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Academy Honorary Award

From Wikipedia, the free encyclopedia

Academy Honorary Award
Awarded forextraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy.
CountryUnited States
Presented byAcademy of Motion Picture Arts and Sciences (AMPAS)
First awarded1928

The Academy Honorary Award – instituted in 1950 for the 23rd Academy Awards (previously called the Special Award, which was first presented at the 1st Academy Awards in 1929) – is given annually by the Board of Governors of the Academy of Motion Picture Arts and Sciences (AMPAS) to celebrate motion picture achievements that are not covered by existing Academy Awards, although prior winners of competitive Academy Awards are not excluded from receiving the Honorary Award.[1][2]

Unless otherwise specified, Honorary Award recipients receive the same gold Oscar statuettes received by winners of the competitive Academy Awards.[3] Unlike the Special Achievement Award instituted in 1972, those on whom the Academy confers its Honorary Award do not have to meet "the Academy's eligibility year and deadline requirements."[4]

Like the Special Achievement Award, the Special Award and Honorary Award have been used to reward significant achievements of the year that did not fit in existing categories, subsequently leading the Academy to establish several new categories, and to honor exceptional career achievements, contributions to the motion picture industry, and service to the Academy.[5][6][7]

Since 2009, the Honorary Award has been presented at the annual Governors Awards rather than at the Academy Awards.

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Good morning. We are going to look at how the academy makes up its mind, a brief historical overview and then we are going to focus on 1989 movie called ‘My left foot’ which was an Irish movie directed by Jim Sheridan and Starring Daniel Day Lewis, who won his Oscar for the best actor in the movie. So, the Oscars were not called Oscars in the beginning, they were called the academy awards, even today they are known as the academy award but more popularly they are called the Oscars. How did they get the name Oscars? Now there are several legends and several versions about nomenclature or the Oscars; one is that leading film journalist, he felt that the word ‘academy award’ is too heavy, too serious and it intermediates people. So, he just turn around and looked at the statuette, the Oscar at statuette and he said, so how are you Mister Oscar, he said give it some more human touch and less, make it less intimidating. So, that was the story that is one version. Second version is the great movie star Bette Davis, who was one of the finest female actress of a time and she named it the Oscars, because she had some one very close to her who was called Oscars and Oscar and therefore she thought that it is better, it is a more fitting more appropriate name. So, the several versions of the name how the Oscars got the name, but popularly they are called the Oscars but academically there are still known as the academy awards. Is there are politics? So, this is what we are going to discuss today. The key concept would be politics of awards. See this is always a very interesting area to discuss, awards too have politics; of course awards are based on merits basis no doubt about it, but then there is a strong under currents of politics and that has always being the case for any major award, particularly so for the Oscars. So, Oscars are not always entirely about artistic merits this is important to remember. The studios, when we have already seen who the major players in this were; after all the Oscars were developed by which studio, any guesses? Student: MGM Good. MGM. The studio executive Louis Mayor, he wanted to position the film industry in a more you know, hard hitting way, in a more aggressive way and therefore the idea of introducing an award which will bring lot of attention to the film industry also to the MGM, so it was not purely altruistic reasons there, they instituted the awards. It also is to interesting to note that people who were the beneficiaries; especially during the inception years of the Oscars, they all belong to the MGM studio, something interesting. So, if you want an Oscar, go work with the MGM that was the idea but soon things changed of course. So, by studios played a major part, an important part in positioning its product; and what part of is this so, called positioning. Full throttle publicity, making the product visibility; you have seen it in recent years with Lagan. How was Lagan positioned? It is task to make each and every academy voter, watch the movie; you can always send them the DVD. Earlier times, it used to be the video cassette, even a before that they would have especially screening of the movie for the voters but then things became more and more complex more and more complicate. So, it was fail that is no longer feasible to organize screening for so, many people. So, then people started questioning their products more aggressively, and particularly Lagan; the producers approached each and every academy member, the voting members and ask them to you know watch the movie, gifted them with the DVD, the video cassette of the film. And ensure that at least the movie got the right kind of visibility and it paid up, because it did get a nomination. And which movie won the best picture award that year? Student: The best foreign movie award? Exactly, the best foreign picture competed against Lagan? ‘No men’s land’, and it is a war movie; and you all understand the importance of war movie as oppose to a movie from India, which is full of colorful songs and dances and it is about cricket. So, there is a politics. No men’s land dealt with a very topical theme which is important to the western world. India’s colonialism peppered the idea of India’s colonialism, peppered with songs and dances, and beautiful items it may not have been such a big draw with; the academy voters, the members also, they have some kind of a conditioning about for the you know, we are all it is ordinary subjective, we like someone, we do not, we know. It is a canon again let’s talk about the canon. So, sometimes we like some people, sometimes we do not like some people. Sometimes we like a theme; sometimes we do not like a theme. So, there are certain popular themes, which always works well and that is what, we are going to look at; what makes the cut with the academy famous. So, a visibility, high campaign and PR; that is public relations play major role in making the product visible and above all, why do all this? Oscars always the spell big money. Even a small movie, if it gets even a minor award, by minor award I mean, we know the top five awards: best actor, female actor, male actor, best picture director, best movie. So, those are the major awards. But even if it gets a technical award, you know editing, sound etc. It pushes the movie into the limelight and it makes it, because in aboard the release pattern is very different. Here we release a movie and if it runs, it is keeps on running, we do not interfere. There they book theatres for a particular period and then it runs, it does well even then it has to leave a theatre and it comes back. So, Oscars means they can rerelease the product; now this time with better visibility, so that Oscars eventually translate into big money. I mean a there is famous story, are you aware of an actress called Ellen Burstyn, Requiem for a Dream? She won an academy award, for which movie? Alice does not live here anymore, directed by Martin Scorsese; his second major movie. Now, she could not for some reasons attend the ceremony, and one of the presenters personally went to give her the statuette. And she said how does it really matter? And he say, the presenter, the person, a big leading man he had gone to her house gift her the award and he said, see when you die your obituary will read as the academy winning actor Ellen Burstyn died on so and so. So, that is the difference it makes otherwise your just an actor, but when you win the academy award, you become the academy award winning actress. So, it is, it mean something; it is very prestigious, people hanker after it, it influences stars’ commercial prospect. Yesterday, while talking about Coppola we did note that one reason why paramount could not kick him out unceremoniously was, because he won the Oscar for the best screenplay for Patton that was one reason why they could just hang on by the skin of his teeth. Reasons other than a studio politics; age and image of the recipients, we are basically talking about directors, male and female actors, so age and image of the recipients. Remember, Christopher Plummer when did he win the Oscar? In 2012, right; in which he plays Evan McGregor’s father ‘Beginners’, and he is a dying patriot of this particular family. And how old is Christopher Plummer today? Some 84, 85 that means, that he won his first ever Oscar at star of, sound of music. And he must give several blockbusters along the way, but age matters and the academy must have finally realize that this is; if it does not happen now, it may not happen also. So, age and image matter. Image of an actor is extremely important and we will see previous track recalled yes things do matter and what do we understand by previous track record. Student: Al Pacino Al pacino, yes; ‘Scent of a woman’ was his eighth nomination, and after what; Serpico, Godfather part 1 and part 2, Dog Day Afternoon. So, you cannot better that kind of body of work, but he got his Oscar when he was nominated the eighth time. Sympathy factors; give me some example, what could what is sympathy factor? Well, that was the great performance, but of course sympathy must have a role to play. One of the greatest examples that we are often given is how Elizabeth Taylor won her first academy award; the second was ‘Who’s afraid of Virginia Woolf’. The first was for her role as a call girl in ‘BUtterfied 8’. Now, many people feel that she had done a better job in several of her previous films, but by the time of ‘BUtterfied 8’there were rumors that she is going to die of cancer; in that she is being treated for something very fated, and the academy must have thought a beautiful woman dying much before her time, so why not. And then she came and she received her Oscar and collapsed in the arms of then husband; her husband number four, Eddie fisher. And soon after that she dumped him and married Richard Burton, and then married him again. So, sympathy factors do matters. We were talking about age and image and previous track records; look at Martin Scorsese, why go far. When did he win? Students: 2006 2006 for ‘The Departed’; a man who had made Mean Streets, Taxi driver, Raging Bull, Goodfellas. Many people felt that he should have got the award for Goodfellas, but then he did not get it in 1989, he got it in 2006; for a work which was a remake of ‘Infernal Affairs’. Popularity with the industry and goodwill with the industry people is another important factor. There are some people, nice regular all American guys like Tom Hanks. They are popular, they nice guys. Clint Eastwood always gets an honourable mention. So, they are the guys who matter they are popular, and they have lead more or less nice respectable at least on the surface, that kind of life; so that matters, goodwill matters. Box office bankability; now this is extremely important, an actor has to be bankable. A director has to be there, their movies have to earn money otherwise it does not mean anything to the academy. It just means lot of effort, lot of money, lot of investment gone waste because for one of thing, and we give it to someone who have never made it before, he is never going to make it big. Just a loop performance, brilliant performance given the Oscar; but you know it does not work like that, there has to be box office bankability for that. Time of the release; this is very interesting. Christmas is supposed to be the best season, because the film remains. And when is the Oscar season? February or March, and if you release your movie during the Christmas season; more and more people you get, more foot falls in the theatres; holidays season, everyone wants to go out, people watch movies and it remains fresh in everyone’s mind for the Oscar season. There are innumerable, honourable examples where the movies got lost because their timing of the release was all wrong. They released the movie in April or May; by next year February it is all forgotten. Student: There are few films; I mean some who has a very specular debut in the home like, it will acknowledge coming up with some good work. Yes, that happens, for example ‘Roman Holiday’. Audrey Hepburn; so the moments she made her debut, she was seen as this actor who is going to make it big, but then remember ‘Roman Holiday’ was directed by who? William Wyler; one of the most bankable directors ever, he has a track record, that remains me; I am going to ask, I gave you homework Robert Towne, if you did some research. And who did she star with? Gregory Peck. So, you see; there was questioning, there has to be. So, that means major bankable studios, actors and directors are lending their support to this young lady, and if we give her an Oscar today; fine, you know we do look good and it is also very safe bet, because she is being bank-buddies people. She not making some small debut in some art house cinema which no one is going to ever watch, and she is never going to make it big. Now, notable losers round, but you can go on adding to this list, there are too many notable losers. ‘How green was my valley’ won instead of Citizen Kane; the best picture, we have already talked about the unfortunate mister Orson Welles. The only good thing I think personally that came out of his Hollywood stint would have been his marriage to Rita Hayworth. He was married to the glamour queen of those times. ‘In the heat of the night’ beat Bonnie and Clyde, and now no one remembers ‘In the heat of the night’ today; Bonnie and Clyde is iconic movie. Scorsese’s ‘Taxi driver’ was completely ignored, even the actor was not recognized but the actor has been more fortunate than others because he got his first Oscar pretty early in his career. ‘Out of Africa’ won over Spielberg’s ‘the color purple’ and Spielberg was extremely unhappy; he has been working with sharks and all kinds of evil monsters, readers of the Indiana Jones etc., and then he felt that Color purple which all about; gender inequality, racism in America, based on a novel by Alice Walker. It is respectable material, it deserved an Oscar. He was a bankable director, he had proven track record but it did not worked. ‘Goodfellas’ of course! Hitchcock never won an award and he was just tossed bone called lifetime achievement award. And he gave the shortest ever speech, you know on the stage; what was it? ‘Thank you’ that is all he said. Charlie Chaplin? Lifetime achievement award, again the same year when the Godfather was given all it is awards. Richard Burton, the great Richard Burton nominated 7 times never won; and let me tell you, if you look at Richard Burton, he is one of the greatest, greatest ever anywhere in the world. He can easily rank alongside Marlon Brando and Laurence Olivier; Richard Burton but never. Peter O’Toole never. So, that brings us to the idea of lifetime achievement awards which is pretty much evident in even our system. We know that they are bankable, we know they are hugely popular with the masses; but we do not want, we have this infradig attitude towards these people, so let us not give them a very popular award. Has Govinda ever won? Student: I think so, but not sure. May be debut, but look it up. Do you think how many of you feel that Govinda is a good actor? Nobody feels that Govinda is a good actor? No? Seriously? I think Govinda is the very good actor. You give him a role and he delivers. But, you see we have an attitude towards certain people. They come from this kind of a background; they do a certain kind of films, they do not speak the way we want them to speak, perhaps all these things do matter. So, perhaps those who cannot get the main stream awards they are given generally a lifetime achievement award Hitchcock’s, Chaplin’s; many more, in our own situation also you can see when we cannot give an award to someone, we give that lifetime achievement award. So, history of the Oscar awards. It was Louis B. Mayer who established and introduced the idea of having popular awards. It was like bunch of people coming together and patting each other or patting themselves of the back, they are very wealthy people and they felt; okay it is not enough to earn enough money but we also need some token of appreciation for our arts, so let’s give these awards to each other. So, that was the attitude. And funnily enough the first ever academy awards were announced before hand that x, y, z is going to win please come and attend the party. So, people knew before, it was not like all hyped and suspense was not build up the way it is done today. The first ever academy awards, so again this is the date you should know it as a students of film history May 16, 1929. Why it was called ‘Oscar’; several versions about, float about. The first acting award was given to a German actor, Emil Jannings for a movie called ‘The way of all flesh’ based on whose novel, Samuel Butler. Janet Gaynor was first female actor and she was awarded for her body of work during the same year, one of her, one of her famous movie was ‘7th Heaven’. Those were the pre-television days; publicity and visibility was not that massive, winners were announced beforehand, however William Randolph Hearst, we never get over this guy; we have already discussed him in Citizen Kane. He is the man, who owns several newspapers and magazines, and he felt that look this is a tremendous opportunity for garnering publicity for his papers, glamorizing news, sensationalizing news and hyping up the whole thing; there is money here. He was also on very friendly terms with several female actresses and he felt, this is the very good way of promoting them; one of his prodigies. So, he did his level best to make the Oscar the most sorts after prizes and therefore the hype. So any questions, any comments you want to make before we go on? I am going to do a case study ‘My left foot’ Daniel Day-Lewis who won; I am betting on my Daniel Day-Lewis this year as well, and he has already won in 2007, in 2008 he won the academy for second performs for yet another performance ‘There will be blood’ Paul Thomas Anderson’s. Now, Paul Thomas Anderson’s ‘The master’ is also one of the nominated films. ‘Argo’ is a strong contender, all those people who have acted in. I am still betting on Daniel Day-Lewis’ ‘Lincoln’. So, that makes me to hag back to ‘My left foot’ 1989, and it is often called the year the academic got it almost right. Many preconceived notions, many of the attitudes, prejudices, and misgivings were dispelled; box office, bankability. Yes, we are going to look at it, who were his contenders, who were his rivals, and that will give you enough idea; and why we often say this was the year when the academy got it right. So, nominees for the best picture that year, let us look at the best picture. ‘Driving miss daisy’ Warner brothers, ‘Born on the fourth of July’ starring you know who, Universal pictures, ‘Dead poets society’ Robin Williams Touchstone, Field of dreams’ Universal, and ‘My left foot’, Granada; a lesser known studio but distributed worldwide by Miramax. Best actress, who won in that year? Jessica Tandy ‘Driving Miss Daisy’. Isabelle Adjani the then companion of Daniel Day-Lewis; she too was the beautiful Isabelle Adjani was also nominated for Camille. Jessica Lange for ‘Music Box’. Michelle Pfeiffer, another unfortunate actor who has never won it, Johnny Depp, ‘The Fabulous Baker Boys’, and Shirley Valentine, Pauline Collins. Best actor, male; Kenneth Branagh ‘Henry the fifth’ Shakespearian and British, so two things for which the academy members always had a softest spot for British and Shakespeare; you know that gives you the snob value. Robin Williams ‘Dead Poets society’ another, he is an academician, to serve with love kind of movie right; so it is always, it touches a chord with the members, very sentimental mushy movie. Morgan Freeman; tremendous actor, tremendous performance for ‘Driving Miss Daisy’ also the fact that he was black and aged; he has been acting for quite a while. Tom cruise ‘Born on the fourth of July’ Box-office bankability, popularity; thinks of what he had done before that, ‘Top Gun’, ‘Cocktail’ and ‘Days of thunder’ all money spinners. Daniel Day-Lewis ‘My left foot’. Now this is the back drop; Golden globe and Bafta often give an indication of what is going to happen, this year ‘Argo’ has board out several films and therefore chances of Argo getting golden globe are pretty high but not always, it does not always work that. But it gives you a rough picture. So, ‘Born on Fourth of July’ Tom cruise had already won the golden globe award for playing a paralyzed Vietnam Veteran, Ron Kovic’s based on a true story. So, you look at it; it’s a war movie, it is Oliver stone movie and Tom cruise playing it and what is he playing; a paralyzed Vietnam hero, all pluses. Daniel Day Lewis won the New York critics circle, LA critics’ award, and the national society of film critics; we are talking about the canon, these are the canon forming bodies. ‘My left foot’ is also a biopic of paralyzed Irish poet and painter Christy brown; again real life story, again a paralyzed, so it was build as the battle of the wheel chair, Day-Lewis versus Tom cruise, so battle of the wheel chairs. ‘Born on the fourth of July’; now look at the pluses again, it is an anti-war film almost like ‘The deer hunter’ and Oliver stone’s trilogy ‘Platoon’ etc. It is an Oliver stone movie who was extremely hot during those days, he could do nothing wrong. In spite of his Vietnam trilogy; ‘Platoon’ and ‘Heaven and Earth’, Vietnam is a popular theme with the academy and its members. It was a huge commercial and critical success. Oliver stone won the Oscar for the best director that year, and of course The Tom Cruise Factor. And of course Morgan Freeman could not be ignored, widely respected and senior; those are the things age matters, experience matters. And ‘Driving Miss Daisy’ it won the best Oscar for the best picture, and also for the best actor Jessica Tandy the 80 year old leading lady. P. R Missionary, the public relation missionary for the academy, the bigger the studio we are talking about; universal studio versus Granada. So, better are the chances when it’s bagged, the movie is bagged by bigger studio. Big pictures gain more visibility and the academy voters tend to watch more of high profile movies than obscure little movies like ‘My left foot’. So, the movie in spite of its brilliance did not stand much of a chance, it was the small budget modest movie, Irish movie, made independently. It is belongs to the category of so, called ‘Indie cinema’, Independent cinema not bagged by studios; financed by studios yes, distributed but not fully bagged by studios where actors, producers, directors they all have to pitch in for their own, with their own funds etc. Most people who were not even aware of the existence of this movie, the producers of ‘My left foot’ mailed several thousand video cassettes, those were the days of video cassette to the academy voting members, and of course it was marketed by Miramax, so it is improved it chances. Word about Daniel Day-Lewis; today he is a legend but then he was a still not very well known actor. British actor of Irish ancestry, he is the son of the famous poet Cecil Day-Lewis who was also poet laureate at one point. He lived in Ireland. He has done plenty of theatres, so he was a trained actor, a method actor that is very important to remember; how method actors, Tom Cruise; plummet and charismatic but he is not a trained actor, Day-Lewis is very serious and trained method actor. His previous works and they are now this is very important to note. My Beautiful Launderette’ directed by, based on a play by Hanif Kureishi and directed by Stephen Frears who later directed ‘The Queen’; if you remember Halen Mirren’s, ‘Dangerous Liaisons’ that greatest Stephen Frears. And Daniel Day-Lewis had also acted in Milan Kundera’s ‘The unbearable lightness of being’; a very difficult role, Czech doctor. And E M Forester’s ‘A room with a view’ directed by merchant Ivory, Ismail Merchant James ivory. So, look at his body of work and a range. Only 3 movies not block blusters but which is sufficiently displayed the actor’s tremendous versatility. What was his method? It is about a painter and the writer Christy Browne who is completely paralyzed, he suffers from an element called cerebral palsy. The only part of his body that functions is his left foot. So, Day-Lewis went through tremendous preparation for that role. He remained in a wheel chair throughout the shooting of the movie, and would act as irascible as the real Christy Browne would be; because see you look at the circumstances and you understand the moods, the temper, the mercurial temperament of the man, he maintained. He also maintains browns paralytic speech at all the times; because his affliction was so sever, it had affected every part of his body, he was barely able to speak and only people who are extremely close to him could understand or could comprehend what he actually said. Day-Lewis also practiced painting and writing with his left foot and that has become the hallmark of all Day-Lewis’s films; when he did ‘The gangs of New york’, he trained as a butcher somewhere for several months. Student: I heard that, apparently he got pneumonia on set and he refused to take penicillin because at that point of time in 1920, there is no penicillin. He did not want to; that method going too far. Student: It seems beg him to take it. So, Day-Lewis known for getting inside the mind of the character, and he says; “One of the things I most intrigued by and, he is talking about his role ‘Christy Brown’ is characters inarticulacy. Christy Brown’s struggle was to express himself and that is the thing that I am always attracted to in a part”. I have recently written a paper on Day-Lewis’s method and if you watch all his films and there are very few films; he is very choosy, very picky, and very fussy about his films. So, the body of work is extremely limited, but versatility is astounding. So, you watch movie and you find basically he is interested in those characters which are essentially inarticulate, unable to express themselves. So, why the academy award? Now, academy voters likes British actor that is a given, academy voters also like Biopics that is also given and there is method here. See, ((Refer Prof)) (35:12), Sergeant York, Patton, Raging Bull Gandhi, Salieri’s Amadeus, Halen Mirren in ‘The Queen’ and Meryl Streep in ‘The iron lady’ all these are biopics. Student: Ma’am Colin Firth’s ‘The King’s Speech’? King's speech yes Colin Firth’s ‘King's speech’. Oscar has weak, academy has the weakness for actors who play or who portray physical or any kind of disability, afflictions, addictions; think that list is endless, you can always go on adding to the list but my list of memorable performance is include Jack Nicholson in ‘One flew over the cuckoo's nest’, Marlee Matlin in ‘Children of a lesser god’. So, Dustin Hoffman in ‘Rain man’, Pacino in ‘Scent of a woman’, Colin Firth in ‘The king's speech’, and Christian Bale in ‘The fighter’ he is an addict; and goes totally against the type, I mean one year you have watched him in ‘The dark knight’ and the next year you are watching him as, you know someone who has transformed himself beyond belief, beyond recognition. So, Christian Bale is another worthy method actor. The versatility factor of Day-Lewis; people respected him as actor although they were only 3 movies but people knew that he is a man who can perform, delivered the difficulty of the role. The role was extremely difficult to perform; and voting member said, I saw him doing something I could not do myself, he did. And who said that? One of the greatest and most beloved, leading men of all times, Gregory Peck; he confessed that what he is doing I can never, what he has done I can never do. So, Jim Sheridan the director and Day-Lewis; frequent collaborators, great friends and they have often work together, falling astounding success of ‘My left foot’, they came together again ‘In the name of the father’; again a biopic of Gerry Conlon, someone who was wrongly imprisoned for Irish bombings in a British Pub, IRA factor. And then ‘The Boxer’, Boxer is again about IRA, and these are things that fascinate Sheridan and Day-Lewis, and being you know having a strong Irish roots, they do frequently this kind of work. So, other works, the notable works of Day-Lewis of course you can keep on adding to the list but then you have, ‘The last of the Mohicans’; a blockbuster, directed by the great Michael Mann. Scorsese’s ‘The age of innocence’ based on Edit Wharton’s book novel of the same title; co-starring Winona Ryder and Michelle Pfeiffer. It won several awards, especially for costumes and art direction. Then he did an adaptation of Arthur Miller’s ‘The Crucible’ and ended up marrying a producer that was Rebecca Miller, Arthur Miller’s daughter. Then Scorsese’s ‘Gangs of New York’ which is again a historical, and based on a film sorry, a novel, and won his second Oscar for ‘There will be blood’ which was followed by lacklustre ‘Nine’ which was a musical adaptation of Fellini’s ‘Eight and half’. I want you to look at his movies; The last of the Mohicans, The age of innocence, The crucible and Gangs of New York, also There will be blood. Now all these are essentially American characters played by an Irish man, great American heroes, great American character played by a British Irish person; that itself tells you a lot about his range and versatility that when it comes to and then ‘Lincoln’ of course, it does not get more American than Lincoln, and he gets to play Lincoln ‘the ultimate American hero’. So, starting from Fenimore Cooper’s Hawkeye in ‘The last of the Mohicans’ which is all about physicality, and then ‘Lincoln’ which is mostly about inward struggle; a typical struggle of a man who is trying to change something around him, and his struggle with the society and struggle within. And you would be perhaps interested to know that in one of the American university’s there is a core module for a film studies course, entirely devoted to, and it is a core course to Daniel Day-Lewis and American history because his contribution towards understanding of American history is unparallel. As a method actor, now I will quickly summarize what I have been trying to say about method, since for the past several classes we have been talking about De Niro, Brando, Pacino. So, Orson Welles famously said, ‘I have always made fun of method but I use a lot of things that are taken from it’, so method has something to offer. Originally, it is a contribution by Russian theatre director Stanislavski, so it was called ‘Stanislavski method system’. In the US, it was basically popularized by the exponents of the group theatre in Newyork city and later on by people like Lee Strasberg; and Lee Strasberg is almost the godfather of method acting, he has coached the likes of Nicholson, Pacino and Robert De Niro. He has also acted in ‘The Godfather’, second part; he is one of the dons and, ‘And justice for all’ again with Pacino, Pacino always regarded him as a father figure. Stella Adler is another practitioner of method acting. The method is simplistically put; it means that the actor’s main responsibility was to be believed, to create a believable character on screen, on stage. And Stanislavski first employed method such as emotional memory draw on from your own past experiences however painful they are, and try to relate them to the to whatever is happening, whatever are the demands of the role. Prepare for a role that involves fear, for example the actor must remember something really frightening from their personal lives and attempt to act the part in emotional space of that fear they once felt; so drawing on their memories. Now, this was a clear break from the previous modes of acting that held at, the actor’s job was to become the character and leave their own emotions behind, here they have to draw on from their own personal experience, and it was more demanding, more challenging. Some of the leading practitioners, all-time greats; Marlon Brando, Paul Newman, Monty Clift and James Dean, and if you look at the body of works of these people, you will understand what these actors were all about. They were not just some good looking men trying to enact a role, they were really actors, and they were trained in New York unlike the L.A based studio system. And later on of course, we have De Niro, Pacino, Nicholson, Dustin Hoffman, Sean Penn, Mickey Rourke, Liv Ullmann; a regular of Ingmar Bergman, a Swedish actor. Emma Thompson, British. Meryl Streep, of course American. And then more recent, more contemporary we have Daniel Day-Lewis, Nicholas cage who was once upon a time a great actor; when he won the ‘Leaving Las Vegas’, there were sparks. Adrien Brody, of course. Christian Bale. The late great, Heath Ledger, Forest Whitaker, and Frank Langella; Frank Langella, highly respected theatre actor who got his due cinema much later but still one of the greatest. Can you mention some of his films? Who is Frank Langella? Student: Frost/Nixon Good. Frost/Nixon, he played Nixon to and who is Frost? Who was frost? I will give a clue, the same actor who played Tony Blair in ‘The Queen’. A shot from ‘My left foot’. So, as a title itself would suggests, not too many well-known names, not a big budget picture but a tremendous performance by one of the greatest actor of all time. So, watch ‘My left foot’ and understand what method acting and entails. So, see you tomorrow and you can make an announcement about tomorrow’s class.



Years for which the Special Award and Honorary Award recipients received their awards and the annual Academy Awards ceremonies at which they received them provided within parentheses throughout (as pertinent) follow this information for recipients listed in the Official Academy Award Database and Web-based official AMPAS documents.

Bob Hope was honored on four separate occasions.


Year Recipient Notes Award
1927/1928 Warner Bros. "for producing The Jazz Singer (1927), the pioneer outstanding talking picture, which has revolutionized the industry." Statuette
Charlie Chaplin "for acting, writing, directing and producing The Circus (1928)."[8] Statuette
1928/1929 No award
1929/1930 No award


Year Recipient Notes Award
1930/1931 No award
1931/1932 Walt Disney "for the creation of Mickey Mouse." Statuette
1932/1933 No award
1934 Shirley Temple "in grateful recognition of her outstanding contribution to screen entertainment during the year 1934." Miniature statuette
1935 D. W. Griffith "For his distinguished creative achievements as director and producer and his invaluable initiative and lasting contributions to the progress of the motion picture arts." Statuette
1936 March of Time "for its significance to motion pictures and for having revolutionized one of the most important branches of the industry – the newsreel."
W. Howard Greene and Harold Rosson "for the color cinematography of the Selznick International Production, The Garden of Allah." Plaque
1937 Edgar Bergen "for his outstanding comedy creation, 'Charlie McCarthy'." Wooden statuette, with movable mouth
W. Howard Greene "for the color photography of A Star Is Born." Plaque
Museum of Modern Art Film Library "for its significant work in collecting films dating from 1895 to the present and for the first time making available to the public the means of studying the historical and aesthetic development of the motion picture as one of the major arts." Scroll certificate
Mack Sennett "for his lasting contribution to the comedy technique of the screen, the basic principles of which are as important today as when they were first put into practice, the Academy presents a Special Award to that master of fun, discoverer of stars, sympathetic, kindly, understanding comedy genius – Mack Sennett." Statuette
1938 J. Arthur Ball "for his outstanding contributions to the advancement of color in Motion Picture Photography." Scroll
Walt Disney "for Snow White and the Seven Dwarfs [1937], recognized as a significant screen innovation which has charmed millions and pioneered a great new entertainment field for the motion picture cartoon." One statuette and seven miniature statuettes on a stepped base[9]
Deanna Durbin and Mickey Rooney "for their significant contribution in bringing to the screen the spirit and personification of youth, and as juvenile players setting a high standard of ability and achievement." Miniature statuette
Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst "for outstanding achievement in creating Special Photographic and Sound Effects in the Paramount production, Spawn of the North." Plaque
Oliver T. Marsh and Allen Davey "for the color cinematography of the Metro-Goldwyn-Mayer production, Sweethearts." Plaque
Harry Warner "in recognition of patriotic service in the production of historical short subjects presenting significant episodes in the early struggle of the American people for liberty." Scroll
1939 Douglas Fairbanks "recognizing the unique and outstanding contribution of Douglas Fairbanks, first President of the Academy, to the international development of the motion picture." Statuette
Judy Garland "for her outstanding performance as a screen juvenile during the past year." Miniature statuette
William Cameron Menzies "for outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind." Plaque
Motion Picture Relief Fund acknowledging the outstanding services to the industry during the past year of the Motion Picture Relief Fund and its progressive leadership. Presented to Jean Hersholt, President; Ralph Morgan, Chairman of the Executive Committee; Ralph Block, First Vice-President; and Conrad Nagel. Plaque
Technicolor USA "for its contributions in successfully bringing three-color feature production to the screen." Statuette


Year Recipient Notes Award
1940 Bob Hope "in recognition of his unselfish services to the Motion Picture Industry." Silver plaque
Nathan Levinson "for his outstanding service to the industry and the Army during the past nine years, which has made possible the present efficient mobilization of the motion picture industry facilities for the production of Army Training Films." Statuette
1941 Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company "for their outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia." Certificate of Merit
Leopold Stokowski and his associates "for their unique achievement in the creation of a new form of visualized music in Walt Disney's production, Fantasia, thereby widening the scope of the motion picture as entertainment and as an art form. " Certificate of Merit
Rey Scott "for his extraordinary achievement in producing Kukan, the film record of China's struggle, including its photography with a 16mm camera under the most difficult and dangerous conditions.[10]" Certificate of Merit
British Ministry of Information "for its vivid and dramatic presentation of the heroism of the RAF in the documentary film, Target for Tonight. Certificate of Merit
1942 Charles Boyer "for his progressive cultural achievement in establishing the French Research Foundation in Los Angeles as a source of reference for the Hollywood Motion Picture Industry" Certificate of Merit
Noël Coward "for his outstanding production achievement in In Which We Serve" Certificate of Merit
Metro-Goldwyn-Mayer "for its achievement in representing the American Way of Life in the production of the 'Andy Hardy' series of films." Certificate of Merit
1943 George Pal "for the development of novel methods and techniques in the production of short subjects known as Puppetoons." Plaque; replaced with statuette in 1967
1944 Bob Hope "for his many services to the Academy." Life membership in the Academy of Motion Picture Arts and Sciences[11]
Margaret O'Brien "outstanding child actress of 1944." Miniature Statuette (presented in 1946)
1945 Republic Studio, Daniel J. Bloomberg and the Republic Studio Sound Department "for the building of an outstanding musical scoring auditorium which provides optimum recording conditions and combines all elements of acoustic and engineering design. Certificate (presented in 1946)
Walter Wanger "for his six years service as President of the Academy of Motion Picture Arts and Sciences." Special Plaque
The House I Live In tolerance short subject; produced by Frank Ross and Mervyn LeRoy; directed by Mervyn LeRoy; screenplay by Albert Maltz; song "The House I Live In", music by Earl Robinson, lyrics by Lewis Allan; starring Frank Sinatra; released by RKO Radio. Certificate
Peggy Ann Garner "outstanding child actress of 1945." Miniature Statuette (presented in 1947)
1946 Harold Russell "for bringing hope and courage to his fellow veterans through his appearance in The Best Years of Our Lives" Statuette
Laurence Olivier "for his outstanding achievement as actor, producer and director in bringing Henry V to the screen." Statuette
Ernst Lubitsch "for his distinguished contributions to the art of the motion picture." Certificate
Claude Jarman, Jr. "outstanding child actor of 1946" Miniature Statuette
1947 James Baskett "for his able and heart-warming characterization of Uncle Remus, friend and story teller to the children of the world in Walt Disney's Song of the South." Statuette[12]
Thomas Armat, Colonel William N. Selig, Albert E. Smith, and George Kirke Spoor members of "the small group of pioneers whose belief in a new medium, and whose contributions to its development, blazed the trail along which the motion picture has progressed, in their lifetime, from obscurity to world-wide acclaim." Statuette
Bill and Coo "in which artistry and patience blended in a novel and entertaining use of the medium of motion pictures." Plaque; replaced with Statuette in 1976
Shoe-Shine (Italian: Sciuscià) the high quality of this motion picture, brought to eloquent life in a country scarred by war, is proof to the world that the creative spirit can triumph over adversity. Statuette[13]
1948 Walter Wanger "for distinguished service to the industry in adding to its moral stature in the world community by his production of the picture Joan of Arc." Statuette
Monsieur Vincent voted by the Academy Board of Governors as the most outstanding foreign language film released in the United States during 1948. Statuette
Sid Grauman "master showman, who raised the standard of exhibition of motion pictures." Statuette
Adolph Zukor "a man who has been called the father of the feature film in America, for his services to the industry over a period of forty years." Statuette
1949 Jean Hersholt "in recognition of his service to the Academy during four terms as president." Statuette on a square wood base[14]
Fred Astaire "for his unique artistry and his contributions to the technique of musical pictures." Statuette
Cecil B. DeMille "distinguished motion picture pioneer for 37 years of brilliant showmanship." Statuette
The Bicycle Thief (Italian: Ladri di biciclette) voted by the Academy Board of Governors as the most outstanding foreign language film released in the United States during 1949. Statuette


Year Recipient Notes Award
1950 Louis B. Mayer "for distinguished service to the motion picture industry.” Statuette
George Murphy "for his services in interpreting the film industry to the country at large.” Statuette
The Walls of Malapaga (Italian: Le mura di Malapaga, French: Au-delà des grilles) voted by the Board of Governors as the most outstanding foreign language film released in the United States in 1950. Statuette
1951 Gene Kelly "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." Statuette
Rashomon voted by the Board of Governors as the most outstanding foreign language film released in the United States during 1951. Statuette
1952 Merian C. Cooper "for his many innovations and contributions to the art of motion pictures.” Statuette
Bob Hope "for his contribution to the laughter of the world, his service to the motion picture industry, and his devotion to the American premise.” Statuette
Harold Lloyd "master comedian and good citizen.” Statuette
George Mitchell "for the design and development of the camera which bears his name and for his continued and dominant presence in the field of cinematography.” Statuette
Joseph M. Schenck "for long and distinguished service to the motion picture industry.” Statuette
Forbidden Games (French: Jeux interdits) Best Foreign Language Film first released in the United States during 1952. Statuette
1953 20th Century-Fox Film Corporation "in recognition of their imagination, showmanship and foresight in introducing the revolutionary process known as CinemaScope.” Statuette
Bell and Howell Company "for their pioneering and basic achievements in the advancement of the motion picture industry.” Statuette
Joseph Breen "for his conscientious, open-minded and dignified management of the Motion Picture Production Code Statuette
Pete Smith "for his witty and pungent observations on the American scene in his series of 'Pete Smith Specialties'.” Statuette
1954 Bausch & Lomb Optical Company "for their contributions to the advancement of the motion picture industry.” Statuette
Danny Kaye "for his unique talents, his service to the Academy, the motion picture industry, and the American people.” Statuette
Kemp Niver "for the development of the Renovare Process which has made possible the restoration of the Library of Congress Paper Film Collection.” Statuette
Greta Garbo "for her unforgettable screen performances.” Statuette
Jon Whiteley "for his outstanding juvenile performance in The Little Kidnappers" Miniature Statuette
Vincent Winter "for his outstanding juvenile performance in The Little Kidnappers" Miniature Statuette
Gate of Hell (Japanese: Jigokumon) Best Foreign Language Film first released in the United States during 1954. Statuette
1955 Samurai, The Legend of Musashi Best Foreign Language Film first released in the United States during 1955. Statuette
1956 Eddie Cantor “for distinguished service to the film industry.” Statuette
1957 Society of Motion Picture and Television Engineers (SMPTE) "for their contributions to the advancement of the motion picture industry.” Statuette
Gilbert M. "Broncho Billy" Anderson "motion picture pioneer, for his contributions to the development of motion pictures as entertainment.” Statuette
Charles Brackett "for outstanding service to the Academy.” Statuette
B. B. Kahane "for distinguished service to the motion picture industry.” Statuette
1958 Maurice Chevalier “for his contributions to the world of entertainment for more than half a century.” Statuette
1959 Buster Keaton "for his unique talents which brought immortal comedies to the screen.” Statuette
Lee de Forest "for his pioneering inventions which brought sound to the motion picture.” Statuette


Year Recipient Notes Award
1960 Gary Cooper "for his many memorable screen performances and the international recognition he, as an individual, has gained for the motion picture industry." Statuette
Stan Laurel "for his creative pioneering in the field of cinema comedy." Statuette
Hayley  Mills "for Pollyanna, the most outstanding juvenile performance during 1960." Miniature Statuette
1961 William L. Hendricks "for his outstanding patriotic service in the conception, writing and production of the Marine Corps film, A Force in Readiness, which has brought honor to the Academy and the motion picture industry." Statuette
Fred L. Metzler "for his dedication and outstanding service to the Academy of Motion Picture Arts and Sciences." Statuette
Jerome Robbins "for his brilliant achievements in the art of choreography on film." Statuette
1962 No award
1963 No award
1964 William J. Tuttle "for his outstanding make-up achievement for 7 Faces of Dr. Lao." Statuette
1965 Bob Hope "for unique and distinguished service to our industry and the Academy." Gold Medal
1966 Yakima Canutt "for achievements as a stunt man and for developing safety devices to protect stunt men everywhere." Statuette
Y. Frank Freeman "for unusual and outstanding service to the Academy during his thirty years in Hollywood." Statuette
1967 Arthur Freed "for distinguished service to the Academy and the production of six top-rated Awards telecasts." Statuette
1968 John Chambers "for his outstanding makeup achievement for Planet of the Apes." Statuette
Onna White "for her outstanding choreography achievement for Oliver!." Statuette
1969 Cary Grant "for his unique mastery of the art of screen acting with the respect and affection of his colleagues." Statuette


Year Recipient Notes Award
1970 Lillian Gish "for superlative artistry and for distinguished contribution to the progress of motion pictures." Statuette
Orson Welles "for superlative artistry and versatility in the creation of motion pictures." Statuette
1971 Charles Chaplin "for the incalculable effect he has had in making motion pictures the art form of this century." Statuette
1972 Charles S. Boren "Leader for 38 years of the industry's enlightened labor relations and architect of its policy of non-discrimination. With the respect and affection of all who work in films." Statuette
Edward G. Robinson * "who achieved greatness as a player, a patron of the arts and a dedicated sum, a Renaissance man. From his friends in the industry he loves." Statuette
1973 Henri Langlois "for his devotion to the art of film, his massive contributions in preserving its past and his unswerving faith in its future." Statuette
Groucho Marx "in recognition of his brilliant creativity and for the unequalled achievements of the Marx Brothers in the art of motion picture comedy." Statuette
1974 Howard Hawks "A master American filmmaker whose creative efforts hold a distinguished place in world cinema." Statuette
Jean Renoir "a genius who, with grace, responsibility and enviable devotion through silent film, sound film, feature, documentary and television, has won the world's admiration." Statuette
1975 Mary Pickford "in recognition of her unique contributions to the film industry and the development of film as an artistic medium." Statuette
1976 No award
1977 Margaret Booth "for her exceptional contribution to the art of film editing in the motion picture industry." Statuette
1978 Walter Lantz "for bringing joy and laughter to every part of the world through his unique animated motion pictures." Statuette
Lord Laurence Olivier "for the full body of his work, for the unique achievements of his entire career and his lifetime of contribution to the art of film." Statuette
King Vidor "for his incomparable achievements as a cinematic creator and innovator." Statuette
Museum of Modern Art Department of Film "for the contribution it has made to the public's perception of movies as an art form." Statuette
1979 Hal Elias "for his dedication and distinguished service to the Academy of Motion Picture Arts and Sciences." Statuette
Sir Alec Guinness "for advancing the art of screen acting through a host of memorable and distinguished performances." Statuette


Year Recipient Notes Award
1980 Henry Fonda "the consummate actor, in recognition of his brilliant accomplishments and enduring contribution to the art of motion pictures." Statuette
1981 Barbara Stanwyck "for superlative creativity and unique contribution to the art of screen acting." Statuette
1982 Mickey Rooney "in recognition of his 60 years of versatility in a variety of memorable film performances." Statuette
1983 Hal Roach "in recognition of his unparalleled record of distinguished contributions to the motion picture art form." Statuette
1984 James Stewart "for his fifty years of memorable performances. For his high ideals both on and off the screen. With the respect and affection of his colleagues." Statuette
The National Endowment for the Arts "in recognition of its 20th anniversary and its dedicated commitment to fostering artistic and creative activity and excellence in every area of the arts." Statuette
1985 Paul Newman "in recognition of his many and memorable compelling screen performances and for his personal integrity and dedication to his craft." Statuette
Alex North "in recognition of his brilliant artistry in the creation of memorable music for a host of distinguished motion pictures." Statuette
1986 Ralph Bellamy "for his unique artistry and his distinguished service to the profession of acting." Statuette
1987 No award
1988 Eastman Kodak Company "in recognition of the company's fundamental contributions to the art of motion pictures during the first century of film history." Statuette
National Film Board of Canada "in recognition of its 50th anniversary and its dedicated commitment to originate artistic, creative and technological activity and excellence in every area of film making." Statuette
1989 Akira Kurosawa "for cinematic accomplishments that have inspired, delighted, enriched and entertained worldwide audiences and influenced filmmakers throughout the world." Statuette


Year Recipient Notes Award
1990 Sophia Loren "one of the genuine treasures of world cinema who, in a career rich with memorable performances, has added permanent luster to our art form." Statuette
Myrna Loy "in recognition of her extraordinary qualities both on screen and off, with appreciation for a lifetime's worth of indelible performances." Statuette
1991 Satyajit Ray "in recognition of his rare mastery of the art of motion pictures, and of his profound humanitarian outlook, which has had an indelible influence on filmmakers and audiences throughout the world." Statuette
1992 Federico Fellini "in recognition of his cinematic accomplishments that have thrilled and entertained worldwide audiences." Statuette
1993 Deborah Kerr "in appreciation for a full career's worth of elegant and beautifully crafted performances." Statuette
1994 Michelangelo Antonioni "in recognition of his place as one of the cinema's master visual stylists." Statuette
1995 Kirk Douglas "for 50 years as a creative and moral force in the motion picture community." Statuette
Chuck Jones "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century." Statuette
1996 Michael Kidd "in recognition of his services to the art of the dance in the art of the screen." Statuette
1997 Stanley Donen "in appreciation of a body of work marked by grace, elegance, wit and visual innovation." Statuette
1998 Elia Kazan "in appreciation of a long, distinguished and unparalleled career during which he has influenced the very nature of filmmaking through his creation of cinematic masterpieces." Statuette
1999 Andrzej Wajda "in recognition of five decades of extraordinary film direction." Statuette


Year Recipient Notes Award
2000 Jack Cardiff "master of light and color." Statuette
Ernest Lehman "in appreciation of a body of varied and enduring work." Statuette
2001 Sir Sidney Poitier "in recognition of his remarkable accomplishments as an artist and as a human." Statuette
Robert Redford "Actor, director, producer, creator of Sundance, inspiration to independent and innovative filmmakers everywhere." Statuette
2002 Peter O'Toole "whose remarkable talents have provided cinema history with some of its most memorable characters." Statuette
2003 Blake Edwards "in recognition of his writing, directing and producing an extraordinary body of work for the screen." Statuette
2004 Sidney Lumet "in recognition of his brilliant services to screenwriters, performers and the art of the motion picture." Statuette
2005 Robert Altman "in recognition of a career that has repeatedly reinvented the art form and inspired filmmakers and audiences alike." Statuette
2006 Ennio Morricone "in recognition of his magnificent and multifaceted contributions to the art of film music." Statuette
2007 Robert F. Boyle "in recognition of one of cinema's great careers in art direction." Statuette
2008 No award
2009 Lauren Bacall "in recognition of her central place in the Golden Age of motion pictures." Statuette
Roger Corman "for his rich engendering of films and filmmakers." Statuette
Gordon Willis "for unsurpassed mastery of light, shadow, color and motion." Statuette


Year Recipient Notes Award
2010 Kevin Brownlow "for the wise and devoted chronicling of the cinematic parade." Statuette
Jean-Luc Godard "for passion. for confrontation. for a new kind of cinema." Statuette
Eli Wallach "for a lifetime's worth of indelible screen characters." Statuette
2011 James Earl Jones "for his legacy of consistent excellence and uncommon versatility" Statuette
Dick Smith "for his unparalleled mastery of texture, shade, form and illusion" Statuette
2012 D. A. Pennebaker "..[H]as inspired generations of filmmakers with his "you are here" style. He is considered one of the founders of the cinéma vérité movement..." Statuette
Hal Needham "A pioneer in improving stunt technology and safety procedures..." Statuette
George Stevens Jr. "A tireless champion of the arts in America and especially that most American of arts: the Hollywood film" Statuette
2013 Angela Lansbury "an entertainment icon who has created some of cinema's most memorable characters, inspiring generations of actors." Statuette
Steve Martin "in recognition of his extraordinary talents and the unique inspiration he has brought to the art of motion pictures." Statuette
Piero Tosi "a visionary whose incomparable costume designs shaped timeless, living art in motion pictures." Statuette
2014 Jean-Claude Carrière "To Jean-Claude Carrière, whose elegantly crafted screenplays elevate the art of screenwriting to the level of literature." Statuette
Hayao Miyazaki "has deeply influenced animation forever, inspiring generations of artists to work in our medium and illuminate its limitless potential..." Statuette
Maureen O'Hara "One of Hollywood's brightest stars, whose inspiring performances glowed with passion, warmth and strength." Statuette
2015 Spike Lee "a champion of independent film and an inspiration to young filmmakers" Statuette
Gena Rowlands "an original talent whose devotion to her craft has earned her worldwide recognition as an independent film icon" Statuette
2016 Jackie Chan "Chan starred in – and sometimes wrote, directed and produced – more than 30 martial arts features in his native Hong Kong, charming audiences with his dazzling athleticism, inventive stunt work and boundless charisma." Statuette
Lynn Stalmaster "over five decades, he applied his talents to more than 200 feature films... and has been instrumental in the careers of celebrated actors" Statuette
Anne V. Coates "in her more than 60 years as a film editor, she has worked side by side with many leading directors on an impressive range of films" Statuette
Frederick Wiseman "Wiseman has made one film almost every year since 1967, illuminating lives in the context of social, cultural and government institutions" Statuette
2017 Charles Burnett "a resolutely independent and influential film pioneer who has chronicled the lives of black Americans with eloquence and insight" Statuette
Owen Roizman "his expansive visual style and technical innovation have advanced the art of cinematography" Statuette
Donald Sutherland "for a lifetime of indelible characters, rendered with unwavering truthfulness" Statuette
Agnès Varda "her compassion and curiosity inform a uniquely personal cinema" Statuette
2018 Marvin Levy Statuette
Lalo Schifrin Statuette
Cicely Tyson Statuette


  1. ^ "Honorary Award: About". Academy of Motion Picture Arts and Sciences. Retrieved 2017-02-27.
  2. ^ Academy of Motion Picture Arts and Sciences. "About Academy Awards: Honorary Award". Official Academy Award Website. Academy of Motion Picture Arts and Sciences (AMPAS) Archived from the original (Web) on 2008-04-09. Retrieved 2008-07-29. The Academy's Honorary Award is given to honor extraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy. It is given at the discretion of the Board of Governors and is not necessarily given every year, although the last year it was not given before 2008 was 1987.
  3. ^ Academy of Motion Picture Arts and Sciences. "About Academy Awards: Honorary Award". Official Academy Award Website. Academy of Motion Picture Arts and Sciences (AMPAS), Archived from the original (Web) on 2008-04-09. Retrieved 2008-08-01. The Honorary Award can also take the form of a life membership in the Academy, a scroll, a medal, a certificate or any other design chosen by the Board of Governors. The John A. Bonner Medal of Commendation, given for 'outstanding service and dedication in upholding the high standards of the Academy,' is considered an Honorary Award. It is usually given at the annual presentation of Scientific and Technical Awards, a dinner ceremony separate from the annual telecast.
  4. ^ Academy of Motion Picture Arts and Sciences. "Special Achievement Award". Official Academy Award Website. Academy of Motion Picture Arts and Sciences (AMPAS), Archived from the original (Web) on 2008-01-07. Retrieved 2008-07-29. The Special Achievement Award, an Oscar statuette, is given for an achievement which makes an exceptional contribution to the motion picture for which it was created, but for which there is no annual award category. ... Unlike an Honorary Award, a Special Achievement Award is conferred only for achievements in films which meet the Academy's eligibility year and deadline requirements.... In the Makeup and Sound Effects Editing categories, the Award can be given if those committees fail to come up with three nominations. In that case the committee may recommend to the Board of Governors that a special Achievement Award be voted instead. That was the case in the Visual Effects category, too, before Visual Effects became an annual award.... Thirteen of the 17 Special Achievement Awards given since the category was instituted in 1972 were given for visual effects or sound effects achievements.
  5. ^ Academy of Motion Picture Arts and Sciences. "About Academy Awards: Honorary Award". Official Academy Award Website. Academy of Motion Picture Arts and Sciences (AMPAS), Archived from the original (Web) on 2008-04-09. Retrieved 2008-08-01. "The Honorary Award is not called a lifetime achievement award by the Academy, but it is often given for a life's work in filmmaking – to Polish director Andrzej Wajda in 1999, for example, and to Elia Kazan the previous year [1998].... The Honorary Award also may be given for outstanding service to the Academy. The last time this happened, however, was in 1979, when an Oscar statuette was presented to Academy Governor Hal Elias, who had served more than a quarter century on the Board of Governors.
  6. ^ The Academy Honorary Award is often awarded in preference to those with noted achievements in motion pictures who have nevertheless never won an Academy Award. Thus, many of its recipients are Classic Hollywood stars, such as Lillian Gish, Barbara Stanwyck, Kirk Douglas, and Lauren Bacall. Among its Honorary Awards for acting, the Academy also presents deserving young actors with the Special Juvenile Academy Award. (Most of those are not listed here; some of the early "Special Awards" that later became known in that acting category as the "Special Juvenile Academy Award" are listed with "Special Award" added parenthetically.)
  7. ^ Following the searchable Official Academy Award Database (a primary source for this list), years listed are the years of the Academy Awards ceremony when the award was presented (with the annual award ceremony following within parentheses, as documented in the Official Academy Award Database).
  8. ^ Removing him from the contests in which he had been nominated for an Academy Award in the "competitive classes", the Academy gave Chaplin this "Special Award" because, as it wrote to him, his "collective accomplishments" in The Circus merited his placement "in a class" by himself.
    "Special Award to Charles Chaplin". Official Academy Award Database. AMPAS, Archived from the original (Web) on January 12, 2012. Retrieved 2008-07-29. [NOTE: The Academy Board of Judges on merit awards for individual achievements in motion picture arts during the year ending August 1, 1928, unanimously decided that your name should be removed from the competitive classes, and that a special first award be conferred upon you for writing, acting, directing and producing The Circus. The collective accomplishments thus displayed place you in a class by yourself." (Letter from the Academy to Mr. Chaplin, dated February 19, 1929.)]
  9. ^ "Archived copy". Archived from the original on 2015-03-22. Retrieved 2015-12-17.CS1 maint: Archived copy as title (link)
  10. ^ Bosley Crowther (1941-06-24). "Movie Review: 'Kukan,' a Vivid Fact Film about Modern China and Its Myriad Peoples, Is Seen at the World" (Web). The New York Times, Movies. Retrieved 2008-07-30. Crowther refers to filmmaker as a "young newspaperman, Rey Scott" in the text of this review; credits (at foot of page) describe this film as "A travel picture filmed in color in China and narrated by Ray [sic] Scott.
  11. ^ Academy of Motion Picture Arts and Sciences. "Honorary Award". Official Academy Awards Database. AMPAS, Archived from the original (Web) on 28 August 2008. Retrieved 2008-07-29. (Page 2 of 2 pages); cf. Awards Database.
  12. ^ This "Special Award", which Baskett received at the 20th Academy Awards ceremony, held on March 20, 1948, effectively removed him from contention for a best actor award for his role of Uncle Remus; he died of heart disease on July 9, 1948.
  13. ^ Academy of Motion Picture Arts and Sciences. "From Amarcord to Z". AMPAS. Archived from the original (Web) on 2013-04-15. Retrieved 2008-07-29. Posters From Fifty Years of Foreign Language Film Award Winners: January 19 through April 15, 2007, in the Academy's Grand Lobby Gallery. ... The history of the award actually goes back to 1947, when the Academy recognized Shoe-Shine, from war-scarred Italy, for offering 'proof to the world that the creative spirit can triumph over adversity.' The Academy presented seven more 'special' or 'honorary' foreign language film Oscars before officially establishing the category in 1956. That first competitive award went to Italy for La Strada. The exhibition, which has been assembled from the extensive poster collection of the Academy's Margaret Herrick Library, includes the posters for both Italian films.
  14. ^ "[NOTE: Presented on "Jean Hersholt Night," June 26, 1949, at the Academy building.]" (Awards Database)

See also


External links

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