纪录片自媒体解说素材-新闻动态参考-“另一个球赛”：彩带动摇了奥斯卡纪录片/‘A Different Ballgame’: Streamers Shake Up the Oscar Documentary Race
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/4635o1st3fhvgf3.jpg“另一个球赛”：彩带动摇了奥斯卡纪录片
‘A Different Ballgame’: Streamers Shake Up the Oscar Documentary Race
不到十年前，赢得专题纪录片颁奖典礼的运动不包括日落大道上的广告牌，《纽约时报》中的六位数一页广告以及在纽约的克罗斯比酒店或洛杉矶的四个季节的不断放映由学院纪录片分支机构成员免费食品和鸡尾酒。如今，这是习惯性的。虽然奥斯卡赛（Docu Oscar Race）从来都不是一个完全公平的竞争环境，但如今的纪录片中所有的金钱和注意力都使一个小虚构的小虚构人物成为一项大生意。尽管学院内部有政策来反击和补偿没有大支持者的电影，但不可否认的是，流媒体服务的涌入及其对Doc Doc票价的不断增长的涌入使成为独立的失败者来变得更加困难奥斯卡赛季。StreamingServices于2013年正式进入颁奖季，当时Netflix获得了14项艾美奖提名。允许在颁奖典礼上获得的流媒体服务意味着在创意人才社区中使其合法化，并有机会成为原始内容市场的认真竞争对手，这反过来又有助于导致更多订阅者。渗透到艾美奖后不久，Netflix将目光投向了电影艺术与科学学院。在收购了有关2011年埃及革命的文档“广场”之后，Netflix于2013年获得了奥斯卡审议的资格。2014年，该医生获得了令人垂涎的纪录片提名 -Netflix的第一个奥斯卡奖。正式的平等DOC奖竞赛竞赛的剩下的事情已成为过去的事。作为HBO纪录片的负责人，Sheila Nevins已有38年的历史，在提升纪录片形式和执行执行电影的纪录片形式和赢得奥斯卡奖方面具有影响力。在内文斯（Nevins）的HBO任期期间，她的项目累积了28项奥斯卡奖。但是内文斯（Nevins），目前是MTV纪录片的负责人，近年来，对小金子的竞赛已经“成为一个不同的球形”。“纪录片一直是一种弱者，”内文斯说。 “现在，它变得多重了。除了Netflix外，这些金融家还包括亚马逊，Apple TV Plus，Disney拥有的国家地理和Hulu.in 8月，MTV纪录片获得了全世界的全球权利“提升，”杰西卡·金登（Jessica Kingdon）对中国经济增长的观察肖像。到目前为止，该医生在首映的Tribeca电影节和汉普顿电影节上赢得了纪录片冠军。尽管内文斯（Nevins）获得了奥斯卡（Oscar）的“提升”资格，但她不确定这部电影是否能在学院比赛中幸存下来。 “我正在玩硬现金。 “提升”可以以弱者的身份参加比赛并获得一些知名度，但可以赢得胜利吗？可能不是。能获得可见性吗在竞争激烈，高度的货币比赛中？也许。但是，如果您的马有三只腿，您将无法赢得比赛。 ，约翰·马吉奥（John Maggio）的“武器选择：受戈登公园的启发”（HBO）和安德烈亚斯·科夫（Andreas Koefoed纪录片的竞选预算。另一个原因是2012年的学院规则变更允许Doc分支机构的所有成员在入围名单上权衡。直到2011年，小型志愿分支机构委员会负责查看本年份的符合条件，以组成入围名单。每年经常有150多名符合条件的备案资格（去年有一部创纪录的238部合格电影），确保文档不会被忽视是一个真正的挑战。金钱经常用于战斗。DiscoveryPlus’Lisa Holme今年是三名奥斯卡竞争者：Evgeny Afineevsky的“ Francesco”，Rachel Fleit的“介绍，Selma Blair”和Pedro Kos的“ Rebel Hearts”。霍尔姆（Holme）担任Discovery集团内容和商业策略的高级副总裁，他说，由于流媒体服务仅专门用于非小说类内容，因此每位导演都会获得大量网络的“注意力和精力”。她说：“这是同时进行的。虽然霍尔姆不会透露每次Doc的奖项投掷多少发现Plus在颁奖典礼上投掷了多少，但她确实承认，如果在电影的FYC竞选上花费了大量的钱，那就不对了。 t导致了奥斯卡奖的发现奖，现金可能会导致一些同样有价值的东西 - 订户收购。“流媒体在越来越多的奖项运动中所带来的好处是，电影引起的关注的好处超出了一部电影，这是一部电影，霍尔姆说。“因此，如果您是一个仅在戏剧上映的分销商，我们就可以在IT上进行更多的投资，而您可能会在真空中查看该电影的损益，而很难使投资的经济学变得更加困难在这部电影中，这是有意义的。圣丹斯（Sundance）以推出继续获得奥斯卡奖的备受瞩目的纪录片而闻名，但今年没有亲自的观众以及这些现场放映的媒体，包括杰西卡·贝希尔（Jessica Beshir）的“ faya dayi”，克里斯蒂娜·莱迪（Faya Dayi），克里斯蒂娜·林德斯特斯特斯特斯特斯特斯特斯特斯特斯特斯特斯特斯特斯特鲁姆（KristinaLindström）和克里斯蒂安·佩特里（Kristian Petri's） “世界上最美丽的男孩，”卡米拉·尼尔森（Camilla Nielsson）的“总统”和贾米拉·威格诺特（Jamila Wignot）的“艾利（Ailey）”的“艾利”（Ailey）的速度比平常更慢。 INTL执行董事里克·佩雷斯（Rick Perez）说。纪录片协会。 “与观众和这个collec一起体验电影节日环境 - 有一个情感上的组成部分可以贯穿电影和体验，并且可以全年携带。但是，当人们在没有集体经验的情况下从家里流式传播这些电影时，它并没有以相同的方式引起共鸣。 Questlove”汤普森（Thompson）的《灵魂之夏》（Summer of Soul） - 在2021年圣丹斯（Sundance）首映的三部纪录片广受好评，并引起了很多媒体的兴趣。 Neon在据报道的100万美元中获得了“逃亡”，而探照灯图片和Hulu获得了“ Soumm of Soul”，获得了创纪录的1200万美元。 （HBO委托“同样的呼吸”。）虽然“在同一呼吸中”和“夏天的灵魂”被邀请参加各自夏季发行之前的一系列区域节，但“ Flee”已被邀请参加每个主要的奖项季电影节日，包括泰柳赖德，多伦多和纽约。 （霓虹灯将发布在12月3日在戏剧上。）Cinetic Media的Jason Ishikawa是出售“ Souls of Soul of Soul”的背后以及颁奖典礼上的其他文档，包括Matthew Heineman的“ The First Wave”，Peter Nick的“同居”，Lucy Walker的“露西·沃克（Lucy Walker）”带上自己的旅和“ Faya Dayi”。“ Faya Dayi的“推出”不如“ Souls of Soul's”那样吵，但是这部电影是在埃塞俄比亚乡村拍摄的，获得了吸引力，获得了哥谭奖，并获得了哥谭奖和一席之地。 IDA入围名单。 Ishikawa说，由首次由电影制片人执导的文档“占据了与跑步中的高产电影不同的空间”，这可能是一个优势。在过去的几年中，国际上的扩展很大。” Ishikawa说。 “这是一群人，他们真正确定是局外人，并在很多方面都是弱者。因此，我认为他们认为他们觉得是新的，令人兴奋的声音的经历，很喜欢虽然秋季节日（例如泰勒里德（Telluride）和多伦多）经常产生奥斯卡领先者，但今年的选择似乎比以往任何时候都更加生产。其中包括三个国家地理纪录片-Liz Garbus的“成为库斯托”，John Hoffman和Janet Tobias的“ Fauci”，E。ChaiVasarhelyi和Jimmy Chin的“ The Rescue”，以及Netflix的“游行”，Showtime的“ Attica” CNN Films/HBO Max的“ Citizen Ashe”和Apple TV Plus'“ The Velvet Underground”。“秋季节日是一个非常激进的发射台，因为他们没有这个巨大的窗口让电影有机地播放，石川说。 “他们有点不得不很快地人为地转移市场。” CNN电影的“朱莉娅”在特柳赖德和蒂夫放映，并将于11月12日由索尼影业经典在剧院上映。像内文斯（Nevins）一样，SPC的联合总裁兼联合创始人汤姆·伯纳德（Tom Bernard）对奥斯卡竞赛并不陌生。但是尽管与Netflix和Disney Dollars抗衡，他并不担心要定价。“那里有很多钱，但是在谈论奥斯卡赛比赛时，您可以通过让人们看电影来竞争，”他说。“当我说人们时，我的意思是那些要决定谁将成为最后五人，这就是纪录片分支机构。我不相信您可以通过购买数十亿个广告来影响[该分支机构中]的人。他们也是一个团体的成员，他们是近年来通过越来越多的企业存在在非小说类景观中的企业存在。他们是否选择庆祝那些从这种转变中受益的人还有待观察。
Less than a decade ago the campaign to win an Academy Award for feature documentary did not include billboards on Sunset Boulevard, six-figure one-page ads in the New York Times and incessant screenings at New York’s Crosby Hotel or Los Angeles’ Four Seasons followed by free food and cocktails for Academy documentary branch members. Nowadays it’s customary.
While the docu Oscar race has never been a completely level playing field, all the money and attention being thrown at documentaries these days has made garnering a little gold man for nonfiction a big business. And although there are policies in place within the Academy to counter and compensate for films without big backers, there is no denying that the influx of streaming services and their growing appetite for doc fare has made it that much more difficult to be the indie underdog come Oscar season.
Streaming services officially entered awards season in 2013 when Netflix earned 14 Emmy nominations. Allowing a streaming service to garner a spot in the awards race meant giving it legitimacy within the creative talent community as well as an opportunity to become a serious competitor in the original content market, which in turn would help lead to more subscribers. Shortly after infiltrating the Emmys, Netflix set its sights on the Academy of Motion Picture Arts & Sciences. After it acquired “The Square,” a doc about the 2011 Egyptian revolution, Netflix qualified the film for Oscar consideration in 2013. In 2014, the doc received the coveted documentary feature nomination — Netflix’s first Oscar nod. What was left of an egalitarian doc awards race playing field officially became a thing of the past.
As the head of HBO Documentaries for 38 years, Sheila Nevins was influential in elevating the documentary form and earning Oscars for nonfiction films she executive produced. During Nevins’ HBO tenure, her projects accumulated 28 Oscars. But Nevins, currently the head of MTV Documentary Films, admits that in recent years the race for the little gold man has “become a different ballgame.”
“The docu was always an underdog as a form,” says Nevins. “Now it’s becoming an overdog. There can still be docs about underdog subjects, but they tend to have overdog financers.”
In addition to Netflix, those financiers include Amazon, Apple TV Plus, Disney-owned National Geographic and Hulu.
In August, MTV Documentary Films acquired worldwide rights to “Ascension,” Jessica Kingdon’s observational portrait of the economic growth of China. So far, the doc has won for documentary feature at Tribeca Film Festival, where it premiered, and the Hamptons Film Festival. Though Nevins qualified “Ascension” for Oscar consideration, she’s not sure the film can survive the Academy race.
“There are people out there playing with Monopoly money,” Nevins says. “I’m playing with hard cash. ‘Ascension’ can enter a race as an underdog and get some visibility, but can it win? Probably not. Can it get visibility in a very competitive, highly monetary race? Maybe. But if your horse has three legs, you can’t win a race.”
In addition to “Ascension,” Tribeca 2021 premiered Oscar front-runners including Morgan Neville’s “Roadrunner: A Film About Anthony Bourdain” (CNN Films/HBO Max), John Maggio’s “A Choice of Weapons: Inspired by Gordon Parks” (HBO) and Andreas Koefoed’s “The Lost Leonardo” (Sony Pictures Classics).
The influx of streaming services isn’t the only reason why there has been an exponential rise in documentaries’ campaign budgets. Another cause was the 2012 Academy rule change that allowed for all members of the doc branch to weigh in on the shortlist. Until 2011, small volunteer branch committees were in charge of viewing the year’s eligible entries in order to form a shortlist. With often more than 150 docus eligible for consideration each year (last year there were a record-breaking 238 eligible films), ensuring a doc doesn’t get overlooked is a real challenge that money is often used to combat.
Discovery Plus’ Lisa Holme is behind three Oscar contenders this year: Evgeny Afineevsky’s “Francesco,” Rachel Fleit’s “Introducing, Selma Blair” and Pedro Kos’ “Rebel Hearts.” Holme, who serves as Discovery’s Group senior VP of content and commercial strategy, says since the streaming service is devoted solely to nonfiction content, each director is getting plenty of the network’s “attention and energy.”
“We’re not distracted by scripted campaigns that are going on at the same time,” she says.
While Holme wouldn’t divulge how much Discovery Plus is throwing at each doc’s awards run, she does admit that if the large sums of money being spent on a film’s FYC campaign doesn’t lead to an Academy Award for Discovery, that cash could lead to something arguably just as valuable — subscriber acquisitions.
“The benefit that streamers have in mounting awards campaigns is that the benefits of a film getting attention goes so much beyond that one film,” Holme says. “So, we’re able to invest more in it versus if you’re a distributor that is only doing a theatrical release — then you might be looking at that film’s P&L in a vacuum, and it becomes harder to make the economics of investing as much in that film make sense.”
Discovery Plus acquired “Rebel Hearts” out of the Sundance Film Festival in January. Sundance is known for launching high-profile documentaries that go on to have Oscar runs and wins, but this year without in-person audiences and the press that accompany those live screenings, docs including Jessica Beshir’s “Faya Dayi,” Kristina Lindström and Kristian Petri’s “The Most Beautiful Boy in the World,” Camilla Nielsson’s “President” and Jamila Wignot’s “Ailey” had slower and quieter than usual rollouts.
“The virtual experience of a film festival is obviously so much different than the in-person experience,” says Rick Perez, executive director of the Intl. Documentary Assn. “To experience a film with both an audience and in this collective festival environment — there’s an emotional component that carries through to both the film and the experience and that can carry throughout the year. But when people are streaming these films from their homes without that collective experience, it’s not resonating in the same way.”
Of course, there are the exceptions including Nanfu Wang’s “In the Same Breath,” Jonas Poher Rasmussen’s “Flee” and Ahmir “Questlove” Thompson’s “Summer of Soul” — three documentaries that premiered at Sundance 2021 to wide acclaim and plenty of media interest. Neon picked up “Flee” for a reported $1 million while Searchlight Pictures and Hulu garnered “Summer of Soul” for a record-breaking $12 million. (HBO commissioned “In the Same Breath.”)
While “In the Same Breath” and “Summer of Soul” were invited to a slew of regional fests before their respective summer releases, “Flee” has been invited to every major awards season film festival including Telluride, Toronto and New York. (Neon will release the film theatrically on Dec. 3.) Cinetic Media’s Jason Ishikawa was behind the sale of “Summer of Soul” as well as other docs in the awards race, including Matthew Heineman’s “The First Wave,” Peter Nick’s “Homeroom,” Lucy Walker’s “Bring Your Own Brigade” and “Faya Dayi.”
“Faya Dayi’s” rollout wasn’t as noisy as “Summer of Soul’s,” but the film, shot in rural Ethiopia, has gained traction, earning a Gotham Award nom and a spot on the IDA shortlist. Ishikawa says the doc, directed by a first time feature filmmaker, is “occupying a different space” than high-prolife films in the running, which might prove to be an advantage.
“As it relates to the Oscars, the documentary voting branch has expanded internationally pretty significantly over the past few years,” Ishikawa says. “And this is a group of people who really identify as being outsiders and operating as an underdog in a lot of ways. So, I think that experience of championing filmmakers that they feel are new, exciting voices, much like Sundance, is sort of their ethos.”
While fall festivals such as Telluride and Toronto often produce Oscar front-runners, this year’s selection seemed to produce more than ever. They included three National Geographic docus — Liz Garbus’ “Becoming Cousteau,” John Hoffman and Janet Tobias’ “Fauci,” and E. Chai Vasarhelyi and Jimmy Chin’s “The Rescue” — as well as Netflix’s “Procession,” Showtime’s “Attica,” CNN Films/HBO Max’s “Citizen Ashe” and Apple TV Plus’ “The Velvet Underground.”
“The fall festivals are a pretty aggressive launching pad for distributors because they don’t have this huge window to let the films roll out organically,” Ishikawa says. “They kind of have to artificially move the marketplace in their favor very quickly.”
CNN Films’ “Julia” screened at Telluride as well as TIFF and it will be released Nov. 12 in theaters by Sony Pictures Classics. Like Nevins, Tom Bernard, co-president and co-founder of SPC, is no stranger to the Oscar race. But despite being up against Netflix and Disney dollars, he isn’t worried about getting priced out.
“There’s lots of money out there, but when talking about the Oscar race, you compete by getting people to see your film,” he says. “And when I say people, I mean those people who are going to decide who’s going to be the final five and that’s the documentary branch. I don’t believe you can influence somebody by buying a zillion ads. They are a group that is very savvy and sensitive to being overly influenced.”
They are also members of a group that has witnessed the commercialization of the documentary form via a growing corporate presence in the nonfiction landscape in recent years. Whether they choose to celebrate those who have benefitted from that shift remains to be seen.
本文资料/文案来自网络，如有侵权，请联系我们删除。
感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢大佬分享。我又来学习了~ 谢谢更新，天天学习，天天向上！ 感谢分享啊。谢谢版主更新资源。 谢谢楼主分享，发现宝藏了。
页:
[1]