by Timeka N. Tounsel, University of Washington
When the Academy of Motion Picture Arts and Sciences announced the nominees for its 95th Oscars and three of the most celebrated films of the season – “The Woman King,” “Till” and “Saint Omer” – received no nominations, a familiar refrain of frustration rang forth.
These films demonstrated typical dramatic and technical markers that tend to predict cinematic success – positive reviews, scripts inspired by true stories and adherence to dramatic formulas. So it was natural to wonder whether the fact that each featured a Black female director and Black female cast may have had something to do with the snubs.
Awards are certainly about more than pomp and circumstance. Gina Prince-Bythewood, who directed “The Woman King,” issued a heartfelt reflection on the significance of the Academy Awards for filmmakers from underrepresented groups.
They matter, Prince-Bythewood wrote, because directors can leverage those nominations and wins to make more films with larger budgets – the kinds of movies that only those with Oscars on their resumés will be in the running to direct.
As someone who studies, teaches and writes about Black popular culture, I understand how industry dynamics subject Black productions to greater scrutiny. Against this backdrop of skepticism, filmmakers have established a Black cinematic tradition that’s less anxious about capitulating to a system that has long marginalized Black stories.
So what other metrics, beyond recognition from the Academy, might be considered when gauging the state of Black cinema?
For me, two films from 2022 – “Master” and “Honk For Jesus. Save Your Soul.” – demonstrate just how far filmmakers have progressed in redefining Blackness on the silver screen. They dig deep…
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