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7 Takeaways From Gina Prince-Bythewood’s MUST-READ THR Feature About The Oscars Lack of Recognition of Black Talent

7 Takeaways From Gina Prince-Bythewood's MUST-READ THR Feature

“I want our industry to be better. What does “for your consideration” mean when you don’t press play?”

The recent Oscar Awards season has shed light on a long-standing issue in Hollywood – the lack of recognition for Black filmmakers and their work.

While speaking with The Hollywood Reporter, The Woman King Director Gina Prince Bythewood reflects on her experience as a Black filmmaker and the impact of the Oscars on the industry.

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She highlights the disparities in the recognition and appreciation of Black artists, and raises questions about the barriers that prevent the Academy from seeing the humanity and heroism in Black women’s work.

Through her personal experiences and observations, Prince-Bythewood sheds light on the challenges faced by Black filmmakers and the need for change in the industry.

The Oscars have made a scorchingly loud statement in regards to the work of Black actors and directors and Prince-Bythewood is speaking out. Not just in regards to her film, The Woman King but the other Black female-led films and the Oscars historical shut-out of Black talent.

Check out seven major takeaways from the must-read article (click here to read the article) and listen to our response on the Rated B podcast.

There has never been a Black filmmaker who won the best director award at the Academy Awards.

“In the 95-year history of the Academy Awards, no Black filmmaker has ever won best director. No Black woman has ever been nominated.”

Some Academy members were not interested in watching The Woman King.

“As I moved through this awards season, I was struck by the Academy members who simply didn’t want to see the film. People thought it was a compliment at some of our screenings to tell me they had to be dragged there, because they didn’t think it was a film for them, or spoke of contemporaries who couldn’t be convinced to come with them, and being so surprised by how much they loved the film. To hear that over and over, it’s tough to stomach.”

The lack of recognition is not just a snub, but a larger issue not limited to just Hollywood.

“The Woman King wasn’t snubbed. A snub is if it missed out on a category or two. The film was not nominated for one single craft. Not one single extraordinary performance was recognized. And when has that happened for a successful film that hit all the so-called markers? It’s not a snub. It’s a reflection of where the Academy stands and the consistent chasm between Black excellence and recognition. And, sadly, this is not just an issue in Hollywood but in every industry.”

Despite the lack of recognition from the Academy Awards, the film was an immense success”

“Not only does The Woman King exist in the world, but it’s a success in the world. For any hater out there hoping to gaslight and say maybe we just weren’t good enough, you can’t argue the facts of our A+ Cinemascore — which only two other films achieved last year — or the 94 percent fresh score on Rotten Tomatoes, or the number of top 10 lists including AFI and National Board of Review. We’re going to pass $100 million at the global box office, which is groundbreaking and historic. Sales on VOD and DVD are great. So, our film made money and clearly had a cultural impact, which is what we all hoped for.”

Black women’s work is often not seen as relatable or heroic by the Academy voters.

“We, Black women, do not get that same grace. So the question we need to ask is, “Why is it so hard to relate to the work of your Black peers?” What is this inability of Academy voters to see Black women, and their humanity, and their heroism, as relatable to themselves?”

Social capital played a role in why neither Viola Davis or Danielle Deadwyler were nominated

“Viola Davis was nominated for a Critics Choice Award, BAFTA and SAG Award, and Till’s Danielle Deadwyler won the Gotham Award and was also nominated for BAFTA, SAG and Critics Choice, but both failed to earn notice from the Academy. My issue with what happened is how people in the industry use their social capital — screenings in their homes, personal calls, personal emails, personal connections, elevated status. People like to say, “Well, Viola and Danielle had studios behind them.” But we just very clearly saw that social capital is more valuable than that. That type of power is exercised in more casual ways in social circles, where folks are your friends or your acquaintances. There may be diversity on your sets but not in your lives. And Black women in this industry, we don’t have that power. There is no groundswell from privileged people with enormous social capital to get behind Black women. There never has been.”

The Oscars is more than just an award but makes it easier to continue getting work in the industry

“…I had to fight to get them on my crew because they didn’t have the résumé. Having an Academy Award or any of these guild awards on their résumés, the next time they go up for a job, they don’t have to have that fight. But when we’re not afforded this type of recognition, so many of them have to start back at square one. There are those who say to Black filmmakers, “Why do you care about awards? Why do you care about validation from a white organization?” And that’s the thing. The Academy and the guilds should not be thought of as white institutions. They’re supposed to be made up of our peers. They’re not. They don’t represent the whole filmmaking community. But what awards give you is currency…”

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