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Wheeler Winston Dixon (born March 12, 1950) is an American filmmaker and scholar. He is an expert on film history,[3] theory and criticism.[4] His scholarship has particular emphasis on François Truffaut, Jean-Luc Godard, American experimental cinema and horror films. He has written extensively on numerous aspects of film, including his books A Short History of Film and A History of Horror. From 1999 through the end of 2014, he was co-editor of the Quarterly Review of Film and Video.[5] He is regarded as a top reviewer of films.[5] In addition, he is notable as an experimental American filmmaker with films made over several decades,[6] and the Museum of Modern Art exhibited his works in 2003.[2] He taught at Rutgers University, The New School in New York, the University of Amsterdam in the Netherlands, and is currently the Ryan professor of film studies and English at the University of Nebraska in Lincoln.[7]
Dixon was born in 1950 in New Brunswick,[8] a city in New Jersey halfway between New York City and Philadelphia. He grew up partially in Connecticut. In the late 1960s, he was a member of New York's "underground" experimental film scene while working as a writer for Life magazine and Andy Warhol's Interview magazine. In 1970, he co-founded the musical group Figures of Light. In London, he participated in Arts Lab in Drury Lane, making and screening short films. Returning to the United States, he worked with an experimental Los Angeles-based video collective called TVTV. Dixon received a Ph.D. in English from Rutgers University in New Jersey in 1982.
During the course of several decades, Dixon made numerous experimental films. In 1991, along with filmmaker Gwendolyn Audrey Foster, he made a documentary entitled Women Who Made the Movies.[6] In 1995, in France, he made a film entitled Squatters. In 2003, the Museum of Modern Art[2] acquired all of his experimental films, including the following:
His films have also been screened at the British Film Institute, the Whitney Museum of American Art, the Jewish Museum, The San Francisco Cinématheque, The New Arts Lab, The Collective for Living Cinema, and The Kitchen Center for Experimental Art.
Dixon writes extensively. He was published in Cinéaste, Interview, Film Quarterly, Literature/Film Quarterly, Films in Review, Post Script, Journal of Film and Video, Film Criticism, New Orleans Review, Film International, Film and Philosophy and other journals. His book A History of Horror was reviewed by Martin A. David who criticized it as a compilation lacking a narrative structure, although David noted there were "generous and moving portraits" of horror masters such as Bela Lugosi, Boris Karloff, and Lon Chaney, Jr.[13] Dixon was quoted commenting on horror films,[7][14] women directors,[15] Hollywood film moguls,[16] new technologies for delivering movies such as streaming[17] and 3-D,[18] and public relations of movie stars and directors.[19] He has been quoted about the film business,[20] such as discussing firms such as Miramax.[21] His views have been quoted about particular movies.[22][23][24] In addition, he has talked about late night television shows.[25] He is regarded as an authority of future trends in filmmaking; for example, in 2013, he described the current decade as a "postfilmic era" when "movie film will no longer exist and all movies will be shot digitally".[17] He predicts that film will cease to exist, since all movies will be digitally delivered to theaters.[17] He has been critical of filmmakers such as Quentin Tarantino:
It's sheer exploitation filmmaking with no resonance, taste or value, but it delivers what the action crowd wants: violence, violence and more violence, all served up with a knowing wink in a very postmodern fashion. In short, Quentin Tarantino movies are long, empty, derivative and junk food for the mind, with no substance or nutritional value. — Wheeler Winston Dixon, 2012, in USA Today.[4]
As a film historian, he wrote about the moguls of the 1950s:
(The corporate rulers of film) all figured they’d be immortal ... They couldn’t envision a world where they didn’t exist. They couldn’t envision a world in which they were not the head of 20th Century Fox or the head of Columbia or the head of Paramount or the head of MGM or the head of Universal. When they died, a huge corporate scramble began.” — Wheeler Winston Dixon, October 2012[16]
In 2014, when computer hackers infiltrated Sony Pictures Entertainment, Dixon was quoted in the Los Angeles Times that the exposure of confidential studio emails and films served as a "wake-up call to the entire industry."[26]
In addition, he coordinates film studies at the University of Nebraska.[4]
Dixon is the nephew of the artist Nina Barr Wheeler.
His books (as author or editor) include:
New Brunswick, New Jersey, United States, Book, Academic publishing, Rutgers University
Pennsylvania, Philadelphia, Paterson, New Jersey, Bergen County, New Jersey, Camden, New Jersey
New Brunswick, New Jersey, Princeton University, University of Michigan, University of Wisconsin–Madison, Philosophy
United States Census Bureau, New Jersey, Edison, New Jersey, Johnson & Johnson, Rutgers University
Film, Semiotics, Art, World War II, Gender studies
Gender studies, Censorship, Rutgers University, University of Nebraska at Lincoln, United States
Catherine Breillat, Roxane Mesquida, Cinema of France, Berlin International Film Festival, Cannes Film Festival
Sony, Bob Dylan, Super Bowl, Harold Ramis, YouTube
The New York Times, Gustav Mahler, Carmen, New York City, World War II
Animation, Stop motion, Brenda Bakke, Wheeler Winston Dixon, Frame by Frame (album)