activities, weeks two and three were when things started to change for me physically and mentally. Most notably, I felt less stressed. A lot of the programs we used to watch, like Dateline or 48 Hours Mystery, had elements of suspense, drama, and violence. Had this stuff been rubbing off on me?

‘TV increasingly traffics in violent programming to keep the viewer in a state of constant fear,’ says Wheeler Winston Dixon, Ryan professor of film studies at the University of Nebraska. ‘TV also acts as a pacifier, a sort of virtual escape, but it is one that never satisfies, and only leaves the viewer wanting more of the same emptiness.’”

Fascinating and frightening – you can read the entire essay by clicking here, or on the image above.

Special Issue of Cinephile – Visions of the 60s

Sunday, May 15th, 2016

This came out in 2015, but somehow it slipped past my radar.

I have an essay in this issue of the excellent journal Cinephile on experimental cinema in the 1960s, Cinephile 11.1, “Visions of the Sixties.” As the journal’s website notes, “marking the tenth anniversary of the University of British Columbia’s Film Journal, this issue features articles by Wheeler Winston Dixon, David E. James, Victoria Kennedy, Andrew Marzoni, and Emma Pett, with an introduction by Timothy Scott Brown. For more information, please click here.”

It was a pleasure working with the editors of the journal, Molly Lewis and Angela Walsh, on the essay. I love the cover, which really captures the spirit of the era. As Timothy Scott Brown notes in an introductory essay for the issue, “if one theme or question emerges from the essays in this issue, it is about the status of popular culture as a field for the creation, elaboration, and consumption of the 1960s cultural revolution.

Wheeler Winston Dixon’s essay, ‘The End of the Real: 1960s Experimental Cinema, and The Loss of Cinema Culture,’ calls to mind the now (in some cases, literally) lost world of 1960s independent filmmaking, a world in which the notion of making art outside of normal channels of production and distribution was understood by its protagonists as its own form of radical praxis.

It is difficult to call to mind now, in an era of almost unlimited access to the cultural means of production—no further away than one’s laptop—the radical imperative at work in the artistic initiatives Dixon examines. Against the backdrop of our current and seemingly endless horizon of digital possibility, the technical inaccessibility of this earlier wave of underground art reads as particularly ironic.”

If you get a chance to pick up a copy, do so – it’s an excellent issue all around.

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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