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This completely unauthorised Pocket Essential guide to the Oscars explains how the Awards can help us to understand the history of Hollywood. In a decade-by-decade account, it details how the Academy mirrored, endorsed or rejected industry trends, be they technical (The Jazz Singer's exclusion from competition at the first awards in 1927/8), artistic (the long-standing favour extended to period dramas), or political (the Academy's capitulation in the face of McCarthyism).
The book also includes a full list of Oscar winners in every category, as well as the author's own nominations for Worst Oscar-nominated Films and Shocking Oscar Oversights, making it the best-value, most up-to-date guide available to this annual public celebration of money, envy, spite and the movies.
Pocket Essentials; October 2006
ISBN 9781433702266
Read online, or download in secure PDF format or MobiPocket
ISBN 9781433702266
Read online, or download in secure PDF format or MobiPocket
Excerpt
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Why another book on the Oscars®? There are certainly
enough of them around. Some of them are fine works of
history; others are little more than annotated lists. Both
kinds have their function.What the Pocket Essential guide
to the Oscars® attempts to do is a bit of both and to offer
a historical context to the lists – which are all present and
correct here for, after all, this is what awards ultimately boil
down to.
It is only fair that I announce any prejudice or knowledge
gaps up front. Nobody alive – with the possible
exception of a few of my erstwhile colleagues at the British
Film Institute and similar organisations around the world –
can have seen every nominated film, and I’d bet that not
very many have seen every award winner. I certainly
haven’t, and I will not attempt to bluff the reader with my
in-depth critique of a movie that I once saw a clip of on
Screen Test.This is a partial account, and is as much about the
films that didn’t win, or weren’t even nominated, than those
that did, and I hope that this is where the fun is for the
reader.There are good books that cover the political impact
of the awards, or go into considerable statistical detail about
the administration of the Oscars®, but this is not such a
book. It is also worth pointing out that Oscar® categories
come and go, often with changes of title, and usually as a result of changes in Academy rules. There is not enough
space in this book to itemise each one, but it is mentioned
here as an explanation for what may appear to be sudden
and unexplained lapses in consistency in the sections where
the winners are listed.
I came of age, cinemagoingwise, in the early Eighties,
and it is with a heavy heart that I now recognise this decade
to be something of a nadir in American cinema (and when
we’re talking Oscars®, it is almost self-evident that we’re
talking American cinema). It’s certainly my view that some
of the most mediocre films to be nominated for, and in
certain cases actually win, the Best Picture award are to be
found from 1983 onwards (although many of these films
are in fact archetypal Oscar® winners).You’ll have to check
out the chapter on the Eighties for the real name-calling,
but I relate this now as an example of the relative merits of
this book – you’ll find more in the way of opinionated
posturing in the later chapters. But it is my hope that it is
at least informed posturing.
The Academy of Motion Picture Arts and Sciences®
(AMPAS®) was founded on May 4th 1927 as something
between a union and a marketing organisation, an idea
driven, as many were in early Hollywood, by Louis B
Mayer of Metro-Goldwyn-Mayer (MGM).The list of goals
produced by the founding thirty-six members reads much
like that of any professional guild and covers such facets as
promoting ‘harmony and solidarity among the membership’
and ‘the honor and good repute of the profession’ (the
‘profession’ being moving pictures).
