Minari’s efforts to promote diversity following the #OscarsSoWhite campaign over the years have been Minari’s “Korean co-star Yoo-jung Yun to Pixar’s Soul”, the animation studio’s debut film featuring mainly African American artists. Even Anthony Hopkins’ Oscar made 83-year-old the oldest acting winner for “The Father,” posthumously preventing Chadwick Boseman from receiving that honor posthumously, a strike against ageism in an industry that It is known to be practiced.
However, such successes are only a multipurpose enterprise, such as its year’s awards can be judged, reflecting progress in some areas and deficiencies in others.
Yet in focusing on the recipients and the nominees, the producers seem to have forgotten about the audience. Large-scale distribution with clips of nominated films – many of which, it is worth noting, were certainly seen by some potential audiences – have delivered the most talk-heavy Oscars in recent times, with long testimonials from presenters And with no apparent – rap it “button on acceptance speeches”.
Moving elements are usually presented at pressures during telecasts – such as taped performances of nominated songs – to free up time for that. But as the gambler snatched away the rewards of most of his traditional entertainment assets, and defined by the loss over a year, the makers raced through the Inexplicable In Memoriam section, in what could be one of the most emotional moments.
Granted, the sole function of increasing these rewards during the epidemic provided some cover for the experiment, while minimizing the customary pressure to maximize ratings. This is about the only reasonable explanation for shifting the traditional award order and handing over the best picture before the top acting categories, setting the stage for the odd ending of the night.
Assuming that numbers fall sharply, it would be difficult to isolate them to an extent that was beyond the control of producers, as opposed to being at least partially due to telecasts, which often drive public television pledges. Used to feel like
Measuring the impact of the awards would be equally elusive, as streaming services – which dominated the evening, awarding nearly two-thirds of the honor – are famous about revealing how many people watch them.
Will more people subscribe to Hulu because “Nomadland” wins? Will Netflix be canceled due to seven awards? Can you convert the benefits of marketing, promotions and talent relations into tangible value?
During ABC’s Preserve David David Rubin, president of the Academy of Motion Picture Arts and Sciences, hoped that films could “lead to life at the end of the tunnel” following the epidemic, at a time when people can safely Can be reassembled, cinemas included. A video using the hash tag #TheBigScreenIsBack promoted movies by looking “the way you’ve always loved them.”
Should that happen, the flaws of this year’s Oscars telecast – and the future of the films – are likely to be called doom. A return to more and more normalcy will lead to the expectation that larger, more commercial films will lead to rebirth, even if the Sunday-night show matches grim predictions.
For now, however, the organizers of this year’s Academy Awards can derive some satisfaction from meeting the goal of cheerleading for their business. It is just that in doing so, at the end of this very difficult year, they failed to attend a show.