S avremenu filmsku industriju poslednjih desetak godina trese kriza originalnog sadržaja, pa se sve svelo na rimejkove, ributove i adaptacije popularnih romana i superheroja. Redi- telji i scenaristi su svoje kreativne resurse preselili na televiziju i striming servise, u koji- ma su našli siguran dom i publiku, svesni da ne mogu da dobiju bitku sa strip junacima na blagajnama. Dok bioskopima širom sveta suvereno vladaju Marvelovi junaci, sa povremenim upli- vom likova iz DC univerzuma, na drugoj strani filmskog novčića prestižnu dodelu nagrada Oskar trese nešto drugačija kriza – kriza identiteta. Dodela Oskara poslednjih godina se nalazi u čuvenoj dečjoj igri između dve vatre. Sa jedne strane bombardovana je kritikom publike koja smatra da voljeni blokbasteri zaslužuju nomi- naciju, a nikako je ne dobijaju zbog pretencioznog elitističkog shvatanja filma Akademije, ko- ja na popularan sadržaj gleda sa nipodaštavanjem. Sa druge strane, neokapitalističke vatrene lopte lete sa svih strana jer oglašivači koji planiraju da se reklamiraju u pauzama zahvalnica i nominacija žele veću gledanost dodele Oskara. Dugogodišnji pritisak je 8. avgusta prošle godine rezultirao predlogom Akademije da se uvede nova kategorija na dodeli Oskara – Najbolji popularni film. Cilj je bio da se stvori pro- stor za nagrađivanje filmova koji su najviše zaradili ili privukli najviše pažnje. Potez kojim bi se jednim udarcem ubile dve muve – veća gledanost i oglašivači. Međutim, umesto pozitivnih re- akcija, dogodila se buna. Burne reakcije filmskih kritičara, magazina, čak i jednog dela publike alarmirale su organizatore Oskara koji su odlučili da tu ideju primene tek 2020. godine kako bi iz- begli nepotrebnu medijsku dramu. Iako je, ruku na srce, godina za nama bila filmski poprilično tanana, jer je dominacija pomenu- tog Marvela bacila senku na većinu filmskih ostvarenja koja su pokušala da se domognu svetla po- zornice, početak sezone nagrada Zlatni globus, BAFTA i Critics Choice Awards već daju naznake u kom smeru će se kretati odluke Akademije kada je reč o Oskaru.
Akadamija nikada nije bila pod većim pritiskom. Publika zaljubljena u superheroje želi da takav film uđe u trku za zlatnu statuetu, a sam Marvel neće propustiti priliku da dobije potvrdu vrednosti i u Kodak dvorani
The Academy has never been under greater pressure. A public that’s in love with superheroes wants one such lm to enter the race for the golden statuette, and Marvel itself won’t miss out on the opportunity to receive con rmation of its worth at the Kodak Theatre
T he contemporary lm industry has been gripped, over the past decade or so, by a crisis of original content that has seen everything boil down to remakes, reboots and adaptations of popular novels and superheroes. Directors and scriptwriters have relocated their creative resources to television and streaming services, where they’ve found a se- cure home and audience, aware that they can’t win a box o ce battle against comic heroes. And while Marvel’s he- roes rule cinemas around the world as sovereigns, with the occasional in ux of characters from the DC Universe, on the oth- er side of the lm coin, the prestigious Academy Awards, known as the Oscars, is gripped by a somewhat di erent crisis – a crisis of identity. The Oscars award ceremony has in recent years found itself stuck in the popular children’s game “piggy in the middle”. On the one hand, it is bombarded by criticisms of an audience that considers its beloved blockbust- ers deserve a nomination and only don’t receive one because of the Academy’s pretentious, elitist understand- ing of lm, which views popular content with destain. On the other hand, neo-capitalists’ reballs y from all sides, because advertisers who plan to advertise during the breaks between acceptance speeches and nom- inations want a higher rating for the Oscars. Many years of pressure resulted in the Academy proposing, on 8 th August last year, the introduction of a new category at the Oscars:“Best Popular Movie”.The goal was to create a space for rewarding lms that earned the most money or attracted the most attention. This was a move that would kill two birds with one stone - high- er ratings and advertisers. However, instead of positive reactions, a rebellion arose. The tempestuous reactions of lm critics, magazines, and even one part of the public, set alarm bells ringing for the organisers of the Os- cars, who’ve decided only to apply this idea as of 2020, in order to avoid an unnecessary media drama. Although, truth be told, it has for years being running thin on lm works, because the dominance of the aforementioned Marvel has cast a shadow on most lm creations striving to gain light in the- atres, which is why the early season awards, the Golden Globes, BAFTA and Critics Choice Awards, already give indications of the direction in which the Academy’s decisions will move on the Oscars.
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