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Posts Tagged ‘Wheeler Winston Dixon’

The Oldest Single Screen Movie House in New Orleans

Sunday, September 28th, 2014

René Brunet, at 93, runs the extremely successful Prytania movie theater in New Orleans.

As Matt Higgins reports, “it may seem incongruous that a one-screen neighborhood movie theater is thriving in the multiplex era. Or that a 93-year-old is still in charge of the place. But the 100-year-old Prytania Theater and its nonagenarian owner, Rene Brunet, seem happy enough as exceptions to the rules. Since 1996, Brunet and his son Robert have kept the Prytania in business at Prytania and Leontine streets with a canny mix of low-cost, throwback movie selections and cutting-edge technology.

In one sense, it’s a reminder of a time when dozens of similar theaters operated all over New Orleans — and every other U.S. city. Yet in other ways, the Prytania feels right at home in 2014, an era when young college graduates are leaving suburbs for cities and ‘walkability’ has become a watchword of urban development.

In fact, while it may be too soon to declare a revival of the neighborhood theater, at least one would-be imitator may appear soon, with a historic building in the 600 block of North Broad Street slated to be converted into a four-screen theater in the coming months. Robert Brunet admits he was against his father buying the Prytania, which he reopened in 1997 just a month before the AMC Palace opened in Elmwood with 20 screens. ‘We struggled in the beginning,’ he said, ‘but my dad’s passion was the single-screen theater. He grew up in it.’

Which is not to say the Brunets are strictly about nostalgia. In 2006, they invested $850,000 in a major renovation, installing the equipment necessary to show digital movies rather than film. In fact, Brunet claims the Prytania was the first theater in New Orleans to do so. Industry experts like Wheeler Winston Dixon, a professor of film studies at the University of Nebraska, say there is really no way to continue operating at this point without having made that transition. Studios no longer even provide new movies in any other format. ‘Film is dead,’ he said. ‘It’s digital all the way.’

Older films, combined with new releases and selections with a local flavor, such as The Curious Case of Benjamin Button and Beasts of the Southern Wild, attract an audience that a multiple-screen suburban theater would not, the Prytania’s owners say. ‘We cater to our neighborhood,’ Brunet said. ‘Our films are similar to Uptown. It’s a good cross-section.’ And then there are the less-tangible things about the place that let you know you’re in New Orleans. ‘Here, you can come five minutes late,’ he said. ‘You can walk in with a cocktail, and we’re not going to throw you out. It truly is a neighborhood experience.’”

See? If you do right, you can still fill the house night after night – thank goodness!

UNL Breaking News Panel – Moderated by Steve Smith – 2/26/14

Monday, March 3rd, 2014

Here’s news of a recent panel on breaking news, moderated by Steve Smith of UNL Communications.

Breaking News! was a panel discussion about UNL’s news “voice” and how it’s an important part of the university’s story. What makes a good news story? How can you identify stories, experts and elements within your college or unit and get them placed in the local, regional or national media? UNL News Director Steve Smith moderated a panel about the different aspects of news at UNL and the many ways to push UNL’s message and voice far and wide. The panel was very well attended, and a video it is up on the web, continuing to get a significant number of hits – more than 4,000 so far.

The panelists were:
  • Molly Brummond, assistant Dean of Student & alumni relations and annual giving for the NU College of Law
  • Mekita Rivas, communications associate with the School of Natural Resources
  • Vicki Miller, director of research communications in the Office of Research and Economic Development
  • Wheeler Winston Dixon, Ryan Professor of Film Studies at UNL

You can check out the entire session by clicking here, on the image above; fascinating viewing.

For more free articles and videos, visit my website at wheelerwinstondixon.com

New Article – Preliminary Notes on the Monochrome Universe

Wednesday, February 26th, 2014

I have a new article out today in Film International; click here, or on the image above, to read the entire essay.

In the essay, I note that “lately I’ve been thinking about black and white movies, and how they’ve almost completely disappeared from the current cinematic landscape. There are occasional projects shot in black and white, but with cinema rapidly becoming an all-digital medium, and black and white film stock almost impossible to purchase, color has taken over completely, either glossy and popped-out, or desaturated for a more dramatic effect, but always using some palette of color. Furthermore, while there have been numerous books on the use of color in the cinema, there has been no book-length study on the black and white film, and yet black and white cinema dominated the industry internationally for nearly seven decades, until the late 1960s.

Certainly, numerous cameramen and directors have weighed in on the use of black and white in their works, most notably John Alton in Painting With Light, but in each case, these works were created when black and white was still a commercially viable medium. Most of the texts I’ve encountered, with the exception of Alton’s book, and to a lesser extent Edward Dmytryk’s Cinema: Concept and Practice, written after the director had long since retired, treat black and white filmmaking as a part of everyday life, the main production medium for most movies, which at the time, it certainly was.

In these necessarily practical books, it’s about f-stops, filters and cookies, but very little about the aesthetics of the medium. Indeed, when Alton published his landmark study, he was famously excoriated by his colleagues as being a pretentious self-promoter; what cameramen did was work, nothing more, and any notions of artistic ambition were inherently suspect. In most of the books cited below, color is dealt with as a special case, which again, it was; but now, in the all color, all digital world of images we currently inhabit, black and white has become the anomaly. Thus, I wanted to set down some preliminary notes on my new project here, before they elude me; the title is Black and White: A Brief History of Monochrome Cinema, the term used by British filmmakers until the medium’s demise in the mid 1960s.

And yet shooting in black and white is inherently a transformative act. As the filmmaker and opera director Jonathan Miller – whose beautiful film of Alice in Wonderland (1966) was elegantly photographed in black and white by the gifted Dick Bush – once observed in a conversation with me, the very act of making a black and white film transmutes the original source material, for life, as we know, takes place in color. Therefore, there is an intrinsic level of stylization and re-interpretation of reality when one makes a black and white film, leading to an entirely different way of cinematography. Indeed, it’s an entirely different world altogether, one that is rapidly slipping away from us as it recedes in the mists of the past.”

The book will take several years of work, but this is, at least, a start.

For more free articles and videos, visit my website at wheelerwinstondixon.com

wheelerwinstondixon.com

Thursday, January 9th, 2014

I’ve moved my website to wheelerwinstondixon.com – follow me there!

Take a look at the image above, and you’ll see how it works.

The new website is much cleaner, has more information, and works more smoothly.

At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.

This is where you will find me from now on; the old website is dead, so let’s move on into the future.

Three UNL Film Studies Students Head To Cannes

Tuesday, December 17th, 2013

Three UNL Film Studies students are heading to Cannes for internships this Spring.

As this news story by Haley Dover notes, “Three UNL Film Studies majors have been selected to be student interns at the 2014 Cannes International Film Festival in France this spring. One student also will screen one of her short films during the event. Aliza Brugger, Collin Baker and Emily Frandsen will serve as student interns at the film festival, which runs May 11-26. The program provides experience to students interested in film, culinary arts and hospitality/event management. The trio will join UNL theatre major Taylar Morrissey, who also was selected as a Cannes intern.

‘This is really a wonderful way for our students to get some hands-on experience in the film industry,’ said Kelly Payne, undergraduate advisor in UNL’s Department of English.’The program pulls in a lot of students who are interested in directing, producing, writing screen plays and so on.’ Following two days of orientation, Cannes interns are given service jobs in the American Pavilion – a membership-based communications and hospitality center for journalists, publicists, celebrities, filmmakers and motion picture executives working at the festival.

‘I expect to do the normal intern routine of serving food, getting water, and so on, but I’m looking forward to meeting people who are actually in the film industry – directors, writers, actors (who) can give me insights on how I can get a job later after graduating,’ said Baker, a senior. This is the second year that Mike Bremer, the director of student programs with the American Pavilion, has sought out UNL students for the internship program.

‘When Kelly Payne was first contacted by Mike last October, we immediately told our students in Film Studies about the program,’ said Wheeler Winston Dixon, Ryan Professor of Film Studies and coordinator of UNL’s program. This is the first year that the Film Studies program has had students participating in Cannes. In addition to her duties with the Pavilion, Brugger, a junior at UNL, will be showing one of her short films.

‘This is a killer opportunity considering that some of the people who may view it could have a significant impact on my career,’ Brugger said. ‘I have one film already completed, but by the film festival I should have two or three from which I can choose.’ The Emerging Filmmaker Showcase at Cannes includes 10 short films selected by a panel of industry judges and shown in The American Pavilion. Winning films are promoted through social media, news releases and throughout the festival.

This will be the second year in France for Frandsen. The public relations and film studies double major was an intern at the 2013 festival as just a PR major. This year, she said she will have more of an opportunity to work closely with The Roundtable Series – a chance for students to have small group discussions with noted personalities from both the creative and business side of the film industry, Payne said. Past participants in the Roundtable Series have included Tim Roth, Jude Law and Michael Moore.

Last year, Frandsen attended the screening of Alexander Payne’s film Nebraska, which is now in U.S. theaters — a watershed moment that brought together her Nebraska background and Frandsen’s love of film, Kelly Payne said. “This is a life-changing experience and hopefully our students will be able to come back and report on all of the meetings they had, films they could see and be inspired by the electric energy that happens at a film festival of Cannes stature,” she said.

I’m always glad when our excellent students are recognized; thanks to Kelly Payne above all, who really made this happen.

New Frame by Frame Video: War Movies

Friday, August 2nd, 2013

I have a new Frame by Frame video, directed and edited by Curt Bright, out today.

As historian and critic Tim Dirks notes on his excellent website, “war and Anti-War Films often acknowledge the horror and heartbreak of war, letting the actual combat fighting or conflict (against nations or humankind) provide the primary plot or background for the action of the film. Typical elements in the action-oriented war plots include POW camp experiences and escapes, submarine warfare, espionage, personal heroism, ‘war is hell’ brutalities, air dogfights, tough trench/infantry experiences, or male-bonding buddy adventures during wartime. Themes explored in war films include combat, survivor and escape stories, tales of gallant sacrifice and struggle, studies of the futility and inhumanity of battle, the effects of war on society, and intelligent and profound explorations of the moral and human issues. Some war films do balance the soul-searching, tragic consequences and inner turmoil of combatants or characters with action-packed, dramatic spectacles, enthusiastically illustrating the excitement and turmoil of warfare. And some ‘war’ films concentrate on the homefront rather than on the conflict at the military war-front. But many of them provide decisive criticism of senseless warfare.”

You can check out the video by clicking here, or on the image above.

New Book – Streaming: Movies, Media, and Instant Access

Thursday, November 8th, 2012

Streaming is the future of the moving image.

Film stocks are vanishing, but the image remains, albeit in a new, sleeker format. Today, viewers can instantly stream movies on demand on televisions, computers, and smartphones. Long gone are the days when films could only be seen in theaters: Videos are now accessible at the click of a virtual button, and there are no reels, tapes, or discs to store. Any product that is worth keeping may be collected in the virtual cloud and accessed at will through services like Netflix, Hulu, and Amazon Instant.

The movies have changed, and we are changing with them. The ways we communicate, receive information, travel, and socialize have all been revolutionized. In Streaming: Movies, Media, and Instant Access, Winston Wheeler Dixon reveals the positive and negative consequences of the transition to digital formatting and distribution, exploring the ways in which digital cinema has altered contemporary filmmaking and our culture.

Many industry professionals and audience members feel that the new format fundamentally alters the art while others laud the liberation of the moving image from the “imperfect” medium of film, asserting that it is both inevitable and desirable. Dixon argues that the change is neither good nor bad; it’s simply a fact.

Hollywood has embraced digital production and distribution because it is easier, faster, and cheaper, but the displacement of older technology will not come without controversy. This groundbreaking book illuminates the challenges of preserving digital media and explores what stands to be lost, from the rich hues present in film stocks to the classic movies that are not profitable enough to offer as streaming video.

Dixon also investigates the financial challenges of the new distribution model, the incorporation of new content such as webisodes, and the issue of ownership in an age when companies have the power to pull purchased items from consumer devices at their own discretion.

Streaming touches upon every aspect of the shift to digital production and distribution. It not only explains how the new technology is affecting movies, music, books, and games, but also how instant access is permanently changing the habits of viewers and influencing our culture.

“Dixon has written a lively, opinionated, and detailed up-to-the-minute dispatch on the current state of the moving-image media as they experience a period of rapid transition marked by instability and uncertainty regarding the future of viewing and exhibition practices. It is a timely and urgent contribution to current scholarship in the constantly evolving discipline of media studies.”—David Sterritt, author of Screening the Beats: Media Culture and the Beat Sensibility

“Dixon’s book offers a cogent overview of the history of digital film production and its impact on traditional filmmaking. His work is more than just a historical map of the development of digitalized filmmaking, but also a socio-cultural and psychological study of how digitally formed film will (and does) impact viewers. Streaming will make a significant contribution to the field, as no scholar has yet looked at digital cinema and its impact on the socio-cultural experience of viewing film.”—Valerie Orlando, author of Screening Morocco: Contemporary Film in a Changing Society

Wheeler Winston Dixon, James Ryan Endowed Professor of Film Studies and professor of English at the University of Nebraska, Lincoln, is coeditor-in-chief of the Quarterly Review of Film and Video and the author of numerous books, including A History of Horror, Visions of the Apocalypse: Spectacles of Destruction in American Cinema, and Film Talk: Directors at Work.

Film/Television/Popular Culture
University Press of Kentucky – May 2013
184 pages ∙ 6 x 9
ISBN 978-0-8131-4217-3 ∙ Cloth $69.00x
ISBN 978-0-8131-4219-7 ∙ Paper $24.95
ISBN 978-0-8131-4224-1 ∙ PDF
ISBN 978-0-8131-4218-0 ∙ EPUB

A Short History of Film, Second Edition

Saturday, October 6th, 2012

A Short History of Film

Second Edition

Wheeler Winston Dixon and Gwendolyn Audrey Foster

Rutgers University Press

A history of world cinema that makes its past as vibrant as its present—now revised and updated through 2012.

Praise for the previous edition:

“This is the film history book we’ve been waiting for.” —David Sterritt, Chairman, National Society of Film Critics

“Highly recommended for all collections.” —Library Journal (starred review)

The second edition of A Short History of film provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black and white stills—including photographs of some of the industry’s most recent films—the new edition is unmatched in its panoramic view of the medium as it is practiced in the United States and around the world as well as its sense of cinema’s sweep in the 20th and early 21st centuries.

Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of film in general as well as the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium.

The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s.

Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts.

Engaging and accessible, this is the best one-stop source for the history of world film available for students, teachers, and general audiences alike.

WHEELER WINSTON DIXON is the James Ryan Professor of Film Studies at the University of Nebraska, Lincoln. His many books include Death of the Moguls: The End of Classical Hollywood, 21st-Century Hollywood: Movies in the Era of Transformation (co-authored with Gwendolyn Audrey Foster), A History of Horror, and Film Noir and the Cinema of Paranoia (all Rutgers University Press).

GWENDOLYN AUDREY FOSTER is a professor of film studies in the Department of English at the University of Nebraska, Lincoln, and with Wheeler Winston Dixon, Editor in Chief of Quarterly Review of Film and Video. Her many books include 21st-Century Hollywood: Movies in the Era of Transformation (co-authored with Wheeler Winston Dixon) and Class-Passing: Social Mobility in Film and Popular Culture.

Second edition available in paper, hardcover and Kindle March, 2013 from Rutgers University Press.

New Book — Death of the Moguls

Tuesday, January 31st, 2012

Here’s the cover of my latest book, Death of the Moguls: The End of Classical Hollywood, from Rutgers University Press, published Fall, 2012.

“In this accessible and engaging history of the moguls who made the studios successful through sheer force of personality, Dixon does a terrific job of getting inside the heads of the bosses who built their studios into major entertainment factories.” —Barry Keith Grant, Brock University

Death of the Moguls is a detailed assessment of the last days of the “rulers of film.” Wheeler Winston Dixon examines the careers of such moguls as  Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios’ collapse. Almost none had a plan for leadership succession; they simply couldn’t imagine a world in which they didn’t reign supreme.

Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Meyer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s.

He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.

Complemented by rare, behind-the-scenes stills, Death of the Moguls is a compelling narrative on the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.”

WHEELER WINSTON DIXON is the James Ryan Endowed Professor of Film Studies at the University of Nebraska, Lincoln. His many books include 21st Century Hollywood: Movies in the Era of Transformation (co-authored by Gwendolyn Audrey Foster), A History of Horror, and Film Noir and the Cinema of Paranoia (all Rutgers University Press).

Paperback: 978-0-8135-5377-1

Cloth: 978-0-8135-5376-4

E-book: 978-0-8135-5378-8

“A History of Horror” Named an “Outstanding Academic Title” for 2011 by Choice, The Library Journal

Saturday, January 14th, 2012

Click here, or on the image above, for a brief video on horror films.

My book A History of Horror (Rutgers UP) has just been selected by the prestigious journal Choice as one of the Outstanding Academic Titles of the Year for 2011.

As Choice notes, the list of Outstanding Academic Books “comprise[s] less than 9 percent of the titles reviewed during 2011 and 2.5 percent of those submitted during that same time span, [ensuring that] these exceptional titles are truly the ‘best of the best.’” In addition, A History of Horror will be released as an audiobook by Redwood Audiobooks in 2012, and has just gone into a second printing from Rutgers.

Ever since horror leapt from popular fiction to the silver screen in the late 1890s, viewers have experienced fear and pleasure in exquisite combination. Wheeler Winston Dixon’s A History of Horror is the only book to offer a comprehensive survey of this ever-popular film genre.

Arranged by decades, with outliers and franchise films overlapping some years, this one-stop sourcebook unearths the historical origins of characters such as Dracula, Frankenstein, and the Wolfman and their various incarnations in film from the silent era to comedic sequels. A History of Horror explores how the horror film fits into the Hollywood studio system and how its enormous success in American and European culture expanded globally over time.

Dixon examines key periods in the horror film—in which the basic precepts of the genre were established, then burnished into conveniently reliable and malleable forms, and then, after collapsing into parody, rose again and again to create new levels of intensity and menace. A History of Horror, supported by rare stills from classic films, brings fifty timeless horror films into frightfully clear focus, zooms in on today’s top horror web sites, and champions the stars, directors, and subgenres that make the horror film so exciting and popular with contemporary audiences. More than 50 rare stills from classic examples of the genre illustrate the text.

“This is an excellent survey of horror movies. The author, a veteran film historian, takes the reader back to the beginning, when, in the first three decades of the twentieth century, such directors as Georges Melies, F. W. Murnau, and Paul Wegener were defining not only the look of a genre but also cinema itself. The period between 1930 and the late 1940s saw the rise of the classic Universal Studios characters —Frankenstein’s monster, Dracula, the Wolf Man, the Mummy—and the actors who played them: Karloff, Lugosi, Chaney Jr. By the end of the 1940s, horror was dying, “killed by a plethora of poorly made sequels.” But never fear: the period between the late ‘40s and 1970 saw a massive resurgence, due in part to gimmicks (such as 3-D); low-budget quickies from the likes of Roger Corman, the wizard of the B movie; and the stylish resurrection of the classic Universal monsters by Britain’s Hammer Film Productions. This survey, which takes the reader right up to the present, is full of fascinating information and is delivered in an accessible manner. Required reading for horror fans.” — David Pitt, Booklist, August 4, 2010

“Dixon surveys the development of the horror genre from the earliest Frankenstein and Dracula films through the decades of classics by Hammer studios, William Castle, Roger Corman, and Val Lewton. Dixon covers movies seldom found in other histories and more modern, international titles such as Wolf Creek, Black Water, and The Grudge. The endurance of horror, trends like remakes and sequels, and such popular franchises as Child’s Play and Halloween are also discussed. In the final chapter, Dixon analyzes the decline of modern horror owing to desensitized audiences, graphic gore, violence, and lack of solid plot lines or character development. Lists of the best horror websites as well as the 50 movies covered round out this volume [. . .] This concise overview is an informative and entertaining read [. . .] Recommended for all libraries.” —Rosalind Dayen, Library Journal, September 16, 2010.

“In less than 250 pages, author Wheeler Winston Dixon manages to cover the trends and sub-genres of film horror from 1896 to 2009. Bonuses include a list of top horror sites, a list of fifty classic films, and a pretty wonderful bibliography. Dixon offers analysis without lapsing into academic language. He also provides the occasional behind-the-scenes anecdote. The main purpose of A History of Horror, however, seems to be delineating themes and trends as they work their way through each generation of horror filmmaking. At this the author excels, and the result is much more useful to fans than the clumsy attempts at thematic links provided by Amazon and Netflix. I found several titles that were completely unfamiliar to me and added them to my ‘watch instantly’ list [. . . ] Well written and well researched [. . . ] and offering an enjoyable overview of more than one hundred years of cinema, A History of Horror is a quick, delightful read. If you appreciate lucid, informed, but not stuffy analysis, here’s your guide.” — S. P. Miskowski, The Seattle Post Intelligencer, November 5, 2010

“[Dixon's] book is a page-turner!  It is a fabulous piece of work.  A breathtaking panorama, written with wit and candor, showing how the horror film has shaped cinema from its the origins of the genre until now.  I am really thrilled by the way A History of Horror refuses to fetishize the horror film at the same time it brings into view the complexities of history informing the genre.  The very critical assessment of recent films in the final pages is a reminder to readers and filmmakers that, as the author has done himself, they would do well to take keen note of its rich and variegated past in view of its reinvention.” –Tom Conley, Harvard University

“Rich with excellent illustrations and clever anecdotes, this book will appeal to fans of horror as well as film students and scholars interested in a readable overview of the history of the genre.” — Rebecca Bell-Metereau, author of Hollywood Androgyny

“There is a wealth of research material here for anyone willing to follow Dixon’s many threads [. . .] the author offers generous and moving portraits of three American giants of horror: Bela Lugosi, Boris Karloff, and Lon Chaney, Jr. [. . .] Dixon’s book is illustrated with a sprinkling of photos from the classic moments of the horror film genre. We see Lugosi as Count Dracula, Karloff as the Frankenstein monster, Linda Blair looking possessed, Sissy Spacek covered with blood in Carrie, an unusually maniacal Jack Nicholson from The Shining, and more gore-bedecked actors than one could shake a skull at.” — Martin A. David, New York Journal of Books

“The metric ton of movies listed in Wheeler Winston Dixon’s A History of Horror could have easily overwhelmed. However, thanks to witty and clever summations, as well as his ability to group films in such a way as to provide an excellent overview, the book is a breeze for this horror fan . . . even a casual reader will find themselves needing to keep a notepad handy, so as to keep track of everything you’ll want to search out.” –Nick Spacek, Rock Star Journalist

“Where there is no imagination, there is no horror.” —Sir Arthur Conan Doyle

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. To contact Prof. Dixon for an interview, reach him wdixon1@unl.edu or his website, wheelerwinstondixon.com

RSS Frame By Frame Videos

  • War Movies
    UNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
  • Frame By Frame - Hollywood Composers
    UNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/