纪录片自媒体解说素材-新闻动态参考-更多的国际选民可以扩大奥斯卡纪录片领域/More International Voters Could Broaden the Oscar Documentary Field
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/4441lm0d5f3slsc.jpg更多的国际选民可以扩大奥斯卡纪录片领域
More International Voters Could Broaden the Oscar Documentary Field
当人们谈论使娱乐业多样化时，它几乎总是以种族，性别或性行为为中心。但是，好莱坞最激进的转变之一基本上没有引起注意：在过去五年中，奥斯卡的纪录片分支机构将其成员数量翻了一番，而大约一半的新选民在美国以外的人口不仅仅是转向更多外国文件进入奥斯卡决赛选手和提名人。现在正在影响哪些电影获得资助和发行，并确定像国际功能和最佳图片一样大的类别中的获奖者。“我们会影响其他类别的胜利，因此，当您看到[韩国]电影中的电影时，例如'Parasite'赢得最佳局面，我们的分支机构可能在其中发挥了重要作用，”纪录片部长的罗杰·罗斯·威廉姆斯（Roger Ross Williams）说：“我们拥有26％的国际成员的巨大街区，他们不一定投票支持同一美国的美国。电影。他们有不同的方式来判断电影的艺术国王。在他的六年任期中，它已扩展为52个国家，成为电影艺术与科学学院的最多地球多样性。 Ripple效果是“在过去的五年中，我们发现越来越多的纪录片被提交为国家最佳国际功能的官方选择”，包括2019年来自马其顿的“ Honeyland”和罗马尼亚的2020年的“集体”被提名为DOC和国际功能。其他突破性提名包括2019年的“洞穴”（丹麦/叙利亚）和“叙利亚/英国/美国）和2020年的智利提交“摩尔代理人”。尽管许多人评论说，2020年的获胜者“我的章鱼老师”是Netflix原创自然文档，击败了更多的刻板电影，但很少有人指出这是南非的作品。在2016年，AMPAS发起了A2020女性数量的两倍和有色人种TS在十年末排名，这一目标超出了目标。作为这项工作的一部分，A2020小组委员会主席Williams与INTL合作。纪录片电影节阿姆斯特丹和其他团体将Doc分支从约300个电影制片人扩展到630多个，其中包括美国以外的168个，“所有这些国际成员现在都赞助来自其国家的新成员，所以我想看看他说：“这一数字继续增长。 ，一段时间以来，每个分支机构只能邀请有限的新成员。” Oyer说。 “因此，有很多电影制片人应该早些时候成为学院成员。纪录片开始爆炸[普及]，因此需要查看应考虑哪些电影制片人的成员资格同一时间，A2020开始了。几十年来，学院成员将自愿参加一个提名委员会，以偶然的过程中选择电影，该电影留下了屡获殊荣的热门歌曲，例如1989年的“ Roger＆Me”和1994年的“ Hoop Dreams”，而没有Doc Doc提名。在Doc分支机构最终推出后，它以新的资格与电影制片人进行了与新资格的抗衡，其中包括2002年的四个城市戏剧跑步，2005年在2005年的八个城市工作，以及2007年的14个城市，很快就被人们拒绝了。（最近，这一要求回到了六个大都市之一的一个一周的比赛。）让更多的外国文档功能进入该组合的是2018年的规则更改：如果他们在精选电影节上获得某些奖项，他们可以在没有戏剧性的情况下获得资格，或者如果他们是一个国家的国际特色官方选择。Oscar在新方向上的入围名单是2018年。” Doc NYC艺术总监Thom Powers说。电影包括“狗的遥远的吠叫”，“他人的沉默”和2019年奥斯卡提名“父亲和儿子的候选人”，“在很多人的预后清单上都不是。我和任何人一样感到惊讶。” NYC Doc NYC是11月10日至18日在哥谭举行的节日，他的回应是创建了国际电影节奖奖奖得主的冠军圈，该奖项可能已经逃脱了美国观众的通知。纪录片协会。 Doc NYC于12月21日在奥斯卡（Oscar）的15部电影之前发行了自己的入围清单。由霓虹灯/参与者）和杰西卡·贝希尔（Jessica Beshir）的“ faya dayi”，这是埃塞俄比亚植物对当地文化的影响（来自埃塞俄比亚/美国/卡塔尔和贾努斯电影）的肖像。在Doc NYC的入围名单上是分支机构成员E. Chai Vasarhelyi和Jimmy Chin的泰国洞穴戏剧“ The Rescue”（来自U.S./U.K。和国家地理纪录片电影/Greenwich Entertainment）。对实验性的美国纪录片人同样兴奋，她称其为“激进分支机构”作为成员。 “ Doc分支机构一直是非常进步的，我们可以领导其他分支机构的进步越多，越好。”“纪录片传统很大程度上来自局外人讲述有关其他社区的故事，” IDA执行董事Rick Perez说。 “我们看到的是试图在竞争环境中升级。”随着局外人成为内部人士，它对正在融资的电影产生了影响。他说：“非营利部门的资助者更加意识到谁在讲这些故事，而最初的发展资金通常来自那里。”荷兰，印度的Docedgekolkata和多伦多的Hot Docs论坛。 “但是他们的美学，力量和营销预算可能威胁到使纪录片变得特别的观点的包容性和多样性。问题是，您如何减轻将要赢得这些奖项的大量美元的影响？佩雷斯说：“通过在国际上扩大国际奖，我们确保不会由'docu tainment'主导。 Wave影响了美国的Auteurs。但这也可能导致更“受欢迎的”主流文档在颁奖典礼上被排除在顶级比赛中。这是导致首先要求Doc分支的情况相同的情况，它反映了独立电影在奥斯卡颁奖典礼上挤出了大预算的热门歌曲的方式，可以说有助于遍布仪式的评级。他说：“颁奖季的一些宣传和营销预算中的一些比电影本身更大。”“有时候，您将有一部关于社会问题的重要，有意义的电影，但其宣传预算可能是非营利组织和社会活动家为解决问题本身所付出的两倍。具有讽刺意味的是，对吗？”
When people talk about diversifying the entertainment industry, it almost always centers on race, gender or sexuality. But one of the most radical shifts in Hollywood has gone largely unnoticed: The Oscars’ documentary branch more than doubled its membership over the past five years, and around half of its new voters are based outside the U.S.
The move hasn’t just turned more foreign docs into Oscar finalists and nominees. It’s now influencing which films get funded and distributed, and determining winners in categories as big as international feature and best picture.
“We have an effect on what wins in other categories, so when you see a film like ‘Parasite’ win best picture, our branch probably played a big role in that,” says Roger Ross Williams, a documentary branch governor.
“We have a huge block of 26% international members, and they’re not necessarily voting for the same U.S.-based films. They have a different way of judging the art of filmmaking.”
During his six-year term, it’s expanded to represent 52 countries, becoming the most geo-diverse of the Academy of Motion Picture Arts and Sciences’ seventeen branches.
Tom Oyer, AMPAS senior VP of member relations and awards, says another ripple effect is that “in the last five years, we’re finding more and more documentaries being submitted as their country’s official selection for best international feature,” including 2019’s “Honeyland” from Macedonia and 2020’s “Collective” from Romania, both of which were nominated for doc and international feature. Other breakthrough noms include “The Cave” (Denmark/Syria) and “For Sama” (Syria/U.K./U.S.) in 2019, and 2020’s Chile submission “The Mole Agent.” And while many commented that the 2020 winner “My Octopus Teacher” was a Netflix Original nature doc defeating more hard-hitting films, fewer noted that it was a South African feature.
In 2016, AMPAS launched the A2020 initiative to double the number of women and people of color in its ranks by the end of the decade, a goal it surpassed. As part of this effort, A2020 subcommittee chair Williams worked with the Intl. Documentary Film Festival Amsterdam and other groups to expand the doc branch from some 300 filmmakers to more than 630, including 168 based outside the U.S.
“All of these international members now get to sponsor new members from their countries, so I’d like to see that number continue to grow,” he says.
Aside from Williams’ tireless efforts, from creating an international search team to persuading AMPAS execs that expanding the branch was “a worthy cause,” other factors helped.
“The documentary branch was created in 2001, and for a while there was only a limited number of new members that each branch could invite,” Oyer says. “So there were a lot of filmmakers who should have been Academy members earlier. Documentaries began exploding , and there became a need to look at which filmmakers should be considered for membership at around the same time A2020 began.”
Another pressure cooker for change was the Oscars’ troubled history with docs. For decades, Academy members would volunteer for a nominating committee, choosing films in a haphazard process that left top award-winning hits such as 1989’s “Roger & Me” and 1994’s “Hoop Dreams” without doc feature nominations. And after the doc branch finally launched, it antagonized filmmakers with new qualifications, including a four-city theatrical run in 2002, an eight-city stint in 2005 and a 14-city one in 2007 that was soon abandoned when people balked. (The requirement was recently pared back to a weeklong showing in one of six metropolitan areas.)
What let more foreign doc features enter the mix was a 2018 rule change: they could qualify without a theatrical run if they won certain awards at select film festivals, or if they were a country’s official selection for international feature.
“The year we realized that there was an international voting block taking the Oscar shortlist in new directions was 2018,” says Doc NYC artistic director Thom Powers. Films including “The Distant Barking of Dogs,” “The Silence of Others” and the 2019 Oscar nominee “Of Fathers and Sons” “weren’t on many people’s prognostication lists. I was caught by surprise as much as anyone.” DOC NYC, a fest running Nov. 10-18 in Gotham, responded by creating a winner’s circle section of international film fest prizewinners that may have escaped the notice of U.S. audiences.
The Intl. Documentary Assn. and DOC NYC release their own shortlists in advance of Oscar’s 15 films, due out Dec. 21. The two international films listed on both shortlists this year are Jonas Poher Rasmussen’s animated gay immigrant tale “Flee” (Denmark’s international film entry released in the U.S. by Neon/Participant) and Jessica Beshir’s “Faya Dayi,” a portrait of a psychoactive Ethiopian plant’s impact on local culture (from Ethiopia/U.S./Qatar and Janus Films).
The third international feature on DOC NYC’s shortlist is branch members E. Chai Vasarhelyi and Jimmy Chin’s Thai cave drama “The Rescue” (from U.S./U.K. and National Geographic Documentary Films/Greenwich Entertainment).
“It’s about time,” says U.S.-based Vasarhelyi, who is equally excited about experimental U.S. documentarians she calls “the Radical Branch” being added as members. “The doc branch has always been very progressive, and the more progressive we can be to lead other branches, the better.”
“The documentary tradition largely comes from outsiders telling stories about other communities,” says IDA exec director Rick Perez. “What we’re seeing is an attempt at a leveling of the playing field.”
And as outsiders become insiders, it’s having an impact on the films that are getting financed. “Funders in the nonprofit sector are much more aware of who’s telling these stories, and initial development money is often coming from there,” he says.
Many start in international pitch markets, including IDFA Forum in the Netherlands, DocedgeKolkata in India and Hot Docs Forum in Toronto.
“The rise of the popularity of documentary film on HBO, Netflix and now Hulu and Amazon Prime is a good thing,” Perez says. “But their aesthetic, power and marketing budgets could threaten the inclusivity and multiplicity of perspectives that make documentaries special. The problem is, how do you mitigate the influence of the massive amount
of dollars that are going to win these awards?”
Having more non-U.S. Oscar voters is one guardrail against this. “By expanding internationally, we ensure that the Academy Awards isn’t dominated by ‘docu-tainment,’” Perez says.
It’s possible that this new voting block could bring different styles and perspectives to mainstream doc filmmaking, similar to how the French New Wave influenced American auteurs. But it may also lead to more “popular” mainstream docs being shut out of top spots in the awards race. That’s the same scenario that led to calls for a doc branch in the first place, and it mirrors the way indie films have crowded out big-budget hits at the Oscars, arguably helping to crater the ceremony’s ratings.
Yet IDA’s Perez — who, like AMPAS’ Williams, is an award-winning director of indie docs — has more important concerns.
“Some of these publicity and marketing budgets for awards season are bigger than the films themselves,” he says. “Sometimes you’ll have an important, meaningful film about a social issue, but its publicity budget could be twice what nonprofits and social activists are paying to try to fix the issue itself. Kind of ironic, right?”
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非常不错，感谢楼主整理。。 太好了，终于找到宝藏论坛了！ 资源真不错，感谢分享！
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