Los Angeles’ long-awaited Academy Museum of Motion Pictures will tackle the Oscars’ “problematic history,” from racism over Gone With The Wind to the recent #OscarsSoWhite campaign and snubbing of female directors, officials said Wednesday.
The Oscar-awarding Academy first envisioned a museum dedicated to the magic of movies almost a century ago, and its doors are finally set to open in September after numerous delays, most recently caused by the pandemic.
On the day voting for this award season’s Oscar nominees closes, last year’s best supporting actress winner Laura Dern took journalists on a virtual tour of the museum.
Photo: AFP
“We will not shy away from problematic histories, including #OscarsSo-White, the lack of female representation and Hattie McDaniel’s mistreatment at the Oscars ceremony,” said Dern.
McDaniel became the first Black actor to win an Oscar for Gone With The Wind in 1940, but was forced to sit at a segregated table away from her white fellow nominees.
Other controversies to be addressed include the harassment of actress Sacheen Littlefeather when she accepted Marlon Brando’s Oscar as a protest against Hollywood’s portrayal of Native American, and the casting of white actresses to play Chinese characters in 1937’s The Good Earth.
Photo: Reuters
“We didn’t want to erase films and artists and moments that may be uncomfortable. We wanted to confront them and contextualize them, throughout all of our core gallery spaces,” said museum director Bill Kramer.
The 50,000 square-foot museum is set to host iconic Hollywood treasures from Judy Garland’s Wizard of Oz ruby slippers to Dracula’s cape, as well as a giant orb-shaped theater designed by Renzo Piano for premieres and screenings.
INTRODUCTION TO FILM
Spike Lee and Pedro Almodovar will be among the first directors to curate temporary galleries devoted to the works of individual filmmakers.
“I want to see yellow school buses double-parked in front of the museum, and these young, beautiful minds get introduced to cinema,” said Lee.
In the Oscars history section, 20 statuettes awarded from silent-era classics such as Friedrich Wilhelm Murnau’s Sunrise (1927) through to Barry Jenkins’ shock 2016 winner Moonlight will go on display.
Other galleries will honor crafts from animation and directing to hair and makeup, where the exhibition will “talk about black face and yellow face makeup, specifically designed for white actors to play certain roles,” Kramer said.
A section devoted to iconic costume designs will feature the African-inspired outfit worn by Danai Gurira in 2018’s seminal superhero movie Black Panther.
“The inclusion of Okoye’s uniform in the Academy’s museum is incredibly powerful because the history of Hollywood doesn’t look like the cast of Black Panther, said Gurira.
“But through the immortalization of this iconic film, and this iconic character at the museum, it gives me hope that the future of Hollywood will.”
Kramer admitted the museum “will not open if it’s not safe” but said the building was now fully ready to receive visitors, and expressed optimism that California’s vaccination roll-out and decline in COVID-19 cases would allow the museum to meet its Sept. 30 date.
Until then, the museum will run virtual pre-opening events, including talks with women who achieved historic Oscars milestones such as Sophia Loren, Whoopi Goldberg, Marlee Matlin and Buffy Sainte-Marie.
Towering high above Taiwan’s capital city at 508 meters, Taipei 101 dominates the skyline. The earthquake-proof skyscraper of steel and glass has captured the imagination of professional rock climber Alex Honnold for more than a decade. Tomorrow morning, he will climb it in his signature free solo style — without ropes or protective equipment. And Netflix will broadcast it — live. The event’s announcement has drawn both excitement and trepidation, as well as some concerns over the ethical implications of attempting such a high-risk endeavor on live broadcast. Many have questioned Honnold’s desire to continues his free-solo climbs now that he’s a
Lines between cop and criminal get murky in Joe Carnahan’s The Rip, a crime thriller set across one foggy Miami night, starring Matt Damon and Ben Affleck. Damon and Affleck, of course, are so closely associated with Boston — most recently they produced the 2024 heist movie The Instigators there — that a detour to South Florida puts them, a little awkwardly, in an entirely different movie landscape. This is Miami Vice territory or Elmore Leonard Land, not Southie or The Town. In The Rip, they play Miami narcotics officers who come upon a cartel stash house that Lt. Dane Dumars (Damon)
Francis William White, an Englishman who late in the 1860s served as Commissioner of the Imperial Customs Service in Tainan, published the tale of a jaunt he took one winter in 1868: A visit to the interior of south Formosa (1870). White’s journey took him into the mountains, where he mused on the difficult terrain and the ease with which his little group could be ambushed in the crags and dense vegetation. At one point he stays at the house of a local near a stream on the border of indigenous territory: “Their matchlocks, which were kept in excellent order,
Today Taiwanese accept as legitimate government control of many aspects of land use. That legitimacy hides in plain sight the way the system of authoritarian land grabs that favored big firms in the developmentalist era has given way to a government land grab system that favors big developers in the modern democratic era. Articles 142 and 143 of the Republic of China (ROC) Constitution form the basis of that control. They incorporate the thinking of Sun Yat-sen (孫逸仙) in considering the problems of land in China. Article 143 states: “All land within the territory of the Republic of China shall