theguardian.com
Oscar Race 2024: Records Poised to Break
The 2024 Oscars are shaping up to be a record-breaking year, with potential wins for Kathryn Bigelow, Chloé Zhao, and Ryan Coogler potentially creating unprecedented scenarios.
- How do the films' festival success and box office performance influence their Oscar prospects?
- Festivals like Venice and Telluride have been less impactful this year, but box office success, like Sinners's \$366 million, significantly boosts chances. While a festival launch isn't mandatory, as Oppenheimer demonstrated, sustained visibility is crucial, mirroring Everything Everywhere All at Once's success.
- What are the key films and filmmakers contending for major awards, and what would a win mean for them?
- Three frontrunners stand out: Kathryn Bigelow (A House of Dynamite), aiming for a second Best Director win; Chloé Zhao (Hamnet), who could become the first woman to win twice; and Ryan Coogler (Sinners), potentially making history as the first Black director to win.
- What are some lesser-known potential contenders, and what are the broader implications for the Academy Awards?
- Several films yet to premiere, including Paul Thomas Anderson's One Battle After Another and Bradley Cooper's Is This Thing On?, could emerge as contenders. The muted festival season suggests a greater emphasis on films with broader appeal and diverse representation, reflecting the Academy's evolving priorities.
Cognitive Concepts
Framing Bias
The article presents a balanced overview of potential Oscar contenders, highlighting achievements and potential challenges for various filmmakers. While it focuses on the potential record-breaking wins for female directors, it also acknowledges the achievements of male directors and the historical lack of diversity in the Best Director category. The framing is largely chronological, following the progression of the awards season and the release of films. However, the emphasis on the potential historical significance of wins for Bigelow, Zhao, and Coogler could be seen as subtly framing these outcomes as more newsworthy than other contenders.
Language Bias
The language used is largely neutral and descriptive. Terms like "big hit," "shoo-ins," and "steamier horror" add some subjectivity, but they are generally appropriate for the context and don't significantly skew the reader's perception. The description of Zhao's film as mixing "awards-friendly literary fittings with a keenly feminist narrative" could be considered slightly loaded, but it's also reasonably descriptive. The article avoids overtly biased or inflammatory language.
Bias by Omission
The article focuses primarily on a specific subset of high-profile films and directors. While this is understandable due to space constraints and the focus on Oscar predictions, it inevitably omits many other films and filmmakers who could be contenders. This omission is not necessarily biased, but it's important to acknowledge that the selection presented doesn't constitute a complete picture of the year's films. The analysis also largely focuses on commercially successful films; the omission of critically acclaimed but less commercially successful films might create an incomplete picture of the year's cinematic landscape.
False Dichotomy
The article presents a few instances of implied dichotomies. The repeated juxtaposition of Bigelow and Cameron's careers and the potential for a rematch suggests a false dichotomy of a rivalry, though it's presented more as a compelling narrative device than a deliberate oversimplification. The presentation of the "muted" festival season against the backdrop of potential record-breaking wins sets up a contrast, but this isn't presented as an eitheor scenario.
Gender Bias
The article rightly emphasizes the potential record-breaking achievements of female directors, highlighting their underrepresentation in the category historically. The focus on these achievements does not downplay the accomplishments of male directors; the article presents a relatively balanced view of the gender dynamics in the industry. However, while the article mentions several female actors, it could include more detailed discussion of their contributions rather than just focusing on their roles in award-winning movies.
Sustainable Development Goals
The article highlights the potential for multiple women directors (Kathryn Bigelow, Chloé Zhao) to win the Best Director Oscar, a historically male-dominated category. This would represent significant progress towards gender equality in the film industry. The article also discusses the success of films with strong female leads and feminist narratives, further supporting this SDG.