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308 | Further reading
The secondary literature on Aristotle is vast. The following is only a small selection. | 900 |
308 | Ackrill, J. L. (1997). Essays on Plato and Aristotle, Oxford University Press.
These translations are available in several places online; see External links.
Bakalis, Nikolaos. (2005). Handbook of Greek Philosophy: From Thales to the Stoics Analysis and Fragments, Trafford Publishing, .
Bolotin, David (1998). An Approach to Aristotle's Physics: With Particular Attention to the Role of His Manner of Writing. Albany: SUNY Press. A contribution to our understanding of how to read Aristotle's scientific works.
Burnyeat, Myles F. et al. (1979). Notes on Book Zeta of Aristotle's Metaphysics. Oxford: Sub-faculty of Philosophy.
Code, Alan (1995). Potentiality in Aristotle's Science and Metaphysics, Pacific Philosophical Quarterly 76.
De Groot, Jean (2014). Aristotle's Empiricism: Experience and Mechanics in the 4th century BC, Parmenides Publishing, .
Frede, Michael (1987). Essays in Ancient Philosophy. Minneapolis: University of Minnesota Press.
Gendlin, Eugene T. (2012). Line by Line Commentary on Aristotle's De Anima , Volume 1: Books I & II; Volume 2: Book III. The Focusing Institute.
Gill, Mary Louise (1989). Aristotle on Substance: The Paradox of Unity. Princeton University Press.
Jori, Alberto (2003). Aristotele, Bruno Mondadori (Prize 2003 of the "International Academy of the History of Science"), .
Knight, Kelvin (2007). Aristotelian Philosophy: Ethics and Politics from Aristotle to MacIntyre, Polity Press.
Lewis, Frank A. (1991). Substance and Predication in Aristotle. Cambridge University Press.
Lord, Carnes (1984). Introduction to The Politics, by Aristotle. Chicago University Press.
Loux, Michael J. (1991). Primary Ousia: An Essay on Aristotle's Metaphysics Ζ and Η. Ithaca, NY: Cornell University Press.
Maso, Stefano (Ed.), Natali, Carlo (Ed.), Seel, Gerhard (Ed.) (2012) Reading Aristotle: Physics VII. 3: What is Alteration? Proceedings of the International ESAP-HYELE Conference, Parmenides Publishing. .
[Reprinted in J. Barnes, M. Schofield, and R.R.K. Sorabji, eds.(1975). Articles on Aristotle Vol 1. Science. London: Duckworth 14–34.]
Reeve, C. D. C. (2000). Substantial Knowledge: Aristotle's Metaphysics. Hackett.
Scaltsas, T. (1994). Substances and Universals in Aristotle's Metaphysics. Cornell University Press.
Strauss, Leo (1964). "On Aristotle's Politics", in The City and Man, Rand McNally. | 901 |
308 | External links | 902 |
308 |
At the Internet Encyclopedia of Philosophy:
At the Internet Classics Archive
From the Stanford Encyclopedia of Philosophy:
| 903 |
308 | Collections of works
At Massachusetts Institute of Technology
Perseus Project at Tufts University
At the University of Adelaide
P. Remacle
The 11-volume 1837 Bekker edition of Aristotle's Works in Greek (PDFDJVU) | 904 |
308 | 905 |
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308 | 384 BC births
322 BC deaths
4th-century BC mathematicians
4th-century BC philosophers
4th-century BC writers
Academic philosophers
Acting theorists
Ancient Greek biologists
Ancient Greek economists
Ancient Greek epistemologists
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Aphorists
Aristotelian philosophers
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Critical thinking
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Founders of philosophical traditions
Greek male writers
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Humor researchers
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Metic philosophers in Classical Athens
Moral philosophers
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Philosophers and tutors of Alexander the Great
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Philosophers of history
Philosophers of law
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Philosophy writers
Rhetoric theorists
Social critics
Social philosophers
Students of Plato
Trope theorists
Virtue ethicists
Virtue ethics
Western culture
Western philosophy
Zoologists | 906 |
309 | An American in Paris is a jazz-influenced orchestral piece 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. | 907 |
309 | 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. | 908 |
309 | 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?" | 909 |
309 | 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. | 910 |
309 | 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, and artist Pablo Picasso. | 911 |
309 | Composition | 912 |
309 | 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. | 913 |
309 | 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." | 914 |
309 | The piece is structured into five sections, which culminate in a loose ABA 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". | 915 |
309 | Response | 916 |
309 | 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." | 917 |
309 | 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: | 918 |
309 | Instrumentation | 919 |
309 | 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, contrabassoon, 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 saxophones doubling soprano 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 A4, B4, D5, and A4. 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. | 920 |
309 | 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 saxophone doublings were eliminated to avoid changing instruments, and the contrabassoon was also deleted. 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. | 921 |
309 | William Daly arranged the score for piano solo; this was published by New World Music in 1929. | 922 |
309 | 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. | 923 |
309 | 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. | 924 |
309 | 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. | 925 |
309 | 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, an alteration usually attributed to F. Campbell-Watson. | 926 |
309 | Recordings | 927 |
309 | 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. | 928 |
309 | 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. | 929 |
309 | Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music. | 930 |
309 | 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. | 931 |
309 | The Seattle Symphony also recorded a version in 1990 of Gershwin's original score, before he made numerous edits resulting in the score as we hear it today. | 932 |
309 | 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). | 933 |
309 | Use in film
In 1951, Metro-Goldwyn-Mayer released the musical film, An American in Paris, featuring Gene Kelly and Leslie Caron. Winning the 1951 Best Picture Oscar, and numerous other awards, the film was directed by Vincente Minnelli, featured many tunes of Gershwin, and concluded with an extensive, elaborate dance sequence built around the An American in Paris symphonic poem (arranged for the film by Johnny Green), costing $500,000. | 934 |
309 | References | 935 |
309 | Further reading
Rimler, Walter. George Gershwin – An Intimate Portrait. Urbana, University of Illinois Press, 2009. chapter 6: Paris, pp. 28–33. | 936 |
309 | External links | 937 |
309 |
Scores, marked by Leonard Bernstein, Andre Kostelanetz, Erich Leinsdorf; New York Philharmonic archives
1944 recording by the New York Philharmonic conducted by Artur Rodziński
, New York Philharmonic, Leonard Bernstein, 1959. | 938 |
309 | 939 |
|
309 | 1928 compositions
Compositions by George Gershwin
Grammy Hall of Fame Award recipients
Music about Paris
Music commissioned by the New York Philharmonic
Symphonic poems | 940 |
316 | 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 Director's branch of the Academy of Motion Picture Arts and Sciences (AMPAS) being renamed the Designer's branch. Since 1947, the award is shared with the set decorator(s). It is awarded to the best interior design in a film. | 941 |
316 | 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. | 942 |
316 | Superlatives | 943 |
316 | Winners and nominees | 944 |
316 | 1920s | 945 |
316 | 1930s | 946 |
316 | 1940s | 947 |
316 | 1950s | 948 |
316 | 1960s | 949 |
316 | 1970s | 950 |
316 | 1980s | 951 |
316 | 1990s | 952 |
316 | 2000s | 953 |
316 | 2010s | 954 |
316 | 2020s | 955 |
316 | See also
BAFTA Award for Best Production Design
Critics' Choice Movie Award for Best Production Design | 956 |
316 | Notes | 957 |
316 | References | 958 |
316 | Best Production Design | 959 |
316 | Awards for best art direction | 960 |
324 | The Academy Awards, popularly known as the Oscars, are awards for artistic and technical merit in the film industry. They are regarded by many as the most prestigious and significant awards in the entertainment industry worldwide. Given annually by the Academy of Motion Picture Arts and Sciences (AMPAS), the awards are an international recognition of excellence in cinematic achievements, as assessed by the Academy's voting membership. The various category winners are awarded a copy of a golden statuette as a trophy, officially called the "Academy Award of Merit", although more commonly referred to by its nickname, the "Oscar". The statuette depicts a knight rendered in the Art Deco style. | 961 |
324 | The award was originally sculpted by George Stanley from a design sketch by Cedric Gibbons. AMPAS first presented it in 1929 at a private dinner hosted by Douglas Fairbanks in The Hollywood Roosevelt Hotel in what would become known as the 1st Academy Awards. The Academy Awards ceremony was first broadcast by radio in 1930 and was televised for the first time in 1953. It is the oldest worldwide entertainment awards ceremony and is now televised live worldwide. 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. A total of 3,140 Oscar statuettes have been awarded since its inception in 1929. They are widely cited as the most prestigious and renowned competitive awards in the field of entertainment. | 962 |
324 | 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. | 963 |
324 | 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. | 964 |
324 | The post-awards party was held at the Mayfair Hotel. The cost of guest tickets for that night's ceremony was $5 ($ 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. | 965 |
324 | Winners were announced to the media three months earlier. That was changed for the second ceremony in 1930. Since then, for the rest of the first decade, the results were given to newspapers for publication at 11:00 pm on the night of the awards. This method was used until 1940 when the Los Angeles Times announced the winners before the ceremony began; as a result, the Academy has, since 1941, used a sealed envelope to reveal the names of the winners. | 966 |
324 | Milestones
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. | 967 |
324 | 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. | 968 |
324 | 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. 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. | 969 |
324 | The 74th Academy Awards, held in 2002, presented the first Academy Award for Best Animated Feature. | 970 |
324 | From 1973 to 2020, 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. | 971 |
324 | 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 present the awards for Best Actor and Best Supporting Actor. | 972 |
324 | Parasite became the first foreign-language film to win Best Picture at the February 9, 2020, award ceremony. | 973 |
324 | Tom Hanks announced at the 2020 Oscar Ceremony, the opening of the Academy Museum of Motion Pictures on December 14, 2020.<ref>Barnes, Brooks (February 19, 2020). "Motion Picture Academy Museum Will Open in December." The New York Times. Retrieved March 15, 2020.</ref> The museum development started in 2017 under Kerry Brougher, but is now led by Bill Kramer. The industry curated exhibits will be geared toward the history of motion picture, the art & science of film making, exhibiting trailblazing directors, actors, film-makers, sound editors and more, and will house famous artifacts from acclaimed movies like Dorothy's Ruby Red Slippers. | 974 |
324 | Because of COVID-19, Academy president David Rubin and CEO Dawn Hudson announced that for the 2021 Oscar Ceremony, streaming movies not shown in theaters would be eligible, though at some point the requirement that movies be shown in theaters would return. | 975 |
324 | Oscar statuette | 976 |
324 | Academy Award of Merit (Oscar statuette) | 977 |
324 | 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. | 978 |
324 | 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's 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. 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. | 979 |
324 | Naming
The Academy officially adopted the name "Oscar" for the trophies in 1939. However, the origin of the nickname is disputed. | 980 |
324 | One biography of Bette Davis, who was a president of the Academy in 1941, claims she named the award after her first husband, band leader Harmon Oscar Nelson. A frequently mentioned originator is Margaret Herrick, the Academy executive secretary, who, when she first saw the award in 1931, said the statuette reminded her of "Uncle Oscar", a nickname for her cousin Oscar Pierce. | 981 |
324 | Columnist Sidney Skolsky, who was present during Herrick's naming in 1931, wrote that "Employees have affectionately dubbed their famous statuette '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. The 1934 awards appeared again in another early media mention of Oscar: a Time magazine story. In the ceremonies that year, Walt Disney was the first to thank the Academy for his "Oscar" during his acceptance speech. | 982 |
324 | Engraving
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. | 983 |
324 | Ownership of Oscar statuettes
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. | 984 |
324 | 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. | 985 |
324 | 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-ever Oscar to be sold passed to a private collector on August 6, 1992 for $60,500 ($ 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." | 986 |
324 | 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$861,542 ($ today). | 987 |
324 | Some buyers have subsequently returned the statuettes to the Academy, which keeps them in its treasury. | 988 |
324 | Other awards presented by the Academy | 989 |
324 | 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):
Governors Awards:
The Academy Honorary Award (annual) (which may or may not be in the form of an Oscar statuette);
The Irving G. Thalberg Memorial Award (since 1938) (in the form of a bust of Thalberg);
The Jean Hersholt Humanitarian Award (since 1957) (in the form of an Oscar statuette);
The Academy Scientific and Technical Awards:
Academy Award of Merit (non-competitive) (in the form of an Oscar statuette);
Scientific and Engineering Award (in the form of a bronze tablet);
Technical Achievement Award (annual) (in the form of a certificate);
The John A. Bonner Medal of Commendation (since 1978) (in the form of a medal);
The Gordon E. Sawyer Award (since 1982); and
The Academy Student Academy Awards (annual). | 990 |
324 | The Academy also awards Nicholl Fellowships in Screenwriting. | 991 |
324 | Nomination
Since 2004, Academy Award nomination results have been announced to the public in mid-January. Prior to that, the results were announced in early February. In 2021, the nominees are announced in March. | 992 |
324 | Voters
The Academy of Motion Picture Arts and Sciences (AMPAS), a professional honorary organization, maintains a voting membership of over 7,000 . | 993 |
324 | 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. | 994 |
324 | 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. | 995 |
324 | 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. | 996 |
324 | 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%). | 997 |
324 | 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. | 998 |
324 | 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 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. | 999 |
Subsets and Splits