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Viewing: Blog Posts Tagged with: Oscars, Most Recent at Top [Help]
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1. One Corporation Cannot Own the Animated Feature Oscar

The Disney Corporation has won the Oscar seven of the last eight years, and that's not healthy for the art form.

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2. Disney Sweeps! ‘Big Hero 6′ and ‘Feast’ Win Oscars

Disney's 'Big Hero 6' and 'Feast' both won Oscars tonight.

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3. Proof That Oscar Voters Are Clueless About Animation

What if the animation Oscars were chosen by people who knew nothing about animation?

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4. An A-Z of the Academy Awards

After what feels like a year's worth of buzz, publicity, predictions, and celebrity gossip, the 87th Academy Award ceremony is upon us. I dug into the entries available in the alphabetized categories of The Dictionary of Film Studies-- and added some of my own trivia -- to highlight 26 key concepts in the elements of cinema and the history surrounding the Oscars.

The post An A-Z of the Academy Awards appeared first on OUPblog.

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5. Free Samples of Oscar Nominated Films Based on Books

A number of films that are up for Academy Awards this weekend are based on books.

If you haven’t seen the movies, you can at least read a little bit from these books to have something to talk about at Oscar parties. To help out, we’ve put together a literary mix tape with links to read excerpts of books up for awards. Check out our list after the jump.

Free Samples of Oscar Nominated Films Based on Books

1. Gone Girl by Gillian Flynn

2. Unbroken by Laura Hillenbrand

3. Still Alice by Lisa Genova

4. Wild by Cheryl Strayed

5. American Sniper by Chris Kyle

6. Foxcatcher by Mark Shultz

7. Inherent Vice by Thomas Pynchon

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6. Great man drumming: Birdman, Whiplash, and myth of the male artist

Among this year’s Oscar nominees for Best Picture were two films with drum scores: Whiplash, in which a highly regarded but abusive conductor molds an aspiring young jazz musician into the genius he was meant to be, and Birdman, in which an aging film actor who was never a genius at all stars in a play and possibly flies. In spite of their innovative soundtracks, neither film received an Oscar nomination for Best Original Score.

The post Great man drumming: Birdman, Whiplash, and myth of the male artist appeared first on OUPblog.

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7. The Grand Budapest Hotel and the mental capacity to make a will

Picture this. A legendary hotel concierge and serial womaniser seduces a rich, elderly widow who regularly stays in the hotel where he works. Just before her death, she has a new will prepared and leaves her vast fortune to him rather than her family.

For a regular member of the public, these events could send alarm bells ringing. “She can’t have known what she was doing!” or “What a low life for preying on the old and vulnerable!” These are some of the more printable common reactions. However, for cinema audiences watching last year’s box office smash, The Grand Budapest Hotel directed by Wes Anderson, they may have laughed, even cheered, when it was Tilda Swinton (as Madame Céline Villeneuve Desgoffe und Taxis) leaving her estate to Ralph Fiennes (as Monsieur Gustave H) rather than her miffed relatives. Thus the rich, old lady disinherits her bizarre clan in what recently became 2015’s most BAFTA-awarded film, and is still up for nine Academy Awards in next week’s Oscars ceremony.

Wills have always provided the public with endless fascination, and are often the subject of great books and dramas. From Bleak House and The Quincunx to Melvin and Howard and The Grand Budapest Hotel, wills are often seen as fantastic plot devices that create difficulties for the protagonists. For a large part of the twentieth century, wills and the lives of dissolute heirs have been regular topics for Sunday journalism. The controversy around the estate of American actress and model, Anna Nicole Smith, is one such case that has since been turned into an opera, and there is little sign that interest in wills and testaments will diminish in the entertainment world in the coming years.

“[The Vegetarian Society v Scott] is probably the only case around testamentary capacity where the testator’s liking for a cooked breakfast has been offered as evidence against the validity of his will.”

Aside from the drama depicted around wills in films, books, and stage shows, there is also the drama of wills in real life. There are two sides to every story with disputed wills and the bitter, protracted, and expensive arguments that are generated often tear families apart. While in The Grand Budapest Hotel the family attempted to solve the battle by setting out to kill Gustave H, this is not an option families usually turn to (although undoubtedly many families have thought about it!).

Usually, the disappointed family members will claim that either the ‘seducer’ forced the relative into making the will, or the elderly relative lacked the mental capacity to make a will; this is known as ‘testamentary capacity’. Both these issues are highly technical legal areas, which are resolved dispassionately by judges trying to escape the vehemence and passion of the protagonists. Regrettably, these arguments are becoming far more common as the population ages and the incidence of dementia increases.

Wes Anderson, director of The Grand Budapest Hotel. By Popperipopp. Public domain via Wikimedia Commons.
Wes Anderson, director of The Grand Budapest Hotel. By Popperipopp. Public domain via Wikimedia Commons.

The diagnosis of mental illness is now far more advanced and nuanced than it was when courts were grappling with such issues in the nineteenth century. While the leading authority on testamentary capacity still dates from a three-part test laid out in the 1870 Banks v Goodfellow case, it is still a common law decision, and modern judges can (and do) adapt it to meet advancing medical views.

This can be seen in one particular case, The Vegetarian Society v Scott, in which modern diagnosis provided assistance when a question arose in relation to a chronic schizophrenic with logical thought disorder. He left his estate to The Vegetarian Society as opposed to his sister or nephews, for whom he had a known dislike. There was evidence provided by the solicitor who wrote the will that the deceased was capable of logical thought for some goal-directed activities, since the latter was able to instruct the former on his wishes. It was curious however that the individual should have left his estate to The Vegetarian Society, as he was in fact a meat eater. However unusual his choice of heir, the deceased’s carnivorous tendencies were not viewed as relevant to the issues raised in the court case.

As the judge put it, “The sanity or otherwise of the bequest turns not on [the testator’s] for food such as sausages, a full English breakfast or a traditional roast turkey at Christmas; nor does it turn on the fact that he was schizophrenic with severe thought disorder. It really turns on the rationality or otherwise of his instructions for his wills set in the context of his family relations and other relations at various times.”

This is probably the only case around testamentary capacity where the testator’s liking for a cooked breakfast has been offered as evidence against the validity of his will.

For lawyers, The Grand Budapest Hotel’s Madame Céline Villeneuve Desgoffe und Taxis is potentially a great client. Wealth, prestige, and large fees for the will are then followed by even bigger fees in the litigation. If we are to follow the advice of the judge overseeing The Vegetarian Society v Scott, Gustave H would have inherited all of Madame Céline’s money if she was seen to be wholly rational when making her will.

Will disputes will always remain unappealing and traumatic to the family members involved. However, as The Grand Budapest Hotel has shown us, they still hold a strong appeal for cinema audiences and will continue to do so for the foreseeable future.

Feature image: Reflexiones by Serge Saint. CC-BY-2.0 via Flickr.

The post The Grand Budapest Hotel and the mental capacity to make a will appeared first on OUPblog.

       

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8. Watch 27 Best Animated Film Oscar Presentations

These rare videos document the presentation of the animated short Oscar from 1949 through 2013.

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9. Selma and re-writing history: Is it a copyright problem?

A few days ago The Hollywood Reporter featured another interesting story concerning Martin Luther King or – to be more precise – his pretty litigious estate.

This time the fuss is about already critically acclaimed (The New York Times critic in residence, AO Scott, called it “a triumph of efficient, emphatic cinematic storytelling”) biopic Selma, starring David Oyelowo as the Rev Dr Martin Luther King, Jr.

The film starts with King’s acceptance of the Nobel Peace Prize in December 1964 and focuses on the three 1965 marches in Alabama that eventually led to the adoption of the Voting Rights Act later that year.

The King estate has not expressly objected to the making of this film. However, back in 2009 the same estate had granted DreamWorks and Warner Bros a licence to reproduce King’s speeches in a film that Steven Spielberg is set to produce but has yet to see the light. Apparently Selma producers attempted in vain to get permission to reproduce King’s speeches in their film. What happened in the end was that the authors of the script had to convey the same meaning of King’s speeches without using the actual words he had employed.

Put it otherwise: Selma is a film about Martin Luther King that does not feature any actual extracts from his historic speeches.

Still in his NYT review, AO Scott wrote that “Dr. King’s heirs did not grant permission for his speeches to be quoted in “Selma,” and while this may be a blow to the film’s authenticity, [the film director] turns it into an advantage, a chance to see and hear him afresh.”

Indeed, the problem of authenticity has been raised by some commentators who have argued that, because of copyright constraints, historical accuracy has been negatively affected.

But is this all copyright’s fault? Is it really true that if you are not granted permission to reproduce a copyright-protected work, you cannot quote from it?

“The social benefit in having a truthful depiction of King’s actual words would be much greater than the copyright owners’ loss.”

Well, probably not. Copyright may have many faults and flaws, but certainly does not prevent one from quoting from a work, provided that use of the quotation can be considered a fair use (to borrow from US copyright language) of, or fair dealing (to borrow from other jurisdictions, e.g. UK) with such work. Let’s consider the approach to quotation in the country of origin, i.e. the United States.

§107 of the US Copyright Act states that the fair use of a work is not an infringement of copyright. As the US Supreme Court stated in the landmark Campbell decision, the fair use doctrine “permits and requires courts to avoid rigid application of the copyright statute when, on occasion, it would stifle the very creativity that the law is designed to foster.”

Factors to consider to determine whether a certain use of a work is fair include:

  1. the purpose and character of the use, including whether the use is commercial or for nonprofit educational purposes (the fact that a use is commercial is not per se a bar from a finding of fair use though);
  2. the nature of the copyright-protected work, e.g. if it is published or unpublished;
  3. amount and substantiality of the taking; and
  4. the effect upon the potential market for or value of the copyright-protected work.
Martin Luther King leaning on a lectern, 1964. Public domain via Library of Congress.
Martin Luther King leaning on a lectern, 1964. Public domain via Library of Congress.

There is fairly abundant case law on fair use as applied to biographies. With particular regard to the re-creation of copyright-protected works (as it would have been the case of Selma, should Oyelowo/King had reproduced actual extracts from King’s speeches), it is worth recalling the recent (2014) decision of the US District Court for the Southern District of New York in Arrow Productions v The Weinstein Company.

This case concerned Deep Throat‘s Linda Lovelace biopic, starring Amanda Seyfried. The holders of the rights to the “famous [1972] pornographic film replete with explicit sexual scenes and sophomoric humor” claimed that the 2013 film infringed – among other things – their copyright because three scenes from Deep Throat had been recreated without permission. In particular, the claimants argued that the defendants had reproduced dialogue from these scenes word for word, positioned the actors identically or nearly identically, recreated camera angles and lighting, and reproduced costumes and settings.

The court found in favour of the defendants, holding that unauthorised reproduction of Deep Throat scenes was fair use of this work, also stressing that critical biographical works (as are both Lovelace and Selma) are “entitled to a presumption of fair use”.

In my opinion reproduction of extracts from Martin Luther King’s speeches would not necessarily need a licence. It is true that the fourth fair use factor might weigh against a finding of fair use (this is because the Martin Luther King estate has actually engaged in the practice of licensing use of his speeches). However the social benefit in having a truthful depiction of King’s actual words would be much greater than the copyright owners’ loss. Also, it is not required that all four fair use factors weigh in favour of a finding of fair use, as recent judgments, e.g. Cariou v Prince or Seltzer v Green Day, demonstrate. Additionally, in the context of a film like Selma in which Martin Luther King is played by an actor (not incorporating the filmed speeches actually delivered by King), it is arguable that the use of extracts would be considered highly transformative.

In conclusion, it would seem that in principle that US law would not be against the reproduction of actual extracts from copyright-protected works (speeches) for the sake of creating a new work (a biographic film).

This article originally appeared on The IPKat in a slightly different format on Monday 12 January 2015.

Featured image credit: Dr. Martin Luther King speaking against war in Vietnam, St. Paul Campus, University of Minnesota, by St. Paul Pioneer Press. Minnesota Historical Society. CC-BY-2.0 via Flickr.

The post Selma and re-writing history: Is it a copyright problem? appeared first on OUPblog.

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10. ‘Guardians of the Galaxy’ Will Win Visual Effects Oscar, According to VFX Predictinator

"Guardians of the Galaxy" is the film to beat this year in the visual effects category, according to the VFX Predictinator.

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11. Cartoon Brew Launches New Animation Oscar Tracker

Among the most popular features on CartoonBrew.com is our annual coverage of the Academy Awards. Our 2013 Oscar coverage recorded the highest traffic ever in the site’s history, hitting a single-day record for pageviews on Monday, February 25.

The animation community’s interest in the awards is justified for many reasons. Foremost, the Oscars serve as a barometer of the general public’s attitudes toward animation. The films that are nominated (as well as those that aren’t) tell us a lot about how animation is evolving as an art form and its acceptance into the mainstream.

The Oscar’s animation categories, however, have long been marginalized in the entertainment media, and lacked the informed coverage and analysis that accompanies the live-action categories. Cartoon Brew sets out to change that with its new ANIMATION OSCAR TRACKER, which is the animation industry’s first and only resource devoted to year-round coverage of contending films.

Our broad focus on both mainstream and independent films will help the film community parse through the ever-growing number of feature and short entries. We aim to provide Academy voters with an indispensable tool for making informed decisions when it comes time to nominate films and select winners for these prestigious animation honors.

The new ANIMATION OSCAR TRACKER, which is readily accessible through Cartoon Brew’s top navigation bar, will be updated regularly with lists of films in contention. More features will be added in the weeks and months to come including Oscar predictions, interviews with filmmakers, and coverage of other animation-related Academy Award categories like visual effects.

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12. At Least 13 Films Are Vying For Animated Feature Oscar This Year

We’re getting close to that time of year again: awards season. Our Animation Oscar Tracker has been updated with a list of films that we understand will be submitted for the Best Animated Feature category of the Academy Awards. The current total stands at 13 films:

  1. Escape from Planet Earth (Weinstein Co.) 2/15/13
  2. The Croods (DreamWorks Animation) 3/22/13
  3. Epic (Blue Sky) 5/24/13
  4. Monsters University (Disney-Pixar) 6/21/13
  5. Despicable Me 2 (Illumination) 7/3/13
  6. Turbo (DreamWorks Animation) 7/17/13
  7. Planes (Disney) 8/9/13
  8. Cloudy with a Chance of Meatballs 2 (Sony Pictures Animation) 9/27/13
  9. Ernest and Celestine (GKIDS) Fall 2013
  10. A Letter to Momo (GKIDS) Fall 2013
  11. Free Birds (Reel FX/Relativity Media) 11/1/13
  12. The Wind Rises (Studio Ghibli/Touchstone Pictures) 11/8/13
  13. Frozen (Disney) 11/27/13

To be clear, we can’t guarantee that these films will qualify for the category, and can only say that they are being submitted for consideration to the Academy of Motion Picture Arts & Sciences. For there to be a maximum of five nominees, a total of 16 animated features must qualify for the category. If between 13 to 15 films qualify for the category, then there can be a maximum of four nominees.

The good news is that there will very likely be more films submitted for the category besides the ones listed above. For example, I expect that the South African studio Triggerfish will qualify their latest effort Khumba, especially since last year they qualified their first feature Adventures in Zambezia. If your studio is planning to qualify a feature film, please 0 Comments on At Least 13 Films Are Vying For Animated Feature Oscar This Year as of 9/19/2013 3:10:00 AM

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13. Using Infographics in the Classroom to Teach Visual Literacy

Jill_EisenbergJill Eisenberg, our Resident Literacy Expert, began her career teaching English as a Foreign Language to second through sixth graders in Yilan, Taiwan as a Fulbright Fellow. She went on to become a literacy teacher for third grade in San Jose, CA as a Teach for America corps member. She is certified in Project Glad instruction to promote English language acquisition and academic achievement. In her column she offers teaching and literacy tips for educators. 

Infographics’ format and economy of words make infographics engaging and accessible to children, reluctant readers, visual learners, and English Language Learners. As infographics contain multiple layers of information, they are a challenging medium for students to practice inferences and interpretation. Lee & Low Books’ infographic series on the diversity gap in major spheres of influence is a valuable vehicle to build students’ visual literacy skills and understanding of diversity. The following discussion questions and suggested activities were created based on the Diversity Gap in the Academy Awards infographic, but these can be applied to the rest of the series.

Infographic: The Diversity Gap in the Academy Awards

Infographic: The Diversity Gap in the Academy Awards (click to enlarge)

Discussion questions to consider with your students:

  1. What patterns do you see? What trends do you see? How are the different charts related?
  2. What is the central idea of this infographic? How do the words, phrases, and visuals interact to affirm the central idea?
  3. Based on the infographic, what does “diversity gap” mean in terms of the Academy Awards?
  4. What might the author’s purpose be in choosing this medium to convey the central idea (to shame, inspire, shock, etc.)?
  5. Does the infographic make the central idea clear and obvious? How does the infographic use an economy of words, language, typography, pie charts, bar graphs, negative space, and title to communicate the central idea?
  6. What type of infographic is this (flow chart, web, map, graph, diagram, table, timeline)? What might the author’s purpose be in choosing this type of infographic? How effective is this format of infographic at organizing and displaying data compared to just text?
  7. Evaluate the effectiveness of the infographic as a form of communication as compared to text alone. Is this the most effective and convincing way to convey information about a lack of diversity at the Academy Awards? Why or why not?
  8. Why might the creators have assembled this information about the Academy Awards and race at all?
  9. Who is the intended audience (moviegoers, actors, directors, writers, producers, movie studios, general public, government officials)? What might the creators of this infographic want them to do with this information?
  10. What is the context of this infographic? What major events in the United States were taking place when this infographic was created? Why is it important to understand the context of the infographic?
  11. Is this infographic’s argument and presentation persuasive or compelling? Why or why not? Analyze this infographic’s effectiveness in inspiring activism.
  12. Based on the information presented, what can you predict future trends will be for award winners, actors, directors, producers, and writers?
  13. Can you determine causes for the lack of diversity in this infographic? Why or why not? How might researchers go about figuring out the cause(s) for the historical and current lack of diversity in the Academy Awards?
  14. What is the impact of a lack of diversity amongst writers, actors, producers, directors, and award winners? What does it mean to be a young child growing up and consuming this form of media (movies)? What will they see? What will they not see? Tell me more about the possible effects of this situation and current trends.

Suggested activities:

  1. Challenge students to translate this infographic’s central idea into a written argument. Students should use key details and evidence from the infographic to assert the central idea.
  2. Have students revise or add on to make the infographic more effective. Students should consider format, adding or deleting information, and more. What would make the infographic stronger, more persuasive, or more memorable?
  3. Encourage students to investigate how these percentages compare to the general public. Students can use the United States Census data for demographics.
  4. Have students investigate possible causes for the lack of diversity in the Academy Awards. Urge students to propose ways to change these trends.
  5. If possible, ask students to research the percent of moviegoers who are people of color. Check industry publications or major news periodicals. How do these numbers compare to the information in the infographic?
  6. Permit students to interview their grade, class, or school on questions, including: Do you go to the movies? How often? What kinds of movies do you see? Who are your favorite actor and actress in Hollywood today? Who is a director/actor/actress of color that you have seen in a movie recently? Why do you think there aren’t more movies by and with people of color? Students can organize and display data in graphs and present findings to the class. Reflect on this information’s relationship to the infographic’s central idea.
  7. Dig deeper—investigate the artists that were nominated each year. How many were people of color over those 85 years? What roles did these artists play in the movies they were nominated for? What genres of movies were they in for this nomination? Explore the people of color who did win best actress or best actor. What roles did they play and what kind of movies were they in when they won for best acting?
  8. Compare this to other Lee & Low Books’ infographics in the series: The Tony Awards,  The Emmy Awards, Children’s Book Publishing, The NY Times Top 10 Bestsellers List, and American Politics. Consider central idea, evidence, format, and audience.
  9. Update the information to include the 2013 and 2014 Academy Awards results. What changed? What did not change?

For further reading on teaching visual literacy and diversity in the classroom, check out these fantastic resources:

How are you building visual literacy skills in the classroom? Let us know below!


Filed under: Curriculum Corner Tagged: Academy Awards, CCSS, common core standards, diversity, Educators, ELA common core standards, History, infographics, Oscars, Race issues, reading comprehension, teaching about race, visual literacy

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14. Art and industry in film

With the Oscars round the corner, we’re delving into Film: A Very Short Introduction. Here’s an extract from Chapter 3 of Michael Wood’s book. In this extract he looks at the industry and the role of the moviegoer.

Film began as a very small business, a dramatic invention but a tiny piece of the world of entertainment. It was an act among others in a variety show. Very soon, though, there were shows composed only of films, and there were special places for their showing. A cinema called the Nickleodeon opened in Pittsburgh in 1905, and by 1907 there were 4,000 such places in the United States. Something resembling an industry developed in France, Italy, England, and Germany too, and audiences grew and grew across the world. Studios were born. Pathé and Gaumont in France; UFA in Germany; Universal, Twentieth Century Fox, and Paramount in the USA. Hollywood itself, a small Californian town surrounded by orange groves, became a movie settlement because of its steady weather (and because California was thought to be far enough away from the lawsuits that rained down on experimenters and investors in New York). Something like the contours of later patterns of film-making began to form. Stars began to glitter. And above all, money began to gleam.

A whole support system blossomed: publicity machinery, fan magazines, prizes, record-kepping. Box-office results became the equivalent of sporting scores, or world championship boxing.

Avatar (2009) is the largest grossing picture ever made, unless we adjust for inflation, in which case the title goes to Gone with the Wind (1939), and Avatar moves to fourteenth place. The American Academy of Moton Pictures awarded its first Oscars in 1929, and has awarded them every year since. Programmes developed from sets of short films to single feature films plus supporting entries; and from there to the two film diet that was standard fare for so long. By 1929, 90 million cinema tickets were sold each week in America, with figures proportionally similar elsewhere. There were ups and downs during the Depression and the Second World War, but the figure had reached one hundred million by 1946. By 1955, however, the number was down to 46 million, not a whole lot more than the 40 million or so of 1922. Movie-houses, of which a little more later, rose and fell, naturally enough, to the same rhythm: there were 20,000 in America in 1947 and 11,000 in 1959.

Programmes often changed midweek, and shows were continuous, so you could come in at the middle of a film and stay till you got the middle again. Hence the now almost unintelligible phrase “This is where we came in”. There is a remarkable piece by the humorist Robert Benchley about a game he liked to play. Arriving, say, twenty minutes into a film, he would give himself five minutes to reconstruct the plot so far. Then he would interpret everything that followed in the light of his reconstruction. He would stay on to see how close he was – or pretend to see. He claimed many movies were improved by his method.

Theories of the Seventh Art arose, as well as plenty of attacks of the mindlessness of moviegoers. It was in reaction to one such attack that Walter Benjamin devloped an important piece of the argument of his essay “The Work of Art in the Age of its Technological Reproducibility” (various versions between 1935 and 1939). The French novelist George Duhamel had included an onslaught on cinema in his witty and gloomy book on America, Scénes de la vie future (1930). The relevant chapter is titled ‘cinematographic interlude or the entertainment of the free citizen’, and within the text, the cinema is called, in the same mode of a grand irony, a sanctury, a temple, an abyss of forgetfulness, and the cave of the monster. Duhamel says that film ‘requires no kind of effort’ and ‘presupposes no capacity for consecutive thought’, ‘aucune suite dans les idées.’ Benjamin agrees that film audiences are distracted but claims that there are forms of distraction that may function as localized, medium-specific attention. ‘Even the distracted person’ he says, thinking of the moviegoer, ‘can form habits. ‘The audience’ he adds, ‘is an examiner, but a distracted one’.

Michael Wood is Charles Barnwell Start Professor of English and Professor of Comparative Literature at Princeton University and the author of Film: A Very Short Introduction. You can see Michael talking about film.

The Very Short Introductions (VSI) series combines a small format with authoritative analysis and big ideas for hundreds of topic areas. Written by our expert authors, these books can change the way you think about the things that interest you and are the perfect introduction to subjects you previously knew nothing about. Grow your knowledge with OUPblog and the VSI series every Friday! Subscribe to Very Short Introductions articles on the OUPblog via emailor RSS.

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Image credit: By Coyau. CC-BY-SA-3.0-2.5-2.0-1.0. via Wikimedia Commons

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15. Want to Win Your Oscar Pool And Be The Envy of Millions? Try These Tips!

OSCAR_2002

Yes, Alex Ross designed the official ABC Oscar poster in 2002!

[No comics content here.  This falls under "pop culture" and general geekery. ]

So, your waistline (and gastrointestinal tract) has recovered from the Super Bowl.  You’re sick and tired of the weather.  You seek another diversion.  Well, next Sunday, Hollywood holds their soiree, handing out Oscar statuettes (“Academy Awards of Merit”, according to the rule book).

Situated right before March Madness, the Oscars allow for a warm-up to the office pools which proliferate during the NCAA tournament, and give the sports widows something to watch before hubby disappears into his mancave.

But… how to pick the winners?  The Academy has frequently been criticized for ignoring blockbusters, as most geeks realize when their favorite movies are relegated to the special effects category.  Sure, there is the glitz, the celebrity star power, but overall, the Oscars are a bit boring.  (But, then, so is football.)

So, unless you live in a major metropolitan area, the following nominees are probably the first time you’ve heard, let alone seen, of them.  ABSCAM?  Retroviral drugs?  Navy SEALs?  Nebraska?  And those are the Best Picture nominees!  Take a look at the foreign films!

Here’s the technique I use, and my picks.  I don’t know what Nate Silver likes, and I’m not a cinema geek, so take the following with whatever disdain and cynicism you use when reading online.  Of course, feel free to share your comments below!

Consideration #1:  Is the award voted by the entire AMPAS membership, or it limited?

Consideration #2:  Did Oscar snub a particular film which was later lauded by a guild?

Consideration #3: Which did the guilds select as winners?

Consideration #4:  What’s the buzz?  What did BAFTA and others pick?

—–

BEST PICTURE 

[Rule Sixteen  Everyone votes for this one.  Pick this last.  Sometimes, a movie will sweep the show.  The results from the other categories will give some indication.  Any controversy can also effect voting.  Sometimes, a film can earn the technical awards, but lose this award.  Sometimes, the Oscars split awards between three good films, as happened at the 73rd Academy Awards.  So, Gravity... mid-year, some nitpicking on the scientific liberties, not great acting.  12 Years a Slave is trending online.  Does the Academy use a preferential voting system like they did in 2009, when there were ten nominees, allowing a second-favorite to pull ahead of the media darling?  There is nothing stated in the current rules.]

“12 Years a Slave” (unusual, in that it might only win two awards)
“American Hustle”  [SAG ensemble award]
“Captain Phillips”
“Dallas Buyers Club”
“Gravity”
“Her”
“Nebraska”
“Philomena”
“The Wolf of Wall Street”

BEST DIRECTOR

[Rule Ten  All members vote.  The Directors Guild of America is usually a good indicator, only missing seven winners.]

David O. Russell, “American Hustle”
Alfonso Cuaron, “Gravity”
Alexander Payne, “Nebraska”
Steve McQueen, “12 Years a Slave”
Martin Scorsese, “The Wolf of Wall Street”

[Rule Six  All members vote.  The Screen Actors Guild Awards are the barometer.]

BEST ACTOR

Christian Bale, “American Hustle”
Bruce Dern, “Nebraska”
Leonardo DiCaprio, “The Wolf of Wall Street”
Chiwetel Ejiofor, “12 Years a Slave”
Matthew McConaughey, “Dallas Buyers Club”

BEST ACTRESS

Amy Adams, “American Hustle”
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Judi Dench, “Philomena”
Meryl Streep, “August: Osage County”

BEST SUPPORTING ACTRESS

Lupita Nyong’o, “12 Years a Slave”
Jennifer Lawrence, “American Hustle”
June Squibb, “Nebraska”
Julia Roberts, “August: Osage County”
Sally Hawkins, “Blue Jasmine”

BEST SUPPORTING ACTOR

Barkhad Abdi, “Captain Phillips”
Bradley Cooper, “American Hustle”
Michael Fassbender, “12 Years a Slave”
Jonah Hill, “The Wolf of Wall Street”
Jared Leto, “Dallas Buyers Club” [Want to win an acting Oscar?  Cross-dress, preferably in a movie with a strong message.]

[Rule Twenty-Three  Everyone votes.  The Writers Guild of America is the barometer for these two categories.  Sometimes, a great movie which is too ... innovative for the Academy will get a screenplay Oscar as a consolation prize.  Consider: "Pulp Fiction".]

BEST ORIGINAL SCREENPLAY

“American Hustle” – Written by Eric Warren Singer and David O. Russell
“Blue Jasmine” – Written by Woody Allen
“Her” – Written by Spike Jonze
“Nebraska” – Written by Bob Nelson
“Dallas Buyers Club” – Written by Craig Borten & Melisa Wallack

BEST ADAPTED SCREENPLAY

“Before Midnight” – Written by Richard Linklater, Julie Delpy, Ethan Hawke
“Captain Phillips” – Screenplay by Billy Ray
“Philomena” – Screenplay by Steve Coogan and Jeff Pope
“12 Years a Slave” – Screenplay by John Ridley
“The Wolf of Wall Street” – Screenplay by Terence Winter

BEST ANIMATED FILM

[Rule Seven  Everyone votes.  There is no animation guild, although ASIFA does laud many animated films.  My gut choice is below.]

“The Croods”
“Despicable Me 2”
“Ernest & Celestine”
“Frozen” [Best Edited Film, GRA: Best editing of Music in a Musical Feature, CAS: Animated Feature, numerous VES visual effects awards]
“The Wind Rises”

BEST CINEMATOGRAPHY

[Rule Eight  Everyone votes.  The American Society of Cinematographers is the predictive guild.

“The Grandmaster”
“Gravity”
“Inside Llewyn Davis”
“Nebraska”
“Prisoners”

---

BEST COSTUME DESIGN

[Rule Nine  Everyone votes.  The Costume Designers Guild awards achievement.  Blue Jasmine won a CDG for contemporary design.  Factor that into Best Picture.  For you geeks, Hunger Games: Catching Fire won the fantasy award.]

Michael Wilkinson, “American Hustle”
William Chang Suk Ping, “The Grandmaster”
Catherine Martin, “The Great Gatsby”
Michael O’Connor, “The Invisible Woman”
Patricia Norris, “12 Years a Slave”  [GDG Period]

BEST DOCUMENTARY FEATURE

[Rule Eleven  Everyone who has watched all nominated films may vote.  For both documentary categories, you can scan other awards, as well as guess which is the most politically correct or reflects the spirit of the times.]

“The Act of Killing”Joshua Oppenheimer and Signe Byrge Sørensen
“Cutie and the Boxer” Zachary Heinzerling and Lydia Dean Pilcher
“Dirty Wars” Richard Rowley and Jeremy Scahill  [Best Sound Editing of a documentary]
“The Square” Jehane Noujaim and Karim Amer [Directors Guild Award]
“20 Feet from Stardom” Nominees to be determined [best edited documentary]

BEST DOCUMENTARY SHORT SUBJECT

“CaveDigger” Jeffrey Karoff
“Facing Fear” Jason Cohen
“Karama Has No Walls” Sara Ishaq
“The Lady in Number 6: Music Saved My Life” Malcolm Clarke and Nicholas Reed
“Prison Terminal: The Last Days of Private Jack Hall” Edgar Barens

[I'm going with "Prison hospice" as part of the HIV zeitgeist.]

BEST FILM EDITING

[Rule Twelve  Everyone votes.  American Cinema Editors hand out the Eddies.

“American Hustle” Jay Cassidy, Crispin Struthers and Alan Baumgarten (comedy or musical)
“Captain Phillips” Christopher Rouse  (drama)
“Dallas Buyers Club” John Mac McMurphy and Martin Pensa
“Gravity” Alfonso Cuarón and Mark Sanger
“12 Years a Slave” Joe Walker

---

BEST FOREIGN LANGUAGE FILM

[Rule Thirteen  Voting open to everyone who has seen all five nominated films.  If a movie is nominated for Foreign Film and Best Picture, it will most likely win BFLF and not BP.  Same goes for Best Animated Feature.  These films are the official selection of each country's film society.  Best strategy: consider other Oscar nominations, then check Rotten Tomatoes and online buzz.]

“The Broken Circle Breakdown” Belgium (RT: 79/74%)
“The Great Beauty” Italy  (RT’s pick, 92/93%) (BAFTA winner)
“The Hunt” Denmark (93/92%)
“The Missing Picture” Cambodia (97/100%, 30 reviews)
“Omar” Palestine (89/96%)

BEST MAKEUP AND HAIRSTYLING

[Rule Fourteen  Everyone votes.  The Make-Up Artists and Hair Stylists Guild gives out awards.

“Dallas Buyers Club” Adruitha Lee and Robin Mathews (best period/character makeup
“Jackass Presents: Bad Grandpa” Stephen Prouty (special makeup effects)
“The Lone Ranger” Joel Harlow and Gloria Pasqua-Casny  (Johnny Depp received a special award.  Which goes without saying... McFarlane Toys should do a Johnny Depp line of figurines.)

---

[Rule Fifteen   Everyone votes.  Hey, there's a Best Musical Award (15.I.C)!  There is a union for musicians, and some sort of composers guild, but neither seems to give out awards.  My suggestion?  Check online reviewers for buzz.  John Williams is the record holder for Oscar nominations.]

BEST ORIGINAL SCORE

John Williams, “The Book Thief” [11 more nominations and he passes Walt Disney as the record holder.  Disney gets an asterisk...he produced many of the films which won.]
Steven Price, “Gravity”
William Butler and Owen Pallett, “Her”
Alexandre Desplat, “Philomena”
Thomas Newman, “Saving Mr. Banks”

BEST ORIGINAL SONG

“Alone Yet Not Alone” from “Alone Yet Not Alone”
Music by Bruce Broughton; Lyric by Dennis Spiegel

“Happy” from “Despicable Me 2”
Music and Lyric by Pharrell Williams

“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

[Of note: each film can nominate three songs.  Disney choose to nominate only one song from Frozen, possibly to avoid splitting the vote.  Idina Menzel will perform the song at the Oscars.  It may be the highlight of the show, along with U2.]

“The Moon Song” from “Her”
Music by Karen O; Lyric by Karen O and Spike Jonze

“Ordinary Love” from “Mandela: Long Walk to Freedom”
Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen; Lyric by Paul Hewson

BEST PRODUCTION DESIGN

[Rule Seventeen   Everyone votes.  The Art Directors Guild honors achievement in this field.]

“American Hustle”
Production Design: Judy Becker; Set Decoration: Heather Loeffler

“Gravity”
Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard [fantasy film]

“The Great Gatsby”
Production Design: Catherine Martin; Set Decoration: Beverley Dunn [period film]

“Her”
Production Design: K.K. Barrett; Set Decoration: Gene Serdena [contemporary film]

“12 Years a Slave”
Production Design: Adam Stockhausen; Set Decoration: Alice Baker

[Rule Nineteen  Everyone votes who has watched all of the nominated films.  Check online for critics picks.]

BEST ANIMATED SHORT FILM

“Feral” Daniel Sousa and Dan Golden
“Get a Horse!” Lauren MacMullan and Dorothy McKim
“Mr. Hublot” Laurent Witz and Alexandre Espigares
“Possessions” Shuhei Morita
“Room on the Broom” Max Lang and Jan Lachauer

BEST LIVE ACTION SHORT FILM

“Aquel No Era Yo (That Wasn’t Me)” Esteban Crespo
“Avant Que De Tout Perdre (Just before Losing Everything)” Xavier Legrand and Alexandre Gavras
“Helium” Anders Walter and Kim Magnusson
“Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?)” Selma Vilhunen and Kirsikka Saari
“The Voorman Problem” Mark Gill and Baldwin Li

BEST SOUND EDITING

[Rule Twenty  Everyone votes.  The Motion Picture Sound Editors give out the Golden Reel Awards.  There's also the Cinema Audio Society which honors sound mixing.]

“All Is Lost” Steve Boeddeker and Richard Hymns
“Captain Phillips” Oliver Tarney [GRA: dialogue and ADR]
“Gravity” Glenn Freemantle  [GRA: sound effects]
“The Hobbit: The Desolation of Smaug” Brent Burge
“Lone Survivor” Wylie Stateman

BEST SOUND MIXING

[Rule Twenty-One  Everyone votes.]

“Captain Phillips” Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro
“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro [GRA:sound effects, CAS:Motion Picture]
“The Hobbit: The Desolation of Smaug” Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson
“Inside Llewyn Davis” Skip Lievsay, Greg Orloff and Peter F. Kurland
“Lone Survivor” Andy Koyama, Beau Borders and David Brownlow

BEST VISUAL EFFECTS

[Rule Twenty-Two  Everyone votes.  The Visual Effects Society (winner of this year's best industry logo) gives out accolades.]

“Gravity” Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould (Visual Effects feature, plus numerous others)
“The Hobbit: The Desolation of Smaug” Joe Letteri, Eric Saindon, David Clayton and Eric Reynolds  (Best Feature Film character)
“Iron Man 3” Christopher Townsend, Guy Williams, Erik Nash and Dan Sudick
“The Lone Ranger” Tim Alexander, Gary Brozenich, Edson Williams and John Frazier (regular feature)
“Star Trek Into Darkness” Roger Guyett, Patrick Tubach, Ben Grossmann and Burt Dalton

My picks for the Razzies?  Movie 43 for every category.  I watched this on NetFlix with friends (yeah, we were drunk), and I wished I’d hadn’t.

Just in case anyone from ABC or AMPAS is reading…

Please schedule the Oscars so that the ceremony starts at 7PM EST/4 PM PST.  Run the red carpet pregame show from 5-7 PM.  The show itself usually runs under four hours, giving ABC plenty of time to stage the show.  If it ends early, then ABC can fill the remaining time with post-game interviews and commentary.  The extra time can be filled with stuff that keeps the viewers watching… and might even allow more names to be added to the always controversial “In Memoriam” segment.

Yes, I know it’s unlikely, but at least they moved it from Monday, when ABC would routinely waste an hour of prime time with a forgettable Barbara Walters interview special.  They will also finally start streaming the Oscars live this year!  (That’s what you get when your membership is old, white, and male.)

7 Comments on Want to Win Your Oscar Pool And Be The Envy of Millions? Try These Tips!, last added: 3/3/2014
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16. Best Original Score: Who will win (and who should!)

By Kathryn Kalinak


This year’s slate of contenders includes established pros (John Williams, Thomas Newman, Alexandre Desplat) along with some newcomers (William Butler and Owen Pallett, Steven Price). This used to be a category where you had to pay your dues, but no longer. The last three winners had never been nominated before. So the real surprise winner in this category would be Williams.

William Butler and Owen Pallett: Her

Click here to view the embedded video.

Butler and Pallett already have a pocketful of awards and this is just the kind of “outsider” score (Butler and Pallett’s first nomination) that Academy voters love: remember Reznor and Ross winning for The Social Network? A win for Butler and Pallett makes the Academy seem hip and edgy and cool, not unimportant to an aging votership. Gravity is the favorite to win here, but I wouldn’t be surprised if the statuette goes to Her. Its use of acoustic instruments (that piano!) brings coziness to the sterile interiors and even the electronic instruments radiate warmth. The score is crucial in helping us to understand the characters in the film and feel for them. This wouldn’t be the same film without the score.

Alexandre Desplat: Philomena

Click here to view the embedded video.

Desplat has done some remarkable work in the last few years (Argo, Zero Dark Thirty, The King’s Speech, The Queen, Harry Potter, Fantastic Mr. Fox—a personal favorite) and he’s the go-to composer for films about England and now Ireland. But he’s perennially overlooked by Academy voters (he’s lost five times in the last seven years and for some amazing work—come on, Academy)! I don’t think this is his year. Philomena doesn’t have a high enough profile in the Oscar race. I would LOVE to be wrong about this. Desplat deserves an Oscar for something and why not for Philomena—it’s a heartfelt film with an equally heartfelt score.

Thomas Newman: Saving Mr. Banks

Click here to view the embedded video.

Newman has twelve nominations and no wins but I don’t think this year is going to change that. Saving Mr. Banks was almost completely overlooked by the Academy (this is its only nomination) and Newman’s style of big symphonic scoring hasn’t found favor in recent years with Academy voters. (See John Williams below).

Steven Price: Gravity
*clip from film includes “Debris” from the soundtrack

Click here to view the embedded video.

Gravity is the front runner here. The trailer’s tag line reads “At 372 miles above the earth, there is nothing to carry sound.” Except the soundtrack…which is filled with the score. Big, noticeable, dare I say it—intrusive, this is the kind of score you can’t fail to notice…even if you try. John Williams meets Hans Zimmer.

John Williams: The Book Thief

Click here to view the embedded video.

This is Williams’ forty-ninth nomination—but The Book Thief doesn’t have the visibility of other films in this category and Academy voters of late have failed to embrace the kind of big symphonic scores, like this one, that routinely won Oscars back in the twentieth century. Lush, melodic, memorable—vintage Williams. Like Newman for Saving Mr. Banks, Williams would be an upset.

Will win: Steven Price for Gravity

Should win: William Butler and Owen Pallett for Her

Kathryn Kalinak is Professor of English and Film Studies at Rhode Island College. Her extensive writing on film music includes numerous articles as well as the books Settling the Score: Music in the Classical Hollywood Film and How the West was Sung: Music in the Westerns of John Ford. She is author of Film Music: A Very Short Introduction.

The Very Short Introductions (VSI) series combines a small format with authoritative analysis and big ideas for hundreds of topic areas. Written by our expert authors, these books can change the way you think about the things that interest you and are the perfect introduction to subjects you previously knew nothing about. Grow your knowledge with OUPblog and the VSI series every Friday, subscribe to Very Short Introductions articles on the OUPblog via email or RSS, and like Very Short Introductions on Facebook.

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17. Lee & Low Likes… Cheryl Boone Isaacs

Since the diversity pieces out there today can be rather disheartening (like our Diversity Gap in the Oscars infographic), we decided to take a look at things that are a bit more positive. And as the 86th Academy Awards are on Sunday, this “Lee & Low Likes” honors Cheryl Boone Issacs, the first African-American president of the Academy of Motion Picture Arts and Sciences. It’s important to note that she’s just the third woman to be elected; Bette Davis served for just two month in 1941 and screenwriter Fay Kanin held the position for four years in 1979-1983. Sadly, it’s been 30 years since a woman has held the president position in the Academy.

Cheryl Boone Isaacs picture

Cheryl Boone Isaacs

Isaacs has had a long and illustrious career in Hollywood. She has worked on many Oscar winning movies: as a consultant for The Artist and The King’s Speech and on publicity for Braveheart and Forrest Gump. She was also a president of marketing at New Line Cinema and an executive vice president at Paramount Pictures.

In an interview with Variety, Isaacs talks about how the Academy should be a place that recognizes all of the voices out there: “I think what’s important is … equal opportunity, not holding people back because of their gender, their race, nationality. We are about self-expression and are still the holder of dreams.”

It’s a long road to a more diverse Hollywood, but Cheryl Boone Isaacs is a huge step in the right direction and we very much look forward to seeing the changes she brings during her tenure.

 


Filed under: Lee & Low Likes, The Diversity Gap Tagged: 2014 Academy Awards, Academy Awards, Cheryl Boone Isaacs, diversity, Oscars, Women of Color in Hollywood, Women President

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18. Definitive Proof That Academy Voters Are Ignorant About Animation

Those of us in animation always gripe that the rest of Hollywood doesn't care or know the first thing about animated films. There are tons of anecdotal stories to support this position, but finally, we've got some definitive proof. And if you think Hollywood doesn't understand animation, it's even worse than you could imagine.

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19. A Look at Rhythm & Hues’ Oscar-Winning Technology Voodoo

The Oscars just did a little segment on their Scientific and Technical Awards. Among the the winners of the Technical Achievement Award this year was Rhythm & Hues for its proprietary Voodoo software.

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20. The 86th Annual Academy Awards Wins for Diversity

The glitz, fashion, and the glamorous parties are over, but we at LEE & LOW BOOKS are still thinking about the 86th Annual Academy Awards. We were excited to see our infographic on the diversity gap in the Academy Awards shared in several places, including the New York Times Carpetbagger blog, MSNBC’s The Grio, and Colorlines. Even Ellen started off the night with a joke about diversity (“Possibility number one, 12 Years a Slave could win. Possibility number two, you’re all racists. Now please welcome our first white presenter…”). But the highlight of this year’s ceremony was seeing some big wins in diversity:

lupita nyong'o and cate blanchett

2014 Oscar winners Lupita Nyong’o and Cate Blanchett

Lupita Nyong’o, Best Supporting Actress for “12 Years a Slave”: Lupita Nyong’o's touching acceptance speech reminded every aspiring actor and actress that “no matter where you’re from, your dreams are valid.”

Cate Blanchett, Best Actress for “Blue Jasmine”: Cate Blanchett’s empowering speech was an inspiration for women everywhere, as she addressed the stereotype that “female films with women at the center are niche experiences. They are not. Audiences want to see them and, in fact, they earn money. The world is round, people.”

Steven McQueen and Alfonso Cuaron

Directors Steve McQueen and Alfonso Cuarón

Alfonso Cuarón, Best Director for “Gravity”: Alfonso Cuarón became the first Latino director to ever win an Oscar, and in response to a backstage interview with the world press, he said he would “love if that same support is given to some other films that are coming out of there with Mexican filmmakers, shot in Mexico, and with Mexican subject matters.”

Best Picture for “12 Years a Slave”: This film set in pre-Civil War America follows Solomon Northup, a free black man who is abducted and sold into slavery. This is the first time a film directed by a black filmmaker has won Best Picture. Director Steve McQueen dedicated the win to “all the people who have endured slavery. And the 21 million people who still suffer slavery today.”

Congratulations are also due to Robert Lopez, the first Filipino-American ever to win an Oscar for his song “Let It Go” from the movie “Frozen,” and John Ridley for his Oscar for the “Twelve Years a Slave” screenplay, marking only the second time that a black screenwriter has won the award.

It was also a breath of fresh air to see new Academy Director Cheryl Boone Isaacs walk out onstage to introduce herself.

While the wins will certainly change the bleak numbers we reported last week, one year alone is not enough. Here’s hoping this year’s big wins mean more people of color in front of and behind the cameras in the future!


Filed under: Diversity Links, Musings & Ponderings, The Diversity Gap Tagged: 2014 Academy Awards, Academy Awards, diversity, diversity gap, inspiration, Lupita Nyong, Oscars

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21. Latvia Selects ‘Rocks in My Pockets’ As Foreign-Language Oscar Entry

The country of Latvia has selected Signe Baumane's "Rocks in My Pockets" as its entry for the best foreign-language category of the Oscars.

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22. 10 Films Shortlisted for VFX Oscar Race

The Academy of Motion Picture Arts and Sciences announced this afternoon the 10 films that have ben shortlisted for the visual effects Oscar.

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23. Michael Keaton reminisces about his time in the Batsuit

Keaton Michael Keaton reminisces about his time in the Batsuit

Photo: NY Times

Michael Keaton finally had his big comeback year in 2014. With Birdman, and his very meta portrayal of a washed-up superhero actor, Keaton now finds himself as a leading contender for the Academy Award for Best Actor.

Recently, he sat down with EPIX, along with some of his fellow competition for the award: Benedict Cumberbatch (The Imitation Game), Eddie Redmayne (The Theory of Everything), and Steve Carrell (Foxcatcher). Robert Downey Jr. was also in attendance for the roundtable interview.

At one point during the interview, the topic of Keaton’s wearing the Batsuit came up, from his days in Tim Burton’s Batman films, and Keaton’s addressing the topic is as entertaining as ever:

Please put me down in support of Keaton playing the The Dark Knight Returns version of the character someday, a role he still has some affection for.

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24. 2015 Animation Oscar Nominations: Full Coverage

We present complete coverage of the animation-related Oscar nominees for the 87th annual Academy Awards.

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25. Once again, it’s time for the “nerd categories” of the Oscar nominations

disney feast Fry 1000x418 Once again, its time for the nerd categories of the Oscar nominations

There’s quite a bit of discussion today regarding today’s Oscar nominations (I remain very sad for Ava DuVernay’s snub in the Best Director category), but let’s talk about the stuff that’s collectively of greater interest to the readership of The Beat, because there’s great work to celebrate there too!

Here are the nominations that include films that are based on comics, or have some kind of comics/cartooning based slant:

Best Visual Effects
“Captain America: The Winter Soldier”
“Dawn of the Planet of the Apes”
“Guardians of the Galaxy”
“Interstellar”
“X-Men: Days of Future Past”
This seems like a shoe-in for Interstellar, though the work done on Dawn of the Planet of the Apes with Andy Serkis and Toby Kebbell was pretty stunning in its own right.
Best Animated Feature Film
“Big Hero 6″
“The Boxtrolls”
“How to Train Your Dragon 2″
“Song of the Sea”
“The Tale of Princess Kaguya”

The lack of a nod for The Lego Movie is surprising given the critical and popular acclaim, but if I had to bet money on one, it’d be The Tale of Princess Kaguya. But, Big Hero 6 may surprise here, given that it was a huge hit and perhaps may have engendered more screener viewings from members of the Academy.

Best Short Film (Animated)
“The Bigger Picture”
“The Dam Keeper”
“Feast”
“Me and My Moulton”
“A Single Life”

And regarding this category, it’s sadly one of my big blind spots. Feast, being under the Disney brand, seems a likely choice as any.

Time to get your betting pools together, the 2015 Academy Awards will be held on February 22nd.

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