Posts Tagged ‘Academy Awards’
February 23, 2015 | by Sadie Stein
Over the past several years, a series of reports have said that fewer medical students than ever are choosing to go into psychiatry. There are factors the authors generally cite: the wider availability of prescription drugs, the decline of analysis, the range of alternative therapies. There are fewer stigmas about seeing a psychotherapist nowadays—and people who might once have visited a psychiatrist can now avail themselves of yoga, meditation, and other means of self-help.
Having watched the Oscars red-carpet coverage last night, I have yet another theory: E! From what I could gather, every member of the network’s team—Ross Mathews, Kelly Osbourne, special correspondent Khloé Kardashian, the inevitable Giuliana Rancic—is well versed in the jargon of the Diagnostic and Statistical Manual of Mental Disorders. (Doubly impressive as they are also all trained in fashion law enforcement.) They threw out self-diagnoses with the confidence of a 1960s Jungian analyst: Osbourne was “obsessed” with Marion Cotillard’s dotted Dior; Zoe Saldana’s post-baby body was “literally insane.” Countless things were, of course, crazy. I started to keep a tally on a paper napkin, but I couldn’t bear to watch the whole thing, so my results were compromised. (I already had a little hieroglyphic army, though.) Read More »
February 23, 2015 | by Dan Piepenbring
- The FBI kept a file on James Baldwin that ran to 1,884 pages. What was in it? Reasonably adept criticism, among other things: “The mixed bag of memos, letters, and clippings that composed the typical FBI author file included more than espionage reports … It also included outbursts of literary critical prose, a type of writing judgmental in nature, but always indebted to the prior writing it describes. FBI author files thus qualify as recognizable works of literary commentary, as state-subsidized assessments and interpretations quietly warring with those produced by English professors and less stuffy book reviewers.”
- A new exhibition at the New York Society Library, “Readers Make Their Mark,” collected annotated books from the sixteenth to the twentieth centuries, thus continuing the culture’s growing fascination with marginalia. “Sometimes they are making proclamations about their own books: George Bernard Shaw identifies a printed text of his Too True to be Good as a ‘Provisional Prompt Copy’ for a particular production and calls it ‘Frightfully Private. No Press Agent to be let near it.’ And sometimes—as in the case of an early woman reader who judges the characters in Emma, one by one—they respond to their books in ways that still seem familiar.”
- “Let’s get out of here” is one of the most common lines in film—people in movies just love to leave places. “It confers agency on whoever says it. It draws a line under what’s gone before. It propels action. It justifies a change of scene, no matter how abrupt.” But in more contemporary movies, “getting out of here” faces stiff competition from its longtime nemesis, “staying put.” “This emphasis on staying suits our times: The people writing and watching these movies are all part of an introspective, if not isolationist, culture that’s still licking its wounds after plotless wars and a traumatic recession.”
- Is there anything more insufferable than our current predilection for all things twee? “Twee is a symptom of profound cultural exhaustion, a pop-cultural response to the death of grand narratives and radical politics: too weary to fight the corporate capitalist machine, the twee instead create hyper-stylized alternative worlds in which kittens play, ukuleles sound and childhood is eternal. Their basic disposition is melancholy rather than angry, and they will always opt for owl-print wallpaper over kicking against the pricks.”
- I’ve always dreamed of winning an Oscar—I could put it up for auction, I thought, and make a lot of money, and that would be cool. But it turns out that selling your Oscar trophy is a great way to get sued by the Academy. In fact, the Academy thrills to a good lawsuit; they’ve also brought suits against “television shows that use the name ‘Oscar’ (i.e., ‘The Wine Oscars’); a website that predicts Oscar winners; and a chocolate-maker who produced Oscar-shaped candies.” Next up: people named Oscar, or people related to those people.
February 21, 2012 | by Perrin Drumm
On February 26, approximately forty million people will tune into ABC to watch the eighty-fourth Academy Awards. It was around this time eighty-three years ago that the first winners of the Academy Award of Merit were notified, via telegraph, even though it would be another three months before the ceremony itself took place—an event that drew an audience of only 270 people, each of whom paid five dollars for a private dinner at the Roosevelt Hotel. While guests dined on filet of sole sauté au buerre and half-broiled chicken on toast, master of ceremonies Douglas Fairbanks dispensed with the awards in a mere fifteen minutes. There were no speeches and no cameras. It was the only untelevised Academy Awards in history.
There aren’t too many people who are still under the impression that the Oscars shine an unbiased eye on all the films of the year. But, in fact, it was never intended to be an impartial awards ceremony. According to MGM studio head Louis B. Mayer, who created the awards, “the best way to handle [filmmakers] was to hang medals all over them ... If I got them cups and awards they’d kill themselves to produce what I wanted. That’s why the Academy Award was created.” Predictable though they may now be, even the most jaded of cinephiles can’t help but get at least a little excited when the nominations are announced each year.
Only this year one not-so-predictable contender was announced: the unlikely audience favorite The Artist swept up ten Oscar nominations, including Best Motion Picture. If it wins it will be only the second silent film in history to win in the category. The other was Wings, a war film by William A. Wellman, which won Best Picture at the very first Academy Awards.
This fact alone is a point of contention. In 1929 the Best Picture award was split into two separate categories, Unique and Artistic Production, which went to F. W. Murnau’s Sunrise: A Tale of Two Humans, and Outstanding Picture, Production, which went to Wellman’s action-packed WWI aviation adventure. The next year, when the award was consolidated into the single Best Motion Picture, it was Wings that went down in the books as the sole winner and, according to many historians, as the last great silent film. Read More »