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自分が読んで興味深く感じた英文記事を中心に取り上げる予定です

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Lack of diversity?

 

今年のアカデミー賞ノミネート作品。主演男優賞も主演女優賞も白人だったことが議論を呼んでいるようです。WSJもNews Hourも取り上げています。アカデミー会員が白人で男性が大勢を占めていることが一因のようです。

Oscar Nominations Stir Up Controversy for Lack of Diversity
‘Boyhood,’ ‘Birdman’ and ‘Budapest’ rack up nominations while ‘Selma’ is overlooked in key categories.

By BEN FRITZ
Updated Jan. 16, 2015 3:34 p.m. ET

Many in Hollywood and on social media were struck by the lack of racial or ethnic diversity among the Oscar nominees. Though there were, in fact, very few contenders that featured diverse casts, “Selma” star David Oyelowo, who played Martin Luther King, Jr., and the movie’s director, Ava DuVernay, were both snubbed despite the film’s best-picture nomination. That means that the Academy Awards are without a person of color or a Hispanic nominated in the acting categories for the first time since 1999.

The Oscars are often a focal point for complaints about diversity in the movie industry, which studies have found remains less racially diverse on-screen and behind-the-scenes than the nation as a whole. Exacerbating that is the fact that 94% of the Academy’s 6,000-plus voting members were white as of 2012, according to a Los Angeles Times investigation.

Since then, the Academy appears to have made efforts to diversify its membership, inviting Chris Rock, Rosario Dawson and Kerry Washington, among others, to join. Cheryl Boone Isaacs, an African-American marketing executive, has been president of the Academy since 2013.




SelmaについてはLBJ大統領の役割が正確に描かれていないと批判を浴びていますが、これに関してベナフレックが関わった「アルゴ」は正確でない部分もあったのに受賞しているではないかと反論しています。

How the Oscars’ lack of diversity reflects who runs Hollywood
January 15, 2015 at 6:25 PM EST
For the first time in 20 years, all of the Academy Award nominees for leading and supporting acting roles are white. Gwen Ifill asks Mike Sargent of Pacifica Radio and Ann Hornaday of The Washington Post about the surprises and snubs of the 2015 Oscar nominations, and what it says about power and diversity in Hollywood.

GWEN IFILL: Mike Sargent, a lot of the debate about “Selma” in particular was about its accuracy, about its historical fidelity. Do you think that hurt it?
MIKE SARGENT: Well, I think it definitely hurt it. And I also feel it is kind of a load of malarkey.
I mean, let’s face it. Historical films and a number of the films nominated are historical films based on real people. Historical films in general always have a certain amount of elements that are not specifically historically accurate.
And I won’t — whether disagreeing or not agreeing, that campaign effectively allows the PGA to not get behind her — that’s the Producers Guild — the Directors Guild to not get behind her, and then, ultimately, the Academy can’t back a film that is — quote, unquote — “has a controversy” over its inaccuracy.
Meanwhile, a film like “Argo” won for best screenplay and best picture. Not only was it historically inaccurate, but the main character is a Latino played by Ben Affleck.


LBJがキング牧師の問題に消極的だったという描き方への批判はいろいろなところで出ていますが、例えば以下です。

HISTORY OPINION
Why You Should Care That Selma Gets LBJ Wrong
David Kaiser Jan. 9, 2015
Even in the movies—and especially in this one—accuracy matters

The film Selma—in wide release Jan. 9—tells one of the most dramatic stories in modern American history, of Martin Luther King Jr.’s successful crusade for voting rights in Alabama in 1965. It triggered a smaller drama of its own when former Lyndon Johnson aide Joseph Califano attacked its portrayal of his old boss in the Washington Post. The film is a well-produced and well-acted drama that will draw a lot of Oscar attention. In many respects—but not all—it was well-researched. Some have argued that the inaccuracies are not important to the purpose of the film, or that accuracy is beside the point when it comes to movies that aren’t documentaries. But Califano was right: its portrayal of Lyndon Johnson and his role in the passage of the Voting Rights Act could hardly be more wrong. And this is important not merely for the sake of fidelity to the past, but because of continuing implications for how we see our racial problems and how they could be solved.


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