Categorie
Accademie arte Cinema critica cinematografica mercato Oscar Varia umanità

Oscar. The comedy of errors

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Oscar. The comedy of errors

The Oscar prize make jump the hearts of Europe and Italy for joy and make tremule actors, directors, musicians, producers and film distributors. Especially producers and distributors! Is a market’s award not an artistic award. It comes from America, for America and his markets. The jury is almost totally american. The prize start in the country of frenetic liberism where nothing move out of the markets and the business. It is rash to talk about films art! Better to talk about business and profit. Stories, talents  and ideas are as function of profit. Films prize winners was often blockbusters!! Rarely independents and niche cultural products wins the award.  Italians friends, look like this at the Oscar Prize from the history, without any surprise: from Sciuscià, to Fellini, from Roberto Benigni to Youth, from Dante Ferretti to Ennio  Morricone. All products and producers and actors  “malgrè tout ” are very very yankees. The art, I believe, is elsewhere, and the winner is..the business!

From Wikipedia:

“Voters
The Academy of Motion Picture Arts and Sciences (AMPAS), a professional honorary organization, maintains a voting membership of 5,783 as of 2012.Academy membership is divided into different branches, with each representing a different discipline in film production. Actors constitute the largest voting bloc, numbering 1,311 members (22 percent) of the Academy’s composition. Votes have been certified by the auditing firm PricewaterhouseCoopers (and its predecessor Price Waterhouse) for the past 73 annual awards ceremonies. All AMPAS members must be invited to join by the Board of Governors, on behalf of Academy Branch Executive Committees. Membership eligibility may be achieved by a competitive nomination or a member may submit a name based on other significant contribution to the field of motion pictures.New membership proposals are considered annually. The Academy does not publicly disclose its membership, although as recently as 2007 press releases have announced the names of those who have been invited to join. The 2007 release also stated that it has just under 6,000 voting members. While the membership had been growing, stricter policies have kept its size steady since then.In 2012, the results of a study conducted by the Los Angeles Times were published describing the demographic breakdown of approximately 88% of AMPAS’ voting membership. Of the 5,100+ active voters confirmed, 94% were Caucasian, 77% were male, and 54% were found to be over the age of 60. 33% of voting members are former nominees (14%) and winners (19%).In May 2011, the Academy sent a letter advising its 6,000 or so voting members that an online system for Oscar voting will be implemented in 2013.[35]

Rules
According to Rules 2 and 3 of the official Academy Awards Rules, a film must open in the previous calendar year, from midnight at the start of 1 January to midnight at the end of 31 December, in Los Angeles County, California and play for seven consecutive days, to qualify (except for the Best Foreign Language Film).[36][37] For example, the 2009 Best Picture winner, The Hurt Locker, was actually first released in 2008, but did not qualify for the 2008 awards as it did not play its Oscar-qualifying run in Los Angeles until mid-2009, thus qualifying for the 2009 awards.Rule 2 states that a film must be feature-length, defined as a minimum of 40 minutes, except for short subject awards, and it must exist either on a 35 mm or 70 mm film print or in 24 frame/s or 48 frame/s progressive scan digital cinema format with a minimum projector resolution of 2048 by 1080 pixels.Producers must submit an Official Screen Credits online form before the deadline; in case it is not submitted by the defined deadline, the film will be ineligible for Academy Awards in any year. The form includes the production credits for all related categories. Then, each form is checked and put in a Reminder List of Eligible Releases.Film companies will spend as much as several million dollars on marketing to awards voters for a movie in the running for Best Picture, in attempts to improve chances of receiving Oscars and other movie awards conferred in Oscar season. The Academy enforces rules to limit overt campaigning by its members so as to try to eliminate excesses and prevent the process from becoming undignified. It has an awards czar on staff who advises members on allowed practices and levies penalties on offenders.[42] For example, a producer of the 2009 Best Picture nominee, The Hurt Locker, was disqualified as a producer in the category when he contacted associates urging them to vote for his film and not another that was seen as front-runner (The Hurt Locker eventually won).”

Giuseppe Campagnoli

Categorie
Arte d'oggi Cinema

La grande bellezza. Ora la giovinezza: o la vecchiezza?

di Giuseppe Campagnoli Giuseppe-Campagnoli

 

In attesa di dire qualcosa sul film di Sorrentino in esame a Cannes, riproponiamo il testo delle nostre impressioni sul film che prese l’Oscar.

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La grande bruttezza

Aleggiano  perversamente la Dolce Vita e il Piccolo Diavolo. Fellini senza la novità e senza i tempi di Fellini. Nanni Moretti e l’Armata Brancaleone. Cento scene di commedia all’italiana impapocchiate qua e là. Un guazzabuglio di esasperati ed esagerati stereotipi italici. Inquietanti suore e prelati che danzano e si dondolano mentre nella mente emerge l’eco de “Todo Cambia” Una grande bouffe di falsa turistica romanità e banale melanconica forzata joie de vivre. Irriverenti inconsapevoli e inopportune citazioni al genio di Pasolini sottotraccia. Un Oscar (vero riconoscimento ai meriti cinematografici domestici ed esotici o grande bluff del mercato e dei media?) elemosinato ai sudditi dell’impero hollywoodiano per la loro imperitura  tragicomica italianità? Gli attori noti e meno noti sembrano passare da un film all’altro con la loro imperturbabile immodificata grottesca maschera per tutti i sentimenti e tutte le stagioni. Dov’è il talento? Non sarà che restano solo i monumenti che invecchiano e una città morente? E’ un film, a mio avviso, fatto solo di punti interrogativi ma non di esclamazioni.

Giuseppe  Campagnoli

The great ugly

There is a distorted sense of  Fellini’s “Dolce Vita” and Benigni’s “The little devil” in the air.Fellini without innovation and without Fellini’s times. Nanni Moretti and the “Armata Brancaleone” We are watching a million sceneries of italian comedy bungled here and there and a hotchpotch of  extremes and excessives  italian clichés. Disquieting sisters and prelates dancing and swinging. In our mind the music of “Todo Cambia” and “une grande bouffe” of  ridiculous Roman spirit of “joie de vivre”! We observe also irreverent mentions to Pasolini.Why the Oscar? It’s the award dedicated only to the american motions or to the global show business?   The prize to italian movie is only to give alms  for an  American Empire’s subject  by virtue of  eternal but wrong tragicomic  Italian character? Italian actors of “The Great Beauty” are going  from a film to the other but their grotesque mask don’t change as if  Italy were a mummified country.Where is the talent? There are only  deteriorating aged monuments and great dying city? In my opinion the film is an interrogative movie not exclamatory!

Giuseppe  Campagnoli

Aggiornamenti. Anche l’Europa ha dato soldi alla produzione del film!

La commissaire européenne Androulla Vassiliou a félicité le réalisateur-scénariste italien Paolo Sorrentino, dont la comédie dramatique La Grande Bellezza (La grande beauté), produite avec le soutien du programme MEDIA, a remporté l’Oscar du meilleur film en langue étrangère lors de la 86e cérémonie des Oscars qui s’est déroulée à Hollywood. Ce film, qui met en vedette Toni Servillo dans le rôle d’un mondain de 65 ans se lançant dans une réflexion sur sa propre existence à Rome, a bénéficié d’un soutien de plus de 300 000 euros dans le cadre du programme MEDIA de l’Union européenne, pour la production et la distribution cinématographiques. Au total, sept films cofinancés par MEDIA ont été nommés aux Oscars, dans six catégories.

Fantastico! Vassiliou congratulates Sorrentino after La Grande Bellezza scoops Oscar

European Commissioner Androulla Vassiliou has congratulated Italian director-screenwriter Paolo Sorrentino whose MEDIA-backed epic La Grande Bellezza (The Great Beauty) won the Oscar for Best Foreign Language Film at last night’s 86th Academy Awards in Hollywood. The movie, staring Toni Servillo as a 65-year-old socialite reflecting on his life in Rome, has received more than €300 000 to date from the European Union’s MEDIA programme for film development and distribution. In total, seven MEDIA-backed titles were nominated for Oscars in six categories.

Writing on Twitter this morning, Commissioner Vassiliou commented: “It gave me great pleasure to hand over the best European Film Award to the Great Beauty by Sorrentino last December. Now I am thrilled that it received the Oscar as well for the best foreign film. Fantastico!”.

La Grande Bellezza, which premiered at the 2013 Cannes Film Festival, is an Italian (Medusa Film, Indigo Film) and French (Babe Film) co-production. As well as winning four prizes at the European Film Awards in Berlin last December (best film, director, actor, editor), it has also won the best foreign film category at the Golden Globes and the British Academy Film Awards (BAFTAs).

belleza