fair farming time to update airable land. 42, the answer to almost everything. in 60 minutes gone, d, w. these places in europe are smashing all the wreckers step into a bold adventure. it's the treasure map for modern globetrotters. discover some of you up to record breaking sites on your mac, youtube, and now also in book form. in 94 years of the academy awards, there have been hundreds of oscar winners. but 10 actually changed movie history. ah ah.

oh, american, the 19th thirty's was sharply divided along racial lines. even in the mixed movie theaters, black people had to sit in the balcony. in the cheap seats, against this backdrop, hollywood made gone with the wind, one of the most successful and controversial films of all time. the oscars a year later, we are a sensation ah, in some floating road during 1939. the happy with the 1940 academy awards had in daniel between the 1st african american to win an oscar. it was hailed as a triumph over races. i sincerely hope i shall always be a credit to my race and to the motion picture industry. my hardest to fool to tell you just high for you. and may i say thank you. but even the ceremony was racially

segregated, had he mcdaniel who plays mammy in the film one at the best supporting actress award. but at the ceremony itself, she was not seated in the front of the room. she was seated in the back of the red black audiences then, and now criticized mcdaniel for her portrayal of mammy. which many said was a crude stereotypes. i put a smiling face on white supremacy. you don't care what folk says about this, them, ada? i've told you an oh yeah, there's in all is tell the lady put away the jeep in front of folks like a bird, and i name for you to the bottom. it's don. well, this is any like piano guy will at all. this will totally line the ago the hell. yeah. it has an as the heroic characters, essentially a civil war soldiers from the south, from the confederacy and it defends a certain way of life. and mythologized o, after gone with the wind, mcdaniel was stereotyped herself. she played versions of mammy in dozens of other

films. she was later criticized in the black community for regularly accepting roles as domestic servants, and other kinds of, you know, not fully articulated characters. mcdaniel struck back of her critics saying i'd rather play a maid than b a maid. c she remained a pioneer. she was the 1st black woman to sing on radio in the united states. and the 1st black host of the national radio show. and as the 1st black oscar winner, she paved the way for a new generation of black performers in hollywood. 2 years after hattie mcdaniels historic, when another pioneer made a masterpiece, that would change the language of american civil. ah, oh. when orson welles made citizen kane, he was just 25 and had already revolutionized to art forms. wells had wowed

broadway with an all black adaptation of shakespeare's macbeth. and his radio version of each g wells war, the world's was so realistic. it caused real world panic in the streets. for his hollywood debut, wells picked an epic tale of the rise and fall of newspaper magnate, charles foster kane. this one movie was enough to earn wells a place in cinema history and a place of honor at the academy awards museum in los angeles. well singular, artistic vision, citizen kane changed the sound look and feel of sin. when wealth arrived in hollywood, he demanded complete creative control. he would be in charge of everything even cast himself in the starring role. playing came from 20 year old upstart to 80 something paranoid recluse. he's the writer, he's the star,

he's the director. he's the producer. you know, they the perfect puppet master if he, well well, learned everything about movie making while making citizen came. he borrowed heavily from german expressionist cinema using dark shadows and forced perspective to comment on his characters. and pioneered the use of the focus, where figures folks close up and in the distance of a shot can be seen. clearly it's a compilation of a lot of really specific and fascinating techniques that come together in one film for the very, very 1st time. so in this way it's, it's kind of like a master class in synthesis of all of the highlights of the greatest of the, the panel, chrome 1940 s films and the greatest of the german expressionist cinema. coming

together in the hands of this creative genius. but more than the style, the film welders model for directors that came after him broke new ground. he was in charge of the film and i think that was the main achievement. who had someone who was not a studio boss who was in total control of production, but some kinds of creative, creative, or some kind of creative kind of author with the stomach and, and the permanence of ours and wells. i think in hindsight, it's much more that effect and the special aesthetics of the wells spent the rest of his career trying and failing to gain that complete korean well, well struggled to fill his creative vision. another filmmaker wrote love story that broke the hollywood blackwood ah,

ah, the oscar for this romantic classic actually help end america's red skin red. what caught the fear of communism in the u. s. a. of although it was a very tiny faction of people who are in the communistic party of america, even fellow travelers were never had never the position to gain any momentum, political relevance in the 1950. at the height of the cold war, hollywood came under attack with the legend, communist leanings, right? when senator joseph mccarthy started claiming the hollywood was full of communist sympathizers, he started looking for communists. and the film industry was a very easy place to find them because they were writing films. and they were writing stories that could be construed as potentially propagandistic, or in favor of communism. one target or group of writers and directors known as the

hollywood 10 who refused to testify. the most famous of them with star screenwriter don trump because they refused to answer the questions of the committee. and they refused to name names of other people that they knew of who had potentially been in some kind of communist meetings. they were blacklisted. there were protests, but the hollywood 10 got jail time. their studios fired them. 10 of the more than $300.00 actors, writers and directors on the hollywood blacklist. don't trouble continued to in secret. giving other writers credit for his screenplays. for the screenplay of roman holiday, the name on the credit was ian mckellen hunter crumbled references. this deception in a classic scene from the fil. a mouth of truth bytes, the hands of light, ah 1954

from both screenplay won the oscar. it was the 1st blow against the hollywood. blackest. 6 years later crumble wrote the script for spartacus. under his own name . this broke the dam. this allowed a lot of other previously blacklisted performers and writers to come back. but not everybody. many of them had very tragic ends. many of them never worked again. the real end of hollywood. censorship will come later. thanks in part to an x rated film, the one the oscar for best picture. ah . seems like this were why midnight cowboy was so controversial. john folk as hustler, joe buck, giving oral sex from a man, an appointment. for decades, hollywood had kept sex of all kinds out of the movies. thanks to the haze code self

censorship system requiring all films to fulfill certain moral obligations. if you would take it seriously nowadays, no film would ever you sought for instance, you, you shouldn't swear or you shouldn't show let's, let's clear, should no one unity at all. almost sexuality was strictly forbidden. coming under the ban category of wrongdoing, evil or sin. essentially after the haze code came into effect, there really wasn't any depiction of homosexuality. they got to have so midnight. cowboy was one of the 1st movies made after the hays code was abandoned. in 1968, i walked in the film doesn't make it's homosexuality. explicit. but many read the relationship between joe buck and his pimp rizzo. as queer. i know enough to know that i have great been dumb, cowboy, crappy, don't appeal pinole body shop. every jackie, i'm 42nd street arch faggots stop. you want

a quote by its name and struck the book bags. john wayne, you are. tell me he's a fag a month after the film opened, there the stone wall riots which kick started the gay liberation with. ah, not every one got the memo. midnight cowboy lost the best actor, raised to public homophobe. john wayne. ah, ah, our next austin winner didn't just shake up hollywood conventions. he blew them away . ah, the 1995 oscars was a showdown between 2 iconic american movies. both had memorable lines. you read the bible, great. one was a $60000000.00 feel good studio movie about the american dream. my mom always said

life was like a box of chocolates. you never know what you're going again. oh, he is to the other, a violent indie film made for less than $10000000.00. and i will strike down upon thee with great vengeance and furious anger, those who attempt to poison and destroy my brothers. and you will know my name is the law. when i lay my vengeance upon the 4th of is a very american movie, they both in like the themes, the way that it looks like it's very traditional feel dead. i fell in pulp. fiction is, is i just lake ration crazy and just turned he knows my hope fiction got 7 hausten nominates forrest gump got 13 on the big night. the 1st oscar went to

pulp fiction. i think this probably the only ward. i'm going to wind here tonight. so i was trying to think maybe i should just say a whole lot of stuff right here. right now, just get it all my system. but i'm, thanks the oscar go. the rest of the night belong to forrest gump, forrest forrest. gump yellowstone. but it was pope fiction, not forrest gump, which inspired a generation of filmmakers in america and around the world directors, coffee guarantee news combination of slick dialogue and violent action pop culture references and a mash up approach to story tell. i definitely think they're both which there has been really influential not just in terms of like direct oil style war and aesthetics. busy also in storytelling and attention to detail and, and that this kind of like, i'm throwing whatever at the audience and not necessarily having to create, ah, a linear narrative that happens and react. oh, our next winner broke

a shameful 80 year austin, tradition. ah, the 2010 oscars was david versus goliath, the champion avatar, the highest grossing film of all time, the challenger hurt locker a low budget war movie. it was a showdown between her locker director catherine bigelow and her ex husband, avatar director james cameron. plus there was this big gender game in 80 years. the oscars had nominated 400 filmmakers as best director. only 3 had been women and none had ever won. you'd had people like jane campion nominated for the piano. you had lena work molar nominated. very late in her career, back in 1975, sophia coppola nominated, you know, the fact that i can say them all in about 10 seconds is not good enough,

but the lowest take on the very masculine genre of the war. film struck a chord with the academy. the hurt locker is a nail biting action thriller that is also anti war and anti consul it $16.00 oscars, including best director for catherine bigelow. it was really quite radical that she won at the time and for a war picture and for a very small war picture that really had a very um, you know, limited box office success. i sort of love that she won while beating her ex husband james cameron. i thought that was sort of delicious. after bigelow chloe chow, one best director in 2021. jane campion in 2022. again was face of just i think um you know, a little more than a decade looking at 3 when directors winning best director after none have as one

before. that that's huge. but let's not get too excited. a recent study found women directed just 9 percent of the top grossing films of 2022. there wasn't even bigger oscar surprise, a few years later with an on stage drama that made history. ah, the academy award for best picture of them gone la la la, here's a mistake. moonlight. you guys one best picture. i was in the early times news room and it was, it was shocking. it was thrilling. it was horrifying. it was truly beside the present moment. of the academy awards from the past several years. the mix up was high 1st, but took away from the big story of the night, was short, moonlighted,

the 1st black l g b t q plus film to whip and austin. and i thank you so much. that was really incredibly exciting for me. you know, i like because when i was a founder i watched and i talked about with my friends and make years and that was it. it was a film that everyone to i knew, you know, my cohort was a really excited about for 2 years before mean light activist. april rain started the oscars. so white campaign, protesting how ethnic minorities were being shut out of the academy awards. for the 2015 oscars. every single actor nominated was white. that is not good enough. you know, if, if you were saying that the best 20 performers of the year are all white, maybe you're not looking at the spread of films you should be looking at. each end of the smiling up moonlight was everything oscar. so white had been calling for a fully realised black l g b t q plus story that brought marginalized voices to the mainstream.

i think what i'm saying is really important about oscar. so, and i think one thing that it did to help move might, is that i think sometimes articulating the problem, makes it harder to ignore. in 2017, a record breaking 5 black filmmakers. one oscars, and under pressure from rain and black directors, the oscar academy has added hundreds of new non white members. hash tag oscars. not quite so white. 2 years after moonlight, the oscars stop being luddites and learned to love stream. ah, the oscars used to hate that sound. since the start of netflix, oscar voters have been trying to keep streaming films out of the academy awards.

the 1st netflix original film, beasts of no nation was a critical hit but got dumped by the academy with no nominations. the reasons mud bound. another critical fav got for oscar nominations. but one, not a large part of the resistance had to do is just like skepticism, like what netflix could create, you know, could it, could it be prestigious, is it up to the standard of excellence? and i also think it borrows a bit from just like a general anxiety between traditionally, between like traditional institutions and the internet. you know, isn't that anything that originate on mine as of lesser quality than anything that came from? like the traditional forms of i a cultural production ah, then came roma. everything about a phone so far. owens netflix movie, the black and white cinematography, the long tracking shots,

the white screen images screamed cinema. even netflix haters loved it. oh gosh, do oh, on the big night, romo 13 oscars not including best director for alfonso, floral. just 4 years later, apple tv is koda, another online 1st movie, one best picture. the oscars had learned to love streaming. what roma did for streaming our next, oscar winner did for african cultures in holy ah, i duty. so what do did to you really did,

shall we blick, when before black panther, african cultures were almost invisible at the oscars, and the oscar goes to black panther, right. but by the time costume designer, ricardo won her oscar, she'd spent a lifetime celebrating african her god is that the life whole entire life has journey recreating hit black history and, and presenting the culture of black americans as of the african diaspora. and black panther specifically was a combination of everything that i had done my entire career. carter work with director spike li, taking inspiration from black styles past and present to design costumes for films like malcolm x and do the right thing. i came from

a family that was always very much into, you know, black nationalism and really kind of knowing a bit about your, you're here church. and i was a very big, broad general knowledge. so what black panther allow me to do was really take a deeper dive into the timber tribe or the to our egg. what was north africa? what was south africa, you know, and we actually were inspired by them to create these fictitious groups and were conda black panther was infused with real african traditions. queen romano's crown was modeled on a zulu head dress. the red armor and spears of the messiah tribe inspired the costumes for female warriors the door and the lodging. princess series stack neck rings come from the ceremonial, jewelry of and apollo tribe, south africa. black panther also drew from afro futurism an art movement that

imagines what african cultures could become if freed from the history of colonialism. i think when a black panther came out, there is a real sensibility already of on like a pan african dias, or it kind of popularity like there is already that was already in the pop culture like i was already being ah, celebrated. and a lot of ways black panther became one of the most successful movies of all time. when i started in late eighty's early ninety's, i felt like, you know, they weren't giving budgets to black films because it feel that they were making the box office. i think this proved that whole concept bry, we've been proven hollywood wrong. you know so much since black. now, there are a final oscar winner approved hollywood. wrong about the oldest tradition at the academy.

ah, there have been best picture winners. set in morocco, sat in rome and even sat in china. but for 91 years, every single one was an english filmmakers who changed the language of cinema like physical felina, a. cuba could a sour thing, mar bergman or yes, the google or shoot. never one oscars talk process. their native language was too big. i heard it took a korean film to make the oscars truly go. globe bong june hose parasite and the oscar goes to paris. ha ha. for a korean language fil, to when best picture it was a shock to me and i think it's

a brilliant shop ah, in parasite bon, june ho, took a very korean story about 2 families, one for one rich. and they're mutually parasitic relationship and told it with the stylistic a palm of a quentin tarantino or an alfred hitchcock. he beat hollywood at its own game. ah, i mean this film made more than 53000000 at the u. s. box office. more than 263000000 worldwide. what a success story. and i hope i hope it keeps people's minds open to. what is the ask, what is the best picture of the year? it's not necessarily who the studios are telling you, ah, with parasite the oscars finally opened up the whole wide world of sin of. * it just made me so happy. i mean, it was the 1st time in what 92 years ago was that

a non english language film had won. it's been this long path. paris. i was the one that made it happen. i think we should see the parasite when not as some weird one off, not as an outlier, but as you know, a potential like a beacon, a harbinger of what could still happen. 94 years into the academy awards. and the oscars are just starting to tap their global potential. ah, ah ah ah ah, ah

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