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Aristotle
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More than 2300 years after his death, Aristotle remains one of the most influential people who ever lived. He contributed to almost every field of human knowledge then in existence, and he was the founder of many new fields. According to the philosopher Bryan Magee, "it is doubtful whether any human being has ever known as much as he did".
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Among countless other achievements, Aristotle was the founder of formal logic, pioneered the study of zoology, and left every future scientist and philosopher in his debt through his contributions to the scientific method. Taneli Kukkonen, observes that his achievement in founding two sciences is unmatched, and his reach in influencing "every branch of intellectual enterprise" including Western ethical and political theory, theology, rhetoric, and literary analysis is equally long. As a result, Kukkonen argues, any analysis of reality today "will almost certainly carry Aristotelian overtones ... evidence of an exceptionally forceful mind." Jonathan Barnes wrote that "an account of Aristotle's intellectual afterlife would be little less than a history of European thought".
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Aristotle has been called the father of logic, biology, political science, zoology, embryology, natural law, scientific method, rhetoric, psychology, realism, criticism, individualism, teleology, and meteorology.
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The scholar Taneli Kukkonen notes that "in the best 20th-century scholarship Aristotle comes alive as a thinker wrestling with the full weight of the Greek philosophical tradition." What follows is an overview of the transmission and influence of his texts and ideas into the modern era.
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Aristotle's pupil and successor, Theophrastus, wrote the History of Plants, a pioneering work in botany. Some of his technical terms remain in use, such as carpel from carpos, fruit, and pericarp, from pericarpion, seed chamber. Theophrastus was much less concerned with formal causes than Aristotle was, instead pragmatically describing how plants functioned.
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The immediate influence of Aristotle's work was felt as the Lyceum grew into the Peripatetic school. Aristotle's students included Aristoxenus, Dicaearchus, Demetrius of Phalerum, Eudemos of Rhodes, Harpalus, Hephaestion, Mnason of Phocis, Nicomachus, and Theophrastus. Aristotle's influence over Alexander the Great is seen in the latter's bringing with him on his expedition a host of zoologists, botanists, and researchers. He had also learned a great deal about Persian customs and traditions from his teacher. Although his respect for Aristotle was diminished as his travels made it clear that much of Aristotle's geography was clearly wrong, when the old philosopher released his works to the public, Alexander complained "Thou hast not done well to publish thy acroamatic doctrines; for in what shall I surpass other men if those doctrines wherein I have been trained are to be all men's common property?"
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After Theophrastus, the Lyceum failed to produce any original work. Though interest in Aristotle's ideas survived, they were generally taken unquestioningly. It is not until the age of Alexandria under the Ptolemies that advances in biology can be again found.
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The first medical teacher at Alexandria, Herophilus of Chalcedon, corrected Aristotle, placing intelligence in the brain, and connected the nervous system to motion and sensation. Herophilus also distinguished between veins and arteries, noting that the latter pulse while the former do not. Though a few ancient atomists such as Lucretius challenged the teleological viewpoint of Aristotelian ideas about life, teleology (and after the rise of Christianity, natural theology) would remain central to biological thought essentially until the 18th and 19th centuries. Ernst Mayr states that there was "nothing of any real consequence in biology after Lucretius and Galen until the Renaissance."
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Greek Christian scribes played a crucial role in the preservation of Aristotle by copying all the extant Greek language manuscripts of the corpus. The first Greek Christians to comment extensively on Aristotle were Philoponus, Elias, and David in the sixth century, and Stephen of Alexandria in the early seventh century. John Philoponus stands out for having attempted a fundamental critique of Aristotle's views on the eternity of the world, movement, and other elements of Aristotelian thought. Philoponus questioned Aristotle's teaching of physics, noting its flaws and introducing the theory of impetus to explain his observations.
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After a hiatus of several centuries, formal commentary by Eustratius and Michael of Ephesus reappeared in the late eleventh and early twelfth centuries, apparently sponsored by Anna Comnena.
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Aristotle was one of the most revered Western thinkers in early Islamic theology. Most of the still extant works of Aristotle, as well as a number of the original Greek commentaries, were translated into Arabic and studied by Muslim philosophers, scientists and scholars. Averroes, Avicenna and Alpharabius, who wrote on Aristotle in great depth, also influenced Thomas Aquinas and other Western Christian scholastic philosophers. Alkindus greatly admired Aristotle's philosophy, and Averroes spoke of Aristotle as the "exemplar" for all future philosophers. Medieval Muslim scholars regularly described Aristotle as the "First Teacher". The title was later used by Western philosophers (as in the famous poem of Dante) who were influenced by the tradition of Islamic philosophy.
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With the loss of the study of ancient Greek in the early medieval Latin West, Aristotle was practically unknown there from c. CE 600 to c. 1100 except through the Latin translation of the Organon made by Boethius. In the twelfth and thirteenth centuries, interest in Aristotle revived and Latin Christians had translations made, both from Arabic translations, such as those by Gerard of Cremona, and from the original Greek, such as those by James of Venice and William of Moerbeke.
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After the Scholastic Thomas Aquinas wrote his Summa Theologica, working from Moerbeke's translations and calling Aristotle "The Philosopher", the demand for Aristotle's writings grew, and the Greek manuscripts returned to the West, stimulating a revival of Aristotelianism in Europe that continued into the Renaissance. These thinkers blended Aristotelian philosophy with Christianity, bringing the thought of Ancient Greece into the Middle Ages. Scholars such as Boethius, Peter Abelard, and John Buridan worked on Aristotelian logic.
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According to scholar Roger Theodore Lafferty, Dante built up the philosophy of the Comedy with the works of Aristotle as a foundation, just as the scholastics used Aristotle as the basis for their thinking. Dante knew Aristotle directly from Latin translations of his works and indirectly through quotations in the works of Albert Magnus. Dante even acknowledges Aristotle's influence explicitly in the poem, specifically when Virgil justifies the Inferno's structure by citing the Nicomachean Ethics. Dante famously refers to him as "he / Who is acknowledged Master of those who know".
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Moses Maimonides (considered to be the foremost intellectual figure of medieval Judaism) adopted Aristotelianism from the Islamic scholars and based his Guide for the Perplexed on it and that became the basis of Jewish scholastic philosophy. Maimonides also considered Aristotle to be the greatest philosopher that ever lived, and styled him as the "chief of the philosophers". Also, in his letter to Samuel ibn Tibbon, Maimonides observes that there is no need for Samuel to study the writings of philosophers who preceded Aristotle because the works of the latter are "sufficient by themselves and [superior] to all that were written before them. His intellect, Aristotle's is the extreme limit of human intellect, apart from him upon whom the divine emanation has flowed forth to such an extent that they reach the level of prophecy, there being no level higher".
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In the Early Modern period, scientists such as William Harvey in England and Galileo Galilei in Italy reacted against the theories of Aristotle and other classical era thinkers like Galen, establishing new theories based to some degree on observation and experiment. Harvey demonstrated the circulation of the blood, establishing that the heart functioned as a pump rather than being the seat of the soul and the controller of the body's heat, as Aristotle thought. Galileo used more doubtful arguments to displace Aristotle's physics, proposing that bodies all fall at the same speed whatever their weight.
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The English mathematician George Boole fully accepted Aristotle's logic, but decided "to go under, over, and beyond" it with his system of algebraic logic in his 1854 book The Laws of Thought. This gives logic a mathematical foundation with equations, enables it to solve equations as well as check validity, and allows it to handle a wider class of problems by expanding propositions of any number of terms, not just two.
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Charles Darwin regarded Aristotle as the most important contributor to the subject of biology. In an 1882 letter he wrote that "Linnaeus and Cuvier have been my two gods, though in very different ways, but they were mere schoolboys to old Aristotle". Also, in later editions of the book "On the Origin of Species', Darwin traced evolutionary ideas as far back as Aristotle; the text he cites is a summary by Aristotle of the ideas of the earlier Greek philosopher Empedocles.
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The philosopher Bertrand Russell claims that "almost every serious intellectual advance has had to begin with an attack on some Aristotelian doctrine". Russell calls Aristotle's ethics "repulsive", and labelled his logic "as definitely antiquated as Ptolemaic astronomy". Russell states that these errors make it difficult to do historical justice to Aristotle, until one remembers what an advance he made upon all of his predecessors.
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The Dutch historian of science Eduard Jan Dijksterhuis writes that Aristotle and his predecessors showed the difficulty of science by "proceed[ing] so readily to frame a theory of such a general character" on limited evidence from their senses. In 1985, the biologist Peter Medawar could still state in "pure seventeenth century" tones that Aristotle had assembled "a strange and generally speaking rather tiresome farrago of hearsay, imperfect observation, wishful thinking and credulity amounting to downright gullibility".
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Zoologists have frequently mocked Aristotle for errors and unverified secondhand reports. However, modern observation has confirmed several of his more surprising claims. Aristotle's work remains largely unknown to modern scientists, though zoologists sometimes mention him as the father of biology or in particular of marine biology. Practising zoologists are unlikely to adhere to Aristotle's chain of being, but its influence is still perceptible in the use of the terms "lower" and "upper" to designate taxa such as groups of plants. The evolutionary biologist Armand Marie Leroi has reconstructed Aristotle's biology, while Niko Tinbergen's four questions, based on Aristotle's four causes, are used to analyse animal behaviour; they examine function, phylogeny, mechanism, and ontogeny. The concept of homology began with Aristotle; the evolutionary developmental biologist Lewis I. Held commented that he would be interested in the concept of deep homology.
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Surviving works
The works of Aristotle that have survived from antiquity through medieval manuscript transmission are collected in the Corpus Aristotelicum. These texts, as opposed to Aristotle's lost works, are technical philosophical treatises from within Aristotle's school. Reference to them is made according to the organization of Immanuel Bekker's Royal Prussian Academy edition (Aristotelis Opera edidit Academia Regia Borussica, Berlin, 1831–1870), which in turn is based on ancient classifications of these works.
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Aristotle wrote his works on papyrus scrolls, the common writing medium of that era. His writings are divisible into two groups: the "exoteric", intended for the public, and the "esoteric", for use within the Lyceum school. Aristotle's "lost" works stray considerably in characterization from the surviving Aristotelian corpus. Whereas the lost works appear to have been originally written with a view to subsequent publication, the surviving works mostly resemble lecture notes not intended for publication. Cicero's description of Aristotle's literary style as "a river of gold" must have applied to the published works, not the surviving notes. A major question in the history of Aristotle's works is how the exoteric writings were all lost, and how the ones now possessed came to be found. The consensus is that Andronicus of Rhodes collected the esoteric works of Aristotle's school which existed in the form of smaller, separate works, distinguished them from those of Theophrastus and other Peripatetics, edited them, and finally compiled them into the more cohesive, larger works as they are known today.
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According to Strabo and Plutarch, after Aristotle's death, his library and writings went to Theophrastus (Aristotle's successor as head of the Lycaeum and the Peripatetic school). After the death of Theophrastus, the peripatetic library went to Neleus of Scepsis.
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Some time later, the Kingdom of Pergamon began conscripting books for a royal library, and the heirs of Neleus hid their collection in a cellar to prevent it from being seized for that purpose. The library was stored there for about a century and a half, in conditions that were not ideal for document preservation. On the death of Attalus III, which also ended the royal library ambitions, the existence of Aristotelian library was disclosed, and it was purchased by Apellicon and returned to Athens in about 100 BCE.
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Apellicon sought to recover the texts, many of which were seriously degraded at this point due to the conditions in which they were stored. He had them copied out into new manuscripts, and used his best guesswork to fill in the gaps where the originals were unreadable.
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When Sulla seized Athens in 86 BCE, he seized the library and transferred it to Rome. There, Andronicus of Rhodes organized the texts into the first complete edition of Aristotle's works (and works attributed to him). The Aristotelian texts we have to day are based on these.
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Depictions in art
Aristotle has been depicted by major artists including Lucas Cranach the Elder, Justus van Gent, Raphael, Paolo Veronese, Jusepe de Ribera, Rembrandt, and Francesco Hayez over the centuries. Among the best-known depictions is Raphael's fresco The School of Athens, in the Vatican's Apostolic Palace, where the figures of Plato and Aristotle are central to the image, at the architectural vanishing point, reflecting their importance. Rembrandt's Aristotle with a Bust of Homer, too, is a celebrated work, showing the knowing philosopher and the blind Homer from an earlier age: as the art critic Jonathan Jones writes, "this painting will remain one of the greatest and most mysterious in the world, ensnaring us in its musty, glowing, pitch-black, terrible knowledge of time."
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Eponyms
The Aristotle Mountains in Antarctica are named after Aristotle. He was the first person known to conjecture, in his book Meteorology, the existence of a landmass in the southern high-latitude region, which he called Antarctica. Aristoteles is a crater on the Moon bearing the classical form of Aristotle's name.
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Further reading
The secondary literature on Aristotle is vast. The following is only a small selection.
An American in Paris
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An American in Paris is a jazz-influenced symphonic poem (or tone poem) for orchestra by American composer George Gershwin first performed in 1928. It was inspired by the time that Gershwin had spent in Paris and evokes the sights and energy of the French capital during the Années folles.
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Gershwin scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back four Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928, in Carnegie Hall, with Walter Damrosch conducting the New York Philharmonic. It was Damrosch who had commissioned Gershwin to write his Concerto in F following the earlier success of Rhapsody in Blue (1924). He completed the orchestration on November 18, less than four weeks before the work's premiere. He collaborated on the original program notes with critic and composer Deems Taylor.
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Background
Although the story is likely apocryphal, Gershwin is said to have been attracted by Maurice Ravel's unusual chords, and Gershwin went on his first trip to Paris in 1926 ready to study with Ravel. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he could not teach him, saying, "Why be a second-rate Ravel when you can be a first-rate Gershwin?"
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Background
Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitz, a pianist Ravel had met during the war, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $10,000 fee for the tour, an enticement Gershwin knew would be important to Ravel.
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Background
Gershwin greeted Ravel in New York in March 1928 during a party held for Ravel's birthday by Éva Gauthier. Ravel's tour reignited Gershwin's desire to return to Paris, which he and his brother Ira did after meeting Ravel. Ravel's high praise of Gershwin in an introductory letter to Nadia Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after he played for her, she told him she could not teach him. Boulanger gave Gershwin basically the same advice she gave all her accomplished master students: "What could I give you that you haven't already got?" This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his Rhapsody in Blue. Paris at this time hosted many expatriate writers, among them Ezra Pound, W. B. Yeats, Ernest Hemingway, F. Scott Fitzgerald and artist Pablo Picasso.
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Composition
Gershwin based An American in Paris on a melodic fragment called "Very Parisienne", written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. Gershwin called it "a rhapsodic ballet"; it is written freely and in a much more modern idiom than his prior works.
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Composition
Gershwin explained in Musical America, "My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere."
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Composition
The piece is structured into five sections, which culminate in a loose A–B–A format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final "Grandioso".
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Response
Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of An American in Paris. He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses."
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Response
Critics believed that An American in Paris was better crafted than Gershwin's Concerto in F. Some did not think it belonged in a program with classical composers César Franck, Richard Wagner, or Guillaume Lekeu on its premiere. Gershwin responded to the critics:
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Response
It's not a Beethoven Symphony, you know... It's a humorous piece, nothing solemn about it. It's not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.
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Instrumentation
An American in Paris was originally scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, ratchet, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C, and D with circles around them, alto saxophone, tenor saxophone, baritone saxophone (all doubling soprano and alto saxophones), and strings. Although most modern audiences have heard the taxi horns using the notes A, B, C, and D, it had been Gershwin's intention to use the notes A♭4, B♭4, D5, and A3. It is likely that in labeling the taxi horns as A, B, C, and D with circles, he was referring to the four horns, and not the notes that they played.
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Instrumentation
A major revision of the work by composer and arranger F. Campbell-Watson simplified the instrumentation by reducing the saxophones to only three instruments: alto, tenor and baritone; the soprano and alto saxophone doublings were eliminated to avoid changing instruments. This became the standard performing edition until 2000, when Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in Campbell-Watson's revision. Gibbons' restored orchestration of An American in Paris was performed at London's Queen Elizabeth Hall on July 9, 2000, by the City of Oxford Orchestra conducted by Levon Parikian.
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Instrumentation
William Daly arranged the score for piano solo; this was published by New World Music in 1929.
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Preservation status
On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score would be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, were working to make scores available to the public that represent Gershwin's true intent. It was unknown whether the critical score would include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score would document changes in the orchestration during Gershwin's composition process.
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Preservation status
The score to An American in Paris was scheduled to be issued first in a series of scores to be released. The entire project was expected to take 30 to 40 years to complete, but An American in Paris was planned to be an early volume in the series.
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Preservation status
Two urtext editions of the work were published by the German publisher B-Note Music in 2015. The changes made by Campbell-Watson were withdrawn in both editions. In the extended urtext, 120 bars of music were re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance.
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Preservation status
On September 9, 2017, The Cincinnati Symphony Orchestra gave the world premiere of the long-awaited critical edition of the piece prepared by Mark Clague, director of the Gershwin initiative at the University of Michigan. This performance was of the original 1928 orchestration.
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Recordings
An American in Paris has been frequently recorded. The first recording was made for the Victor Talking Machine Company in 1929 with Nathaniel Shilkret conducting the Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording. This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A-flat, B-flat, a higher D, and a lower A.
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Recordings
The radio broadcast of the September 8, 1937, Hollywood Bowl George Gershwin Memorial Concert, in which An American in Paris, also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set.
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Recordings
Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music.
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Recordings
In 1945, Arturo Toscanini conducting the NBC Symphony Orchestra recorded the piece for RCA Victor, one of the few commercial recordings Toscanini made of music by an American composer.
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Recordings
The Seattle Symphony also recorded a version in 1990 of Gershwin's original score, before numerous edits were made resulting in the score as we hear it today.
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Recordings
The blues section of An American in Paris has been recorded separately by a number of artists; Ralph Flanagan & His Orchestra released it as a single in 1951 which reached No. 15 on the Billboard chart. Harry James released a version of the blues section on his 1953 album One Night Stand, recorded live at the Aragon Ballroom in Chicago (Columbia GL 522 and CL 522).
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Use in film
In 1951, Metro-Goldwyn-Mayer released the musical film An American in Paris, featuring Gene Kelly and Leslie Caron and directed by Vincente Minnelli. Winning the 1951 Best Picture Oscar and numerous other awards, the film featured many tunes of Gershwin and concluded with an extensive, elaborate dance sequence built around the symphonic poem An American in Paris (arranged for the film by Johnny Green), which cost $500,000.
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The Academy Award for Best Production Design recognizes achievement for art direction in film. The category's original name was Best Art Direction, but was changed to its current name in 2012 for the 85th Academy Awards. This change resulted from the Art Directors' branch of the Academy of Motion Picture Arts and Sciences (AMPAS) being renamed the Designers' branch. Since 1947, the award is shared with the set decorators. It is awarded to the best interior design in a film.
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The films below are listed with their production year (for example, the 2000 Academy Award for Best Art Direction is given to a film from 1999). In the lists below, the winner of the award for each year is shown first, followed by the other nominees in alphabetical order.
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The Academy Awards, commonly known as the Oscars, are awards for artistic and technical merit for the film industry. They are presented annually by the Academy of Motion Picture Arts and Sciences located in Beverly Hills, California, United States, in recognition of excellence in cinematic achievements as assessed by the Academy's voting membership. The Academy Awards are regarded by many as the most prestigious, significant awards in the entertainment industry worldwide. The Oscar statuette depicts a knight rendered in the Art Deco style.
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The major award categories are presented during a live televised Hollywood ceremony that is typically held in February or March. It is the oldest worldwide entertainment awards ceremony. The 1st Academy Awards were held in 1929, the second ceremony in 1930 was the first one broadcast by radio, and the 1953 ceremony was the first one televised. It is also the oldest of the four major annual American entertainment awards; its equivalents – the Emmy Awards for television, the Tony Awards for theater, and the Grammy Awards for music – are modeled after the Academy Awards.
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History
The first Academy Awards presentation was held on May 16, 1929, at a private dinner function at The Hollywood Roosevelt Hotel with an audience of about 270 people.
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History
The post-awards party was held at the Mayfair Hotel. The cost of guest tickets for that night's ceremony was $5 ($85 at 2020 prices). Fifteen statuettes were awarded, honoring artists, directors and other participants in the film-making industry of the time, for their works during the 1927–28 period. The ceremony ran for 15 minutes.
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History
For this first ceremony, winners were announced to the media three months earlier. For the second ceremony in 1930, and the rest of the first decade, the results were given to newspapers for publication at 11:00 pm on the night of the awards. In 1940, the Los Angeles Times announced the winners before the ceremony began; as a result, the following year the Academy started using a sealed envelope to reveal the names of the winners.
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History
The term "Oscar" is a registered trademark of the AMPAS; however, in the Italian language, it is used generically to refer to any award or award ceremony, regardless of which field.
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History
The first Best Actor awarded was Emil Jannings, for his performances in The Last Command and The Way of All Flesh. He had to return to Europe before the ceremony, so the Academy agreed to give him the prize earlier; this made him the first Academy Award winner in history. At that time, winners were recognized for the entirety of their work done in a certain category during the qualifying period; for example, Jannings received the award for two movies in which he starred during that period, and Janet Gaynor later won a single Oscar for performances in three films. With the fourth ceremony, however, the system changed, and professionals were honored for a specific performance in a single film. For the first six ceremonies, the eligibility period spanned two calendar years.
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History
At the 29th ceremony, held in 1957, the Best Foreign Language Film category, now known as Best International Feature Film, was introduced. Until then, foreign-language films had been honored with the Special Achievement Award.
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History
Perhaps the most widely seen streaker in history was 34-year-old Robert Opel, who streaked across the stage of The Dorothy Chandler Pavilion in Los Angeles flashing a peace sign on national US television at the 46th Academy Awards in 1974. Bemused host David Niven quipped, "Isn't it fascinating to think that probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings?" Later, evidence arose suggesting that Opel's appearance was facilitated as a publicity stunt by the show's producer Jack Haley Jr.
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History
Robert Metzler, the show's business manager, believed that the incident had been planned in some way; during the dress rehearsal Niven had asked Metzler's wife to borrow a pen so he could write down the famous line, which was thus not the ad-lib it appeared to be.
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History
The 74th Academy Awards, held in 2002, presented the first Academy Award for Best Animated Feature.
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History
From 1973 to 2020 and since 2022, all Academy Awards ceremonies have ended with the Academy Award for Best Picture. For 2021, this tradition was broken as the ceremony ended with the Academy Award for Best Actor.
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History
Traditionally, the previous year's winner for Best Actor and Best Supporting Actor present the awards for Best Actress and Best Supporting Actress, while the previous year's winner for Best Actress and Best Supporting Actress presents the awards for Best Actor and Best Supporting Actor.
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History
On February 9, 2020, Parasite became the first foreign-language film to win Best Picture at the award ceremony of 92nd Academy Awards.
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History
Tom Hanks announced, at the 2020 Oscar Ceremony, the opening of the Academy Museum of Motion Pictures on December 14, 2020. The museum development started in 2017 under Kerry Brougher, but is now led by Bill Kramer. The industry-curated exhibits are geared toward the history of motion pictures and the art & science of film making, exhibiting trailblazing directors, actors, film-makers, sound editors and more, and the museum houses famous artifacts from acclaimed movies such as Dorothy's Ruby Red Slippers from The Wizard of Oz.
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History
The 93rd Academy Awards ceremony, honoring the best films of 2020 and early 2021, was held on April 25, 2021, after it was postponed from its original February 28, 2021, schedule due to the impact of the COVID-19 pandemic on cinema. As with the two previous ceremonies, there was no host. The ceremony was broadcast on ABC. It took place at the Dolby Theatre in Los Angeles, California for the 19th consecutive year, along with satellite location taking place at the Union Station also in Los Angeles. Because of the virus impact on films and TV industries, Academy president David Rubin and CEO Dawn Hudson announced that for the 2021 Oscar Ceremony, streaming movies with a previously planned theatrical release were eligible. The theatrical requirement was reinstated starting with the 95th Academy Awards.
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Oscar statuette
The best-known award is the Academy Award of Merit, more popularly known as the Oscar statuette. Made of gold-plated bronze on a black metal base, it is 13.5 in (34.3 cm) tall, weighs 8.5 lb (3.856 kg), and depicts a knight rendered in Art Deco style holding a sword standing on a reel of film with five spokes. The five spokes represent the original branches of the Academy: Actors, Writers, Directors, Producers, and Technicians.
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Sculptor George Stanley (who also did the Muse Fountain at the Hollywood Bowl) sculpted Cedric Gibbons' design. The statuettes presented at the initial ceremonies were gold-plated solid bronze. Within a few years, the bronze was abandoned in favor of Britannia metal, a pewter-like alloy which is then plated in copper, nickel silver, and finally, 24-karat gold. Due to a metal shortage during World War II, Oscars were made of painted plaster for three years. Following the war, the Academy invited recipients to redeem the plaster figures for gold-plated metal ones. The only addition to the Oscar since it was created is a minor streamlining of the base. The original Oscar mold was cast in 1928 at the C.W. Shumway & Sons Foundry in Batavia, Illinois, which also contributed to casting the molds for the Vince Lombardi Trophy and Emmy Award statuettes. From 1983 to 2015, approximately 50 Oscars in a tin alloy with gold plating were made each year in Chicago by Illinois manufacturer R.S. Owens & Company. It would take between three and four weeks to manufacture 50 statuettes. In 2016, the Academy returned to bronze as the core metal of the statuettes, handing manufacturing duties to Walden, New York–based Polich Tallix Fine Art Foundry, now owned and operated by UAP Urban Art Projects. While based on a digital scan of an original 1929 Oscar, the statuettes retain their modern-era dimensions and black pedestal. Cast in liquid bronze from 3D-printed ceramic molds and polished, they are then electroplated in 24-karat gold by Brooklyn, New York–based Epner Technology. The time required to produce 50 such statuettes is roughly three months. R.S. Owens is expected to continue producing other awards for the Academy and service existing Oscars that need replating.
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The origin of the nickname of the trophy has been disputed as multiple people have taken credit for naming the trophy "Oscar".
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Bette Davis, in her 1962 autobiography, claimed she named it in 1936 after her first husband, Harmon Oscar Nelson, of whom the statue's rear end reminded her. But the term had been in use at least two years before, and in a 1974 biography written by Whitney Stine with commentary from Davis, Davis wrote "I relinquish once and for all any claim that I was the one — so, Academy of Motion Picture Arts and Sciences, the honor is all yours".
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Margaret Herrick, librarian and president of the Academy, may have said she named it after her supposed uncle Oscar in 1921. The only corroboration was a 1938 clipping from the Los Angeles Examiner, in which Herrick told a story of her and her husband joking with each other using the phrase, "How's your uncle Oscar".
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Columnist Sidney Skolsky wrote in his 1970 memoir that he came up with the term in 1934 under pressure for a deadline, mocking Vaudeville comedians who asked "Will you have a cigar, Oscar?" The Academy credits Skolsky with "the first confirmed newspaper reference" to Oscar in his column on March 16, 1934, which was written about that year's 6th Academy Awards. But in the newspaper clipping that Skolsky referred to, he wrote that "these statues are called 'Oscars'", meaning that the name was already in use.
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Bruce Davis, a former executive director of the Academy, credits Eleanore Lilleberg, a secretary at the Academy when the award was first introduced, for the nickname, as she had been in charge of pre-ceremony handling of the awards. Davis credits Lilleberg because he found in an autobiography of Einar Lilleberg, Eleanore's brother, that Einar had referenced a Norwegian army veteran named Oscar that the two knew in Chicago, whom Einar described as having always "stood straight and tall". He asserts credit "should almost certainly belong to" Lilleberg.
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To prevent information identifying the Oscar winners from leaking ahead of the ceremony, Oscar statuettes presented at the ceremony have blank baseplates. Until 2010, winners returned their statuettes to the Academy and had to wait several weeks to have their names inscribed on their respective Oscars. Since 2010, winners have had the option of having engraved nameplates applied to their statuettes at an inscription-processing station at the Governor's Ball, a party held immediately after the Oscar ceremony. The R.S. Owens company has engraved nameplates made before the ceremony, bearing the name of every potential winner. The nameplates for the non-winning nominees are later recycled.
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Prior to 1950, Oscar statuettes were (and remain) the property of the recipient. Since then the statuettes have been legally encumbered by the requirement that the statuette be first offered for sale back to the Academy for US$1. If a winner refuses to agree to this stipulation, then the Academy keeps the statuette. Academy Awards predating this agreement have been sold in public auctions and private deals for six-figure sums.
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In 1989, Michael Todd's grandson tried to sell Todd's Best Picture Oscar for his 1956 production of Around the World in 80 Days to a movie prop collector. The Academy earned enforcement of its statuette contract by gaining a permanent injunction against the sale.
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In 1992, Harold Russell consigned his 1946 Oscar for Best Supporting Actor for The Best Years of Our Lives to auction to raise money for his wife's medical expenses. Though his decision caused controversy, the first Oscar ever to be sold passed to a private collector on August 6, 1992 for $60,500 ($126,200 today). Russell defended his action, saying, "I don't know why anybody would be critical. My wife's health is much more important than sentimental reasons. The movie will be here, even if Oscar isn't".
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In December 2011, Orson Welles' 1941 Oscar for Citizen Kane (Academy Award for Best Original Screenplay) was put up for auction, after his heirs won a 2004 court decision contending that Welles did not sign any agreement to return the statue to the Academy. On December 20, 2011, it sold in an online auction for US$861,542 ($1,120,800 today).
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Some buyers have subsequently returned the statuettes to the Academy, which keeps them in its treasury.
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In addition to the Academy Award of Merit (Oscar award), there are nine honorary (non-competitive) awards presented by the Academy from time to time (except for the Academy Honorary Award, the Technical Achievement Award, and the Student Academy Awards, which are presented annually):
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The Academy also awards Nicholl Fellowships in Screenwriting.
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From 2004 to 2020, the Academy Award nomination results were announced to the public in mid-January. Prior to that, the results were announced in early February. In 2021, the nominees were announced in March. In 2022, the nominees were announced in early February for the first time since 2003.
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The Academy of Motion Picture Arts and Sciences (AMPAS), a professional honorary organization, maintains a voting membership of over 7,000 as of 2018.
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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) since the 7th Academy Awards in 1935. The firm mails the ballots of eligible nominees to members of the Academy in December to reflect the previous eligible year with a due date sometime in January of the next year, then tabulates the votes in a process that takes thousands of hours.
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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 contributions to the field of motion pictures.
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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.
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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%).
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In May 2011, the Academy sent a letter advising its 6,000 or so voting members that an online system for Oscar voting would be implemented in 2013.
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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 January 1 to midnight at the end of December 31, in Los Angeles County, California, and play for seven consecutive days, to qualify (except for the Best International Feature Film, Best Documentary Feature, and awards in short film categories). Additionally, the film must be shown at least three times on each day of its qualifying run, with at least one of the daily showings starting between 6 pm and 10 pm local time.
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For example, the 2009 Best Picture winner, The Hurt Locker, was originally 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. Foreign films must include English subtitles, and each country can submit only one film for consideration in the International Feature Film category per year.
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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 33 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 1280 by 720 pixels. Since the 90th Academy Awards, presented in 2018, multi-part and limited series have been ineligible for the Best Documentary Feature award. This followed the win of O.J.: Made in America, an eight-hour presentation that was screened in a limited release before being broadcast in five parts on ABC and ESPN, in that category in 2017. The Academy's announcement of the new rule made no direct mention of that film.
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The Best International Feature Film award does not require a U.S. release. It requires the film to be submitted as its country's official selection.
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The Best Documentary Feature award requires either week-long releases in both Los Angeles County and any of the five boroughs of New York City during the previous calendar year, or a qualifying award at a competitive film festival from the Documentary Feature Qualifying Festival list (regardless of any public exhibition or distribution), or submission in the International Feature Film category as its country's official selection. The qualifying theatrical runs must meet the same requirements as those for non-documentary films regarding numbers and times of screenings. Additionally, a film must have been reviewed by a critic from The New York Times, Time Out New York, the Los Angeles Times, or LA Weekly.