Chappatte, «Le Temps»
Notas ao café“Estado de Guerra” é daqueles filmes que merecem mesmo ganhar. Kathryn Bigelow mereceu a pequena estátua e com ela tornou-se também a primeira mulher a ganhar um Óscar para melhor realizadora.
Ao mesmo tempo o domínio americano, embora continue, começa a esmorecer. Na última década seis dos dez Óscares para melhor realizador e cinco de melhor actriz foram para americanos, uma viragem desde os anos 70-90 onde estes ganharam quase tudo.
O recente surto de globalização começa a assemelhar-se ao início da atribuição do galardão deHollywood ; entre 1930 e 1969, apenas metade dos realizadores e das actrizes galardoados eram naturais dos EUA.
O recente surto de globalização começa a assemelhar-se ao início da atribuição do galardão de
[Fonte: The Economist]
Daniel W. Drezner prefere analisar os Óscares de uma outra perspectiva, o das relações internacionais:
[...] To be fair, there were no real surprises among the actual winners, draining any suspense from the proceedings.
Of course, this is a Foreign Policy blog — so are there any lessons that can be drawn about world politics from such a pop culture phenomenon? Actually, yes:
1) Clearly, security studies trumps international political economy when it comes to the Academy Awards. I noted yesterday that Avatar, The Hurt Locker and Inglourious Basterds were all about war and resistance. Those films received ten academy awards. The only nominated film that addressed IPE was Up in The Air, and it got shut out.
2) That said, the awards also suggest that in Hollywood, Thucydides’ dictum that “the strong do what they can, the weak do what they must” does not entirely hold. Despite being the highest grossing picture in history, Avatar got clobbered by The Hurt Locker. So much for financial power translating into prestige. That said, I’m pretty sure Kathryn Bigelow could take James Cameron in a fight, so maybe there was a different kind of power at work here. [...]
Of course, this is a Foreign Policy blog — so are there any lessons that can be drawn about world politics from such a pop culture phenomenon? Actually, yes:
1) Clearly, security studies trumps international political economy when it comes to the Academy Awards. I noted yesterday that Avatar, The Hurt Locker and Inglourious Basterds were all about war and resistance. Those films received ten academy awards. The only nominated film that addressed IPE was Up in The Air, and it got shut out.
2) That said, the awards also suggest that in Hollywood, Thucydides’ dictum that “the strong do what they can, the weak do what they must” does not entirely hold. Despite being the highest grossing picture in history, Avatar got clobbered by The Hurt Locker. So much for financial power translating into prestige. That said, I’m pretty sure Kathryn Bigelow could take James Cameron in a fight, so maybe there was a different kind of power at work here. [...]
Hajo de Reijger
Março 9, 2010
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