UNL film major offers history, variety I
FILM from page 12
history of films, production areas are
currently expanding in the journalism
and theater departments. Classes strict
ly for the production of films, cine
matography and videography, will con
tribute to the film education.
“Typically, in most film programs,
you have both facets of history and pro
duction. It is important to know how to
analyze a film before you can make a
film - a good film,” Foster said.
Resources available to film majors
contribute to the oiganic process of cre
ating and learning about the good films
Foster describes. Film majors will have
access to internship opportunities,
departments within the theater and
journalism colleges that focus on pro
duction and viewings at the Mary
Riepma Ross Film Theater for classes.
Also, UNEs film department is one
of about 30 progranis in the country
that runs the films on film, not video.
This aspect of the film studies program
distinguishes UNL.
The prestige of the film department
will increase after a recent donation of
films is counted and added to the
archives. Dixon and Foster first estab
lished the first few hundred films
through their donation to the Ross. The
new donation, between 500 and 700
films, comes from a family-owned film
distribution company in Chicago.
Hundreds of prints were donated to
UNL after the distribution company
went out of business.
“We have had a big jump in our col
lection,” said Dan Ladely, director of
the Ross. “The Jensen family primarily
distributed to universities and non-com
mercial institutions, and one member in
the family contributed to the Friends of
the Mary Riepma Ross Film Theater.”
The films are in 16mm format and
range from the silent era through the
1980s. Ladely said the films were a
huge benefit to the university.
Currently, construction is under way
for a new building with a film archive
and vault to house all these films.
With all of the opportunities and
benefits of the program, it is difficult to
realize the evolution and struggles the
program has undergone. The process
the film studies program underwent to
be considered as a major has been long,
intense and fueled by Dixon.
Dixon came to UNL in 1984, when
there was only a film studies minor, and
he recognized the need to upgrade the
department. Dixon worked on drafting
at least 15 proposals for a film major.
Together, with Arts and Sciences
Dean Brian Foster, Associate Arts and
Sciences Dean Michael Steinman, and
Associate Vice Chancellor for
Academic Affairs David Brinkerhoff,
Dixon organized and synthesized the
proposal, which included five depart
ments in three colleges. Finally, the
major was accepted and has already
i(
You never really look at films the same way;
and then you become inspired to work and
write films.
Gwendolyn Foster
filmmaker and UNL film professor
demonstrated results.
“We have had 30 sign-ups in the 30
days we have officially been consid
ered a major,” Dixon said.
Because of the young status of the
program, UNL’s film studies depart
ment lacks the competition and some of
the prestige of other film schools. Yet
the increasing student interest in the
film studies program at UNL offers a
few positive differences to schools such
as UCLA and NYU.
First, a bachelor of arts degree from
UNL is more cost-effective than one
from schools such as NYU or UCLA,
which not only charge big bucks for
tuition but also for production fees.
Second, Dixon said, “We don’t
require a thesis film, like other schools,
that will just sit on a shelf. Instead, we
rely on internship opportunities to
place you into the industry and other
resources.”
Many students who graduated from
UNL with a film minor have success
fully broken into the film industry with
internships. Former UNL student
Michael Hofacre has worked as an edi
tor of feature films such as “City of
Angels.” John Rood, another UNL
graduate, serves as the head of promo
tions at Warner Bros. Studios.
Currently, the film studies program
offers only a bachelor of arts, leaving
graduates to either dive on into the
industry or consider graduate school.
The achievement of the film stud
ies program isn’t enough to keep Dixon
from setting goals in the future.
“We want as many people to major
in film studies as possible, we want to
provide a solid historical and theoreti
cal background, we want more aggres
sive production, and we strongly
encourage students in the program to
double major in a related course of
study,” Dixon said.
For film aficionados, Dixon offers
some advice: “Take advantage of the
Ross Film Theater, the Turner Classic
Movie Channel and now, the availabili
ty of the film major.
Dysfunction:
It’s what’s
for dinner
DINING from page 12
The appearance and value of the
table are determined by its outward
appearance. The woman and the car
penter crawl under the table to dis
cover it’s just wood. Like families,
essentially we need to discover that
foundation and substance is all the
same. Together, it is essential to rec
ognize the need for repair in order to
restore value.
Costumes utilized in “The
Dining Room” should not be over
looked. Guest costume designer
Janis Martin created an impressive
range of costumes suggesting the
roles of family life but also reflect
ing time periods from the 1930s to
’80s. A few times, the costumes
symbolize emotions. In one scene,
the women are all clad in some sort
of green as if to suggest envy.
All the elements of a successful
production are present in “The
Dining Room.” Numerous scenes
depict family life through a mix of
humor and drama. The play suc
ceeds in providing powerful social
commentary.
“The Dining Room” will play
through Oct. 8 in the Howell
Theatre.
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