A.O. Scott on "The Graduate" in NYT's Critic's Picks

New York Times movie critic A.O. Scott, in the paper's online "Critic's Picks" video series, offers a perspective this week on the landmark 1967 film "The Graduate" (a favorite of the MediaLog). Scott doesn't really make any new observations about the film, but he does reiterate well three of the biggest reasons for the film's historical importance: (1) the ways in which Dustin Hoffman's performance (and appearance) helped rewrite the rules of being a movie star; (2) the ways in which the film exploited the new permissiveness in movies that was then emerging; and (3) the film's groundbreaking use of popular music. All of these helped contribute to the film's massive popularity among young people, another measure of the film's importance which Scott also mentions.

The MediaLog MediaFix: Vintage March Madness from 1983

In honor of the now-annual cultural and sports ritual known as March Madness, the MediaLog presents this pair of video clips from the 1983 NCAA men's basketball championship. Until the early-1980s, the NCAA tournament was a much smaller affair than it has become in the decades since. The 1979 championship game between Magic Johnson's Michigan State Spartans and Larry Bird's Indiana State Sycamores (won by Michigan State) raised the tournament's profile greatly, and by 1985 the tournament had expanded to the 60-plus team size it has been ever since.

The 1983 championship was a match-up between the North Carolina State Wolfpack, coached by Jim Valvano, and the Houston Cougars, best known that year for their group of players (including future NBA stars Hakeem Olajuwon and Clyde Drexler) nicknamed "Phi Slama Jama." Valvano's Wolfpack pulled out a last-second upset over the favored Houston team. The first clip is a network preview package by sportscaster Dick Schaap that consists mainly of interview footage with Valvano. The second clip is the last minute or so of the championship game itself, with the customary immediate post-game jubilation.

"Phantom of the Opera" and More in "The Reel Journal" from 1925

Open publication - Free publishing - More film

A magnificent new resource for film historians and researchers--or for anyone interested in learning about old movies and the history of the American film industry--is the website Issuu, specifically the collection of "Boxoffice" magazines hosted there. "Boxoffice" (which is still publishing) is a trade publication for movie distributors and exhibitors that dates back to the 1920s. The historical back issues, nearly all of which can be found and browsed at Issuu, are a wealth of information--an embarrassment of riches, really--for studying American film history.

The above issue of "The Reel Journal" (a predecessor of "Boxoffice"), from February 14, 1925, features this double-page advertisement for "The Phantom of the Opera," starring Lon Chaney, which was then in release from Universal Studios. Interestingly, the image featured in the ad does not include Chaney, perhaps because the actor--known as the "Man of 1000 Faces" for his elaborate make-up--was being kept under wraps in the film's publicity to preserve the impression his visage would make on viewers.

The old issues of "Boxoffice" available for view on Issuu represent a unprecedented level of access for such an historical resource. Although the Issuu interface (available for use by anyone to "publish" newsletters and the like) is somewhat clunky--there's no easy way to conduct searching, for example, and in the case of "Boxoffice" at least, poor indexing of the hundreds of issues available--it is possible to bookmark particular pages, create your own library of publications, and (as seen above) embed individual publications on your own webpage or blog. There are several options for navigating individual issues, although (again in the case of "Boxoffice" at least) image quality is rather poor.

The above issue of "The Reel Journal" can be navigated and explored fully. It's an amazing immersion in movie culture of past eras. In the future, I will likely post additional issues of "Boxoffice" and its predecessor publications, as I discover nuggets of information and images that I think warrant the treatment.

MediaLog MediaBrief: Sci Fi Channel to Change Name to "Syfy"

Making the media news rounds today are plans by NBC Universal to change the name of Sci Fi Channel to Syfy. (Articles reporting said name change are here, here, and here.) The new name, while retaining identification with the genre of science fiction (it's pronounced the same as "sci fi"), is meant to broaden the appeal and scope of the network, with programming related to additional topics such as paranormal phenomena, fantasy, and other broadly scientific/fictional realms.

This strikes me as a rather bone-headed move by NBC Universal. Although not as widely viewed as some cable networks by virtue of the fact that its subject matter is not every viewer's cup of tea, Sci Fi Channel has had a strong identity that has catered to hardcore science fiction fans, as well as others who may not be as hardcore but who have been attracted to the channel by programming such as critical darling "Battlestar Galactica." This name change seems to be (potentially) chucking most of that brand equity and loyal viewer goodwill in a gambit to broaden the network's appeal. There's a very good chance that longtime loyal Sci Fi Channel viewers will be upset with the change (which includes the network's related properties, such as its popular website), and that nonviewers will likely remain uninterested in the network's offerings. There's also the chance that casual viewers seeing the name"Syfy"--with the built-in pronunciation issues for those not hip to the change --will not make the connection to the old Sci Fi Channel.

The change also strikes me as another in the trend of cable branding changes that has made most of the cable programming landscape into a mushy mess of watered down network identities in the free-for-all of attracting viewers. Rather than stick with what is perhaps a smaller but also a more loyal core of viewers, channels have made changes (not always involving the name of the network) that have represented abandonments of the network's original identity. ("Ice Road Truckers" on History Channel, anyone? How about truTV? Don't get me started on TV Land.) In many respects, what was once a terrain of well-established and well-defined niches for cable networks has become a muddled and increasingly desperate grasping for elusive large-scale audiences. Sci Fi Channel's rebranding as Syfy is merely the latest example of this.