Wheeler Winston Dixon Livres

This book discusses 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. Wheeler Winston Dixon examines key works in cinema from the era of late-stage capitalists, analyzing Hollywood films and the current wave of cinema developed outside of the Hollywood system alike. 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 Exploding Eye explores the work of lesser-known American experimental filmmakers whose work has been excluded from the dominant film canon. Although the works of such artists as Michael Snow, Stan Brakhage, Bruce Conner, Robert Nelson, and Maya Deren are well-known to the contemporary scholar of independent cinema, there is an entire body of work created in the American experimental cinema that has been overlooked, work of considerable beauty and influence that was enthusiastically received when first released and that is still available for viewing today, awaiting long-overdue rediscovery.

More and more, just a few canonical classics, such as Michael Curtiz's "Casablanca" (1942) or Victor Fleming's "Gone With The Wind" (1939), are representing the entire film output of an era, to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s? This collection of essays aims to highlight some of the lesser-known treasures of the past - those titles that have been pushed aside by today's wave of cinema amnesia.

The book critiques the rise of "synthetic cinema" in 21st-century mainstream filmmaking, highlighting a departure from traditional values. Dixon examines the pervasive use of computer-generated imagery, digital enhancements for actors, and green screen technology, arguing that these techniques replace authentic sets and location shooting. This shift raises concerns about the impact on the art of filmmaking and the viewer's experience, suggesting a growing reliance on technology over creative storytelling.

The book delves into the construction of heterosexual performativity in film, tracing its evolution from early cinema to contemporary works. It examines how cinematic portrayals of masculinity and femininity have been commodified to uphold societal norms. Additionally, the author highlights the rise of "hypermasculinity," a more exaggerated form of male representation that emerges as a reaction to gentler male characters in films like While You Were Sleeping and Sleepless in Seattle, challenging traditional patriarchal narratives in cinema.

Before turning to filmmaking, Franiois Truffaut was a film critic writing for Cahiers du Cinema during the 1950s. This title features the articles that originally appeared in French journals such as Cahiers du Cinema and Arts, giving the reader an overview of these formative years of the great French film director's career.

Exploring the impact of new technology, the book delves into its effects on movies, music, books, and games, highlighting how instant access is transforming viewer habits and shaping cultural dynamics. It examines the broader implications of these changes on society and individual consumption patterns.

Focusing on overlooked American experimental filmmakers, this book highlights the significant yet underappreciated contributions of artists like Michael Snow and Maya Deren. It showcases a wealth of beautiful and influential works that were celebrated upon release but have since faded from mainstream recognition. With over seventy rare stills and comprehensive details about the films and their creators, it presents a renewed perspective on American experimental cinema, appealing to critics, scholars, and enthusiasts alike.

Exploring the global transformations in modern cinema, this book highlights Hollywood's pivotal role in shaping the digital future of filmmaking. It provides clear insights into the significant paradigm shifts affecting our connection to moving images, supported by numerous detailed examples. Aimed at both film students and cinema enthusiasts, it promises to be both informative and engaging, making complex concepts accessible to a broad audience.

Experimental Cinema, The Film Reader brings together key writings onAmerican avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920s to the work of contemporary film and video artists.The Reader traces the development of major movements such as the New American Cinema of the 1960s and the Structuralist films of the 1970s, examining the work of key practitioners and recovering neglectedfilmmakers.Contributors focus on the ways in which underground films have explored issues of gender, sexuality and race, and foreground important technical innovations such as the use of Super 8mm and video.Each section features an editor's introduction setting debates in their context.Sections *Origins of the American avant-garde cinema - Explores the influence of the birth of experimental film, and considers the early work of filmmakers such as Maya Deren.*The 1960s experimental film explosion - traces the development of the New American Cinema, examining the influence and work of key filmmakers such as Kenneth Anger, Jack Smith, Andy Warhol, Stan Brakhage, and collage filmmaker Bruce Conner.*Structuralism in the 1970s - Identifies and discusses the main figures in Structuralist film including Michael Snow and Hollis Frampton.*Alternative cinemas - Examines the work of recent filmmakers such as Isaac Julien, Julie Dash, and Barbara Hammer, and considers the future of experimental film.Contents1. The First American Film Avant-Garde, 1919-1945 by Jan-Christopher Horak2. Notes on the New American Cinema by Jonas Mekas3. The Woman Filmmaker in the New York Avant-Garde by Lauren Rabinovitz4. Women in the Germaine Dulac, Maya Deren, Agnes Varda, Chantal Akerman and Trinh T. Minh-ha by Judith Mayne5. Pop, Queer or Fascist? The Ambiguity of Mass Culture in Kenneth Anger's Scorpio Rising by Juan A. Suarez6. Stan Brakhage - The 60th Birthday Interview by Suranjan Ganguly7. The Perfect Queer Appositeness of Jack Smith by Jerry Tartaglia8. An Interview with Carolee Schneemann by Kate Haug9. The Flower Thief and The Film Warhol's Early Films and the Beat Writers by Reva Wolf10. Walking on Thin The Films of Yoko Ono by Daryl Chin11. Yoko Ono on Yoko Ono by Yoko Ono12. Structural Film by P. Adams Sitney13. Interview with Michael Snow by Scott MacDonald14. The Films of Warren Sonbert by Phillip Lopate15. Warren Sonbert Interview by David Ehrenstein16. An Interview with Hollis Frampton by Peter Gidal17. Re/Constructing Lesbian Auto /Biographies in Tender Fictions and Nitrate Kisses by Gwendolyn Audrey Foster18. The Films of Sadie Benning and Su Friedrich by Chris Holmlund19. Black Women's Independent Cinema by Gloria J. Gibson20. Dark and Lovely Black Gay Men in Independent Film by Kobena Mercer