Reflecting on the 2018 OSCARS, there are things to celebrate, but more issues that are still problematic.
Last year's critique was that the awards were "so white.!" It really was not so different this year, which demonstrates systemic bias. McDormand won Best Actress and asked for solidarity with other female nominees. She reminded the audience that many female writers and directors, as well as actors, have stories to be told which needing financing. Her award itself reflects a binary sexism that ensures at least two actors will receive highest awards. ["Best Actor" and "Best Actress," etc] But what of movies and roles and stories that are non-binary? [Boys Don't Cry, Call Me By Your Name, etc] What about an award for best acting performance, period?!?
McDormand also tossed a squib to the viewing audience with mention of a little known term: "inclusion rider." This is a concept put forward in 2016, really just a mode of affirmative action, a clause in A-List actor contracts that demands diversity among non-lead cast and the film crew. While it seeks to move the demographics needle of film participation forward, and discourage the persistent practice of cultural appropriation [e.g., whites acting in roles as Native Americans or Latinx, for example], it does not attack the core of the problem.
Jordan Peale won an award for Original Screenplay, and was the FIRST African American to do so in 90 years of film awards. Again, the systemic problem persists. His victory was a creative comedic turn for him, to be applauded, but the topic was an indulgent send up of bigotry and racism. It was a chance for the white film elite cadre to laugh at itself in a non-threatening parody.
As long as participation in movie-making at all creative levels is controlled by the same white cadre, then inclusion by women, people of color, disabled and LGBTQ professionals are dependent upon their largess and caprice. That is what enabled Harvey Weinstein to wield such abusive power. It is the power that decides which films get made and which stories are buried. The power in the hands of a very few to decide which films get green-lighted will always constrain the quality and content of messages that get wide public exposure. The importance of this power in creating and reinforcing discursive narratives should not be underestimated. Unfortunately, and by extension, the same issue manifests in the "inclusion rider" concept. A few top box office stars may have the cultural awareness to demand of film producers what should not even have to be demanded. Most do not. And some, having awareness or power, may decline to exercise star power for fear of being denied roles defining them as "A-List."
But the solution to the problem rests not only with changing mindsets of the aforementioned cadre. Audiences need to pay attention to and seek out movies that are more inclusive. I saw "The Black Panther" and appreciated the Black theme many are talking about. What struck me more, and a reason to pay high movie theater prices to see it, was the number of female personnel involved in the film at ALL levels.
To make change, women, people of color, disabled and LGBTQ persons with wealth and access to financing need to get engaged in funding media projects that not only reflect more authentic and diverse storytelling, but also provide employment for sustaining and developing diverse professionals.
The "system" will change from "handouts" to inclusiveness only when the demographics of the decision-makers change. When Michael Jordan, Derek Jeter, Jay-Z, Carlos Slim and other very wealthy non-whites start investing in film projects [including films by or about whites] the dynamic will change. The stories that get told through films can become richer and more authentic, and important ones that get told can garner stronger support [e.g., "Mudbound," and "Traffic Stop"] Oscar awards can then reflect a more diverse profession and industry, rather than handouts to a select few that the current cadre allow to participate in film projects. In addition, the group of professionals voting for such awards will become more diverse as well, making the awards themselves more fair and inclusive, releasing the choke-hold on Oscar White.
