First printing April, 2008; second printing June, 2008;
third printing October, 2008; fourth printing July, 2009.
"This excellent introduction stands out in a crowded field with its lively, accessible writing, broad coverage, and particular focus on traditionally marginalized figures in film history. Dixon and Foster discuss the technical innovations that moved the art form forward, and their lucid descriptions of often complicated concepts convey the excitement of innovation in mechanical as well as creative processes. The most striking aspect of the book is the coverage of women, African Americans, and Third World filmmakers, which strongly complements its solid coverage of American and European film. Illustrations abound, and even the best-versed cineaste will find new films to track down after reading the breezy, enthusiastic analysis in this book. Highly recommended for all collections, this text would also make an excellent textbook for introductory film-studies courses."-- Christian Zabriskie, Library Journal
"With the goal of offering 'a fast paced tour' of movie history, Dixon and Foster have produced a study in the tradition of Paul Rotha's The Film till Now. The authors touch all the bases--they address new trends in international moviemaking, technologies, and critical theory and the emergence of new national and ethnic cinemas--and relate film history to social history (the latter augmented by a witty, useful time line: e.g., the year l900 lists quantum theory, Freud, the Brownie camera, the Boxer Rebellion, and 'the hamburger' as benchmarks). Each new technique, style, school, trend, and newly visible ethnic or feminist group takes its place in the larger history, and Dixon and Foster make it all accessible to the neophyte reader without ever breaking the pace. Uncommonly well-reproduced stills and a topically organized bibliography enhance the discussion. Summing Up: Highly recommended. Lower- and upper-division undergraduates; general readers." -- Thomas Cripps, Choice.
New Book: Film Noir and The Cinema of Paranoia
"Dixon seeks to broaden the scope and definition of film noir by focusing on its most dominant motif--paranoia. Concentrating on that impulse, and also on fear and violence, the author demonstrates that these all-encompassing aspects of film noir are found not only in gangster/detective films of the 1940s but also in such genres as science fiction and horror. Beginning with the pre-Code era, Dixon guides the reader through a comprehensive overview of the evolution of film noir to its present form, along the way presenting an enlightening examination of American and British society and politics and revealing the role film noir has played during certain periods. He demonstrates how film noir serves to contradict the false "feel good" images mediated to the public through movies and television programming. [Dixon]'s observations illustrate how paranoia, as constructed through the lens of film noir, proves more relevant than ever in lieu of the veil of fear that envelops every aspect of post-9/11 life. A wonderful addition to the literature on film noir and film genres. Summing Up: Highly recommended. Lower-division undergraduates through faculty." -- A. F. Winstead, Choice, September 2009.
". . . the book offers an impressive catalogue of marginal and forgotten films of the studio era, accompanied by handfuls of Hollywood Babylon dirt for added impact [ . . .] noir addicts will [ . . .] walk away with one hell of a screening list." -- José Teodoro, Film Comment (July-August 2009)
"In Film Noir and the Cinema of Paranoia, Dixon displays a true cinephile's fascination with the gunslingers and femmes fatales of film noir, and the dark, uneasy world they inhabit. Wide-ranging and packed with compelling detail, this work will be an invaluable addition to the bookshelves of fans, academics and completists alike." - Mikita Brottman, author of The Solitary Vice
"Wheeler Winston Dixon is the intrepid sleuth of cinema studies, tracking down film noir in places where most of us never thought to look, seeing through the aliases and disguises - horror noir, western noir, musical noir, and more - that have kept its infinite variety in the shadows until now. Writing with nonstop energy and verve, Dixon explodes narrow definitions of noir as conclusively as the Great Whatsit blew up postwar innocence in Kiss Me Deadly. His timely, spirited book is a boon for film scholars, general readers, and movie buffs alike." - David Sterritt, Chairman, National Society of Film Critics
"Wheeler Winston Dixon is a major American film critic, whose writing is distinguished by its rhetorical sweep and vigor, its wide-ranging synthetic power, and its unusual depth and reach. As an archivist, he is unmatched in his knowledge of the highways and byways of film production. And as a theorist, his books display an argumentative energy and clarity that reaches out beyond the academic, scholarly audience in order to address a broader audience." - Steven Shaviro, author of Connected, or What It Means to Live in the Network Society
Wheeler Winston Dixon is the Ryan Professor of Film Studies, Professor of English at the University of Nebraska, Lincoln, and Editor in Chief of the Quarterly Review and Film and Video. Dixon teaches courses in film history, theory and criticism at UNL from the undergraduate to the graduate levels. On April 11-12, 2003, he was honored with a retrospective of his films at The Museum of Modern Art in New York, and his films were acquired for the permanent collection of the Museum, in both print and original format.
Review: Nollywood: The Video Phenomenon in Nigeria by Pierre Barrot
