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  • ✪ Rouse Visiting Artist Lecture: Hannah Beachler with Jacqueline Stewart

Transcription

Hello, hello. Hi. Welcome to tonight's Rouse Visiting Lecture, generously supported by the Rouse Visiting Artist Fund. I am super delighted and fangirl geek out to welcome Hannah Beachler and Jacqueline Stewart. Let's give them-- [applause] For those who don't know me, I am Tony Griffin. I'm a professor of practice and urban planning here at the Graduate School of Design, and I'm also the director of the Just City Lab. So this conversation about filmmaking, and placemaking, and, a new term I just learned, world-building, has all the elements, both imaginary and real, that I think intersect with the work that we do here at the Graduate School of Design. World-building, as I've come to learn, is the process of constructing the imaginary. It requires much of the same considerations as the production designer, as we consider as architects, landscape architects, urban designers, and planners. These considerations might include, what's the geography and the ecology of place? What is its culture, its political, and/or development history? Who inhabits these places? What are their practices and traditions? How do they seek and find shelter, food, social interaction? Where do its citizens gather, convene, create community? What shapes the image of the city? What values or aspirations do we hold for its city dwellers? What utopian or dystopian terrain best enables the society's tale to be told? And what is the dominant cultural normative? Is it masculine or is it feminine? Is it blackness? Is it whiteness? Is it nationalists or is it nonconformists? We share same considerations in the work we do as designers. Now, in the US, city-building from whole cloth is virtually nonexistent or at least limited to the ways in which we build new suburban or ex-urban developments. However, globally, rapid urbanization trends are constructing new geographies for work, dwelling, commerce, entertainment, and social services. For our designing professions here at the Graduate School of Design, city building most often responds to existing context, politics or political leadership, financing and regulatory constraints, and socioeconomic patterns of city-building. And our interventions are often constrained by these contexts. Sometimes were successful through design at realizing the aspirations for the city and its citizens through design, while other times we simultaneously perpetuate inequalities in the city through our work. World-building, on the other hand, is free from these constraints and can construct both the desired and the fantastic. World-building constructs a city for the purpose of its inhabitants to play out specific scenarios of either conflict or celebration, solitude or community in their most idealized forms. Its intent can be daring and even confrontational, or it can be functional, practical, or accessible. Place-setting, either through world-building or representation of existing places and spaces is an integral part of the storytelling process of film making. It can be background or foreground, political or agnostic, compliant or complicit, real or imaginary, masculine or feminine, black or white. I am so excited to hear what Hannah and Jacqueline can offer through their creative process and examination of the role of film and the city and setting and hope that we might learn from their methodologies as we city makers, through the lens of architecture, landscape, planning, and design may take some of the imaginary into our built worlds. Let me introduce both Hannah and Jacqueline, and I'm going to read their bios, and you can give me the sign when you want to cut off their accolades. Hannah Beachler is a prolific production designer with an affinity for evocative designs and visuals. She crafts a unique emotional landscapes for every story. She recently began prepping for her next project with director and frequent collaborator Melina Matsoukas the pilot for FX's Y The Last Man, based on the comic book series. Beachler designed Marvel's Black Panther for director Ryan Coogler, which just became the ninth highest grossing film of all time, like, all time-- like, all time. [laughter] All time. Great. [applause] Her incredible work on film earned her a 2018 Saturn award for best production design. She previously collaborated with Coogler on Creed, The spinoff from Rocky series, starring Michael B. Jordan and Sylvester Stallone, and Fruitvale Station, the 2013 Sundance Film Festival Breakout Film and winner of the [inaudible]. I knew I was gonna mess that up. And the Un Certain Regard Competition at the 2013 Cannes Film Festival. She also collaborated with director Barry Jenkins on the 2017 Best Picture Oscar-winning film, Moonlight, a coming-of-age tale that transcends traditional genre boundaries. The film was named one of the top 25 movies of the 21st century by The New York Times. In 2016, Beachler designed Beyonce's stunning visual concept album Lemonade and took home the 2017-- there's some Beyhives in the house. We can get into that. Took home the 2017 Art Directors Guild Award for Excellence in Production Design for Awards or Special Events and earned her a 2016 Emmy nomination for Outstanding Production Design for a Variety Nonfiction Event or Award Special. Hannah is very acclaimed. Current collaborations include Academy Award nominated director Dee Rees, Grammy and Emmy nominated director Kahlil Joseph, Grammy Award winning director Melina Matsoukas, Academy Award nominated cinematographer Rachel Morrison, prolific cinematographers, [? alberti and syed, ?] legendary academic Academy Award winning costume designer, Colleen Atwood. Based in New Orleans, she is represented in the United States [inaudible],, so we'll applaud for them. She will be in conversation for the first part of our evening with Jacqueline Stewart, who's a professor in the Department of Cinema and Media Studies at the University of Chicago. And tomorrow, she's being inducted into the Academy of Arts and Sciences here at Harvard. So let's give her a hand for that, too. [applause] Jacqueline's research and teaching explore African-American film cultures from the origins of the medium to the present, as well as the archiving and preservation of moving images and orphaned media histories, including non-theatrical, amateur, and activist film and video. She directs the South Side Home Movie Project and the Cinema 53 Screening and Discussion Series. Jacqueline is also director of the Grey Center for Art and Inquiry at the University of Chicago, and co-curator of the LA Rebellion Preservation Project at the UCLA Film and Television Archive. She also serves as an appointee to the National Film Preservation Board. Jacqueline is the author of the book, Migrating to the Movies-- Cinema in Black Urban Modernity, which has achieved recognition from the Society of Cinema and Media Studies and the Black Caucus of the American Library Association. She is a member of the Academy of Arts and Sciences being inducted tomorrow, as I said, and has been awarded fellowships from the Smithsonian National Museum of African-American History and Culture, the Frank Institute for the Humanities at the University of Chicago, the Shelby Cullom Davis Center for historical studies at Princeton, and the New York Public Library Schomburg Center for Research and Black Culture Scholars-in-Residence Program. Before I invite these incredible women to join the stage, we have a short film from Hannah that's going to run for a few minutes. And then, ladies, the conversation and floor is all yours. Thank you and welcome. [applause] How's everyone doing? Beautiful. Good evening. Such a beautiful work, Hannah. Thank you very much. It such a pleasure to be here with you. It's a pleasure. Thank you for having me. This is really awesome. I'm having a good time. So Hannah has selected a range of images that are going to be running throughout our conversation, and we're going to try to keep up with them, but it's so much that we might fall behind or get a little bit ahead, so we hope you'll enjoy those while we have this conversation. Can I ask a super-basic question? Yes. It would be great to know what a production designer does. Yeah. And maybe you could talk about that through your experience on Moonlight, since this is the first in that range of images that we have. What do you oversee? Where do you enter into a production? I come in pretty quickly. So I get a script. It's usually in development at the time, a little before pre-production even, when we're on the ground at the production office. They'll give me a script, and I'll read it, and I'll decide, yes, I'm going to do this or, no, I'm not going to do this. And if I decide, yeah, I want to do this, I'll meet with the director. And I usually put together a little presentation to show him sort of what my feelings are about the script. So my presentations are just about my feelings. They're not about the things or what's in it. It's how I feel about the script. What do you mean how you feel? I know. Everything is about my feelings. All right here. It's all about me. Well, you know, for me to connect to piece of work, to a story-- because I really do consider myself a story designer, less a production designer, but that's the title that we have. So when you go to see a movie, it's because you want to laugh, or cry, or you do laugh or cry, or laugh through your tears, or you get angry, or you get a sense of inspiration. So you have all these feelings, right? And everything that's going on in the screen is doing this to you. I think one of the really big things is people don't often recognizes is the production design, which encompasses building the sets, designing the sets, paints, construction, set decoration, props. You know, I oversee or my purview is in costume design and hair and makeup. So it's really all the texture that you see on the screen that's moving you towards one emotion or another in complement with the story. So that's sort of what I do. So I oversee a lot of people. On something like Moonlight, I wasn't overseeing anything. There was five people, including myself. So it was like a crew of five women. And we did everything. s In that sense of it being such a small-budged film, you really just have to be resourceful. And things have to happen on the fly because you don't have a lot of time. You don't have a lot of prep time. You don't have a lot of time to shoot. So it's sort of finding locations. This is a very location-based-- and the production designer is also someone who will go with the location manager and find locations that I feel fit within the frame of what we're doing, and especially depending on how well I know the director. And then, I'll go with the director and say, look at these things. And I think this is what we could do here, or this is how we can augment it here. This is what I think. Because I have to keep in mind camera, blocking, actors, and how they like to act and adding details of things that you won't even see on film. So all those things are in consideration, too, with when I do a build. And then, I have to consider the crew, which is an odd thing to think to consider. But I have to have more than one entrance. Because you can't just have, depending on the size of the film, a bunch of people coming in out of one door. Some people will get angry very quickly. And then, they'll look at me like, where's the production designer? And I'll be like, ooh! So you know, it's finding, really, sometimes hidden ways to have those other doors or working that type of a thing into the design. Yeah, so it's just this incredible kind of like translator role, connecting role that you play because you're speaking to the larger vision of the film. And at the same time, you have to manage all these logistics, like where people can come and go or where the camera can even be placed in a particular scene. Yeah, exactly. I have to consider the weight of the crane, which is 5,000 pounds, and I know that now. [laughter] And it's six feet wide. I would say that came into play big time on Black Panther. We'll talk about that more later, but something like that-- the weight of the equipment that we have to bring into sets can be-- because a lot of times, when you do a period piece, something like Miles, I want to go into old places, old homes, what you just saw was the boxing ring was in a very old cathedral that they were trying to turn into an event space. And as soon as you walk on it, you know that the joists are no good and it has a sublevel. So it's like, you can't bring a crane in here. It'll go right through the floor. So then, I have to get an engineer to come out and to say how much weight we can put on the floor and then we have to have someone shore it up, get the construction. So I'm doing all of those things as well. Could you talk about-- and this is a great image to think about this-- That's my office. [interposing voices] That's just incredible. That was one wall. There was like 10 of those. I imagine you have to pull together-- or, in your practice, you pull together a wide range of images. You're pulling from-- speaking of Creed, you have to think about that franchise, and what the previous film looked like, if you're going to take up the life of Miles Davis-- Yeah. --there's a lot of complicated, and interesting, and sometimes conflicting information about him and his space. Well, that's part of the design within Miles Ahead was that by the time we get to him, and he's 75, and he's kind of still in his heroin addiction. We're not really sure where he is. But the point of Miles was that he can't really remember anything. Everything is sort of his life was so big and he was so big that everything was just got squished together. So a lot of what you see is a bunch of stuff from different parts of his life all in one place because he can't ever put it together. So when he's telling a story about the jazz club, he could mean Birdland, he could mean a jazz club in Paris. He could meet anywhere. So he kind of tried to put those things together and do-- I think it's the Village Vanguard. We did interior, the color of the Village Vanguard during the time he played there, but we did the exterior of the color of the Birdland. And when we see the story about him being arrested, it's because he can't remember which one it was. So it was really about his memory, and that's how he wanted to-- and his inability to go beyond himself. And that's what we wanted to do. And that's the space before we got there. And we started ripping stuff apart. There's an amazing scene in that film. If you haven't seen Miles Ahead-- because I know people have seen Lemonade and want to talk about Wakanda, but it's remarkable film. There's a Mormon when he's in an elevator, and then the elevator kind of-- a wall gives away, and he's in a club as you say. So there are all these ways that you were playing with the set design to get at this sense of his-- Of his memory, yeah. It seems like you must have a lot of fun shopping. You know, everyone says that to you when you're like, you come up with like five carts, and you're sweating, and you like-- phone is ringing, and you're-- everything is going off at the same time. And they're like, what job do you do? And you're just like, ugh. And they're like, that must be so much fun. And you're like, does it look like fun right now? Because I've got to get to the car, you know. I've got a meeting in five minutes. So I don't shop that much anymore except for whatever the set decorator brings me to be like, here's what I'm presenting to you or here's what you were looking for or asking for. But when I was a set decorator-- because I tried to do every job-- I did do a lot of shopping. And I tell you what, what that did was made me the fastest shopper that you will ever be around. And my son is like-- I can't even believe it. I'll like, run in, just grab stuff, and you kind of have a sense-- you learn stores and things, so I already know what I want when I get in there. I don't have time to waste. But yeah, a lot of shopping. OK, I said shopping, but maybe we should call it "curating?" Curating, that's what I do. Now, that's what I do. Because you're selecting a bunch of stuff with an eye toward what's going to work together in the right combination at that moment. Exactly. And I guess I'm thinking about that-- trying to keep up with your slide presentation here-- to think about Lemonade. Lemonade! Yeah. And I guess-- The queen. The term "curation" comes to mind in this because this seems like a really complicated text. There are multiple directors. It's not a narrative so that it moves across these different sets. I only got to hear one song. Is that right? Yeah, I laughed about that just now, but it wasn't funny at the time. I was like, really? [laughter] A lot of security there. So one song. And I think it was "All Night" was the one, which is this video here. And yeah, that was a lot of switching gears. It was a lot of switching gears. You know, when you wanted to be a deconstruction of, like, a woman's feeling in a relationship that she's trying to hold onto, or fix, or heal, and then kind of do that healing within her own self as well and gain strength-- because, first, you're mad. Then, you want to kill everybody. And then, it's like, OK, can we work this out? [interposing voices] In the simplest of terms. So we needed to break that down while bringing in this aspect of black empowerment for black women, which I think is a very different thing than just black empowerment. I think female black empowerment is a very different thing because black women are oftentimes not heard and overlooked in this time and country-- well, always, but specifically, we're feeling it more now. So that was sort of what she wanted to get out there in a way to where you feel very small, to where you feel very powerful, and then use the canvas of 18th, 19th century plantation life. So in that sense, I always say Lemonade was a bit Afro-futurist in which we took a reality of the plantation in New Orleans, which was a place of oppression and, specifically for women, a place of rape, a place of great oppression, and turn it on its head by making a place of empowerment. So you see all these women at the dinner table that was just there. You see them in the dining room. You see them inside, and you see the matriarchs later in Lemonade, where you see the older women and sort of mixing this idea of very traditional, colonial construction with African textures, as far as, like, the fabrics and some of the things that we did. So we would take a lot of Victorian chairs and cover them in mud cloth, and wax cloth, and things of that nature to sort of mix the two in a sense. So that's what we were trying to do with that. So it was really all about this deconstruction and really getting it back. So there was no one thing that I needed to do as a designer, because there was no real structure, you know? And a lot of what I do, it's very nuanced in the fact that I think-- in architecture-- I'm sure we'll talk about this a little bit more, but very quickly, in architecture-- my father was an architect. My mother was an interior designer. So I've been around it my whole life, and it was always very oriented in the build, in the material and what wall is going up, and how it's going up, and the plans, and all the different plans. It was very much about that. I understand that, and that's what I do as well. However, I always speak of it in a frame of emotion less the hammer and nail of it. Yeah. Makes perfect sense why you would be the one to do Lemonade, which is all about sort of exteriorizing this internal, emotional landscape-- Yeah. --yeah, in so many different forms and bringing questions of race, and gender, and class into that. Absolutely, and class is a big one. And we filmed a lot. We filmed many more things than what you actually ended up seeing. Because she also wanted to delve into Katrina a little bit, which is-- that was-- it's still a little difficult because I went through Katrina, so that was a little bit hard to like, OK, we're going to make a water line. OK, crew-- you know, the New Orleans people. Because that was a big thing on Trem . And I'm kind of jumping off of me and going onto another show, but Trem , there was-- recreating Katrina, like right after Katrina-- and that's hard on the city again. But going back to Lemonade, yes, it was very much about the deconstruction. So I had to make it feel like every set was a deconstruction so you see-- in the parking garage, you see in the plantation, you see bits and pieces here and there, you see the porch, you see the little girl running out the front, you see the paper stage, which was sort of inspired by the old Victorian toy paper stages for very wealthy children would get these really intricate-- like paper dolls, when we were little, but they were houses, and stages, and things, and they were beautifully paint. And so I had that stage hand-painted. And again, it's reclaiming something, you know? You just touched on something that also seems really important in your practice, which has to do with what's visible and what's not visible. And I know we're looking at Wakanda. I know. I'm sorry. That came quick. That came a lot quicker than I think I even thought it was going to come. I'm like, these slides just last forever. And they're-- OK, sorry. But there's a really important part of your work that involves things that the audience never sees. I mean, you just mentioned there are things that get shot that don't end up in a finished product. But also, I mean, there are elements that you add to your sets that can motivate the actors to give them a sense of the space and how they can inhabit a character, just for the sake of doing it for them and not necessarily to be seen. Could you share some of those kinds of details? Absolutely, I do that all the time. It's so important for performances and for them to believe they're in the world that you're in, you know? OK, so we're looking at Black Panther. We're looking at it, like, boom it just got here. Since we're looking at Black Panther, that was going back and forth about, like, do we do the effects? Do we build? Do we do the effects? Do we build? And it was very important to Ryan and I that we built because we needed to create a tangible world. It wasn't going to work. It wasn't going to play unless it was tangible. And you could see the actors touching it and interacting with it. So I would put-- you know, you have drawers, and you have all kinds of things. So to build the world, it's like, I don't want them to go in, and then open things and nothing's there, because they're going to go through a discovery as well. And oftentimes, I'll get feedback from the actors that are like, that is so cool. And I'll do some things that I can't say. But there is a couple of funny things where it's like, oh, that's there. OK. You know, that, really, like, I didn't know-- exactly-- my character. That really helped me connect me to my character. So little things like in Tessa's apartment in Creed, let's say. She had a lot of little knick-knacks and stuff like that. And what I ended up doing with her assistant was calling and saying, send me some of her things, you know? Her personal things? Her personal things. So that was also on the set. So when she got there-- because she has a tattoo that says "yes" on her wrist, and that's a big sort of thing for her that goes deeper than just the word. So we had "yes" on her-- she has these little things in her apartment that are there. And her little knick-knacks were around, too. So when she walked in, the very first time before we were shooting to look at it, she was just blown away by that. And then creating that space and really-- and I actually worked with Tessa a lot on creating her space, but we added all of the-- we sat and wrote out music-- because she was supposed to be a musician-- and put it in there. So she opened it up. We had, like, mixed DVDs or CDs that she would have made. We got demo tapes from people that I knew because I know a lot of people that are musicians, so we could have them there. We had all of the equipment work so the weekend before we shot, Ryan, and Michael, and Tessa, and Ludwig, who's the music supervisor, spent the weekend in that apartment-- and just hanging out, and chillin', and playing music, and kind of-- like, what she would be doing if she lived in Philly as a musician at that time, and vibing, and getting to know her space. And they could do that. Ryan was like, yeah, it just felt like she lived here forever. And that's really the goal for those types of little things. There's probably more examples, but I can't think of them all right now because I'm really nervous. Those are great examples. OK, so Black Panther. Black Panther! I was in the grocery store the other day, and this woman was like, oh, I love your haircut. Did you get that after Wakanda? [laughter] I was like, no. [laughter] She didn't say, Black Panther. I had to take my glasses off for that one. It's like, I can't even. She didn't say the name of the movie. She didn't say-- She just said, "Wakanda." She said, "Wakanda." OK, look-- Wakanda is invoked as this incredibly profound idea for lots of people. I think you would agree. Absolutely. Did you have any idea that the role you would play in creating this sense of Wakanda, which was not a new fictional thing-- No, not at all. --but it has this life now that is astounding. And I wonder if you can just talk about if that's the kind of impact you wanted to have, are you surprised by just the resonance that it had. I was absolutely surprised. My expectations are always really high. But for this one, because it was this huge movie and this is my first time, my whole bar was, like, just, please, people, go. Go to it, and then don't really kill me in the critique of it. So you don't really know. It's almost like one of those things where when you look back at your life and you're like, that was really brave, or, that was really courageous of me that I just did that, at that time, you probably didn't feel brave or courageous at all, you know? And when I was doing this, I didn't know that at all. I was just doing what I do, and I was putting me in there, but I didn't really think, like, this is going to be more than what I have done on any other film, you know? I didn't feel that, necessarily-- really not until after the movie came out. And I started-- like, I'd get on Twitter, and there would be videos of people dancing in lobbies and dressed up-- and not just African, but anybody's heritage. They were dressing up in their ancestral clothing and celebrating who they are and where they came from. And it was just like, you're crying every day, and I'm calling Ryan, like, do you believe this? And he's like, I can't speak. And I'm like, I don't know what's-- He's like, I don't even know. We all kind of were like, we've got to hide. You're like, this is crazy. Like, we didn't expect anyone to react in this way. Because when we all went in there-- me, Ryan, and Rachel, and for all intents and purposes, we should have never been there-- or would have never been there had we not had people believe in us who actually could pull the trigger to have us there-- so Kevin Feige, Victoria Alonso, Lou D'Esposito, they're the ones that got us there. And then, we, in that sense, had something to prove-- or at least I did. And so I can't really speak for Rachel. Well, I can. Ryan I can't speak for. But Rachel and I, I mean, especially as females, especially as a black female-- and the first black female to do a superhero movie and a movie of that range and that size-- I had something to prove. So I went in, like, all right, I might die at the end of this, but I just gotta go at a thousand for 14 months, you know? And we did. We were on three continents. We had stages in Atlanta, and we were R&D in LA, , shot second unit in-- excuse me, in South Africa and second unit in London. Yeah. I had teams on all of those. And I went to all those places once for the initial scouting and all of that. But then, the teams went over, and then they did all of that. I did not go back. It was always just like, what time is it where you are now? It doesn't matter, just tell me what's going on. And so I kind of lost-- because I'm a talker. I'm a talker. The group I talked to earlier today, I was just all over the place. So sorry. I'm going to stay focused. I swear to God. No, it's going great. This is awesome. Let's talk about what you did, OK? Whoo! And since you're showing all of these really extraordinary-- Yeah, these are the illustrations of the great mound of all the different-- the bigger sets that we had-- all the built sets. It's just a huge range of topographies that had to be created for this. So in the interest of thinking about some of the questions about urbanism and how you were thinking about cityscapes, urban architecture, urban space, transportation systems, those kinds of things-- what were some of your guiding principles in the way that you and the whole creative team was putting together what this center of what Wakanda would look like? You know, Ryan really was our guiding light through all of this. And him being from Oakland, the town and the city, he has a real sense of what-- I grew up on a farm, so I was not brought up in a city. And he had a real sense of that urban feeling of being in a city as a young person and as an adult, because he still lives there. And he really wanted it to feel dense. But what I brought to it was-- you know, the golden city. So when you see the big cityscape, you want it to feel dense. You wanted it to feel like there's a lot of skyscrapers and high rises and that the city is really packed. Then, there's another feeling when you're on the ground. What I brought to it was a lot-- I thought a lot about the continent and all the different countries and did a lot of-- a ton of research. But one of the pieces of the research was all the different climates. How did those climates then effect-- and this will, eventually, come back to urbanism, I promise-- and how those climates-- how did the tribes, and the different peoples, and the different countries then deal with those climates in those environments? And a lot of Africa is about migrating. And not migrating because you're fleeing something or fleeing like horror, but because of the rainy season and the dry season. So you would go downstream during the rainy season, and then you would have your village there. And you also had to deal with the economics, in that, OK, we can catch more fish during this time here because we're going to be flooded out up there-- so the rebuilding. That's why I think pre-colonialism-- you don't see a lot of record of villages because they, in large, would be wiped out. When colonialism started, they stop this migration. You know, we're doing that for economic reasons. We're doing this for our community, right? And that's when, OK, now you're trapped. We're building borders. Because there weren't really borders before in sub-Saharan Africa. It wasn't really, like-- there were different tribal areas. And when they started putting up borders, it was like, oftentimes, two warring tribes were in the same area or two friendly tribes were now separated. So the whole economics of those countries then changed because of that. So that's what I was looking at and that we need to have all these different climate areas, all these different areas that show that, in Wakanda's sense, it wasn't colonized. That migration still happens. That was really important. And then the epicenter of that migration is Golden City, where it is, in essence, like an Oakland, or a San Francisco, a New York, where you have all the peoples from the tribes. Some of them, not all of them, are there. So we looked at it as a very metropolitan city in that sense. And that's why you get the mash-up. Because you asked me about that. And I was like, we'll talk about the mash-up. Because, again, that reflects back on African-American culture. And as an African-American, I innately brought some of my culture to this. It's like, when I'm sitting next to you or I'm sitting next to any black woman or black person, we're from different places, but we're not. So it's not necessarily just about the city or the diaspora. It's about the way that people tended to live before colonization. And that's what we wanted to do, but then add in the modernity of it, which is the way that it looks, and the transportation is so important to Ryan. He loves a train. I mean, I think there's a train in every one of his movies. Because that was one of the first things he said. He was like, what does the train look like? And I was like, train? OK, just give me a minute on the hyperloop. I'm still trying to figure out what the land looks like. Because I had to build the topography of the country before I could even start deciding, where is Golden City in this? And why is Golden City in that place? It's because it's where the palace is. So the palace would be someplace where you couldn't traverse to it. You couldn't cross a border to get to it, so you needed to surround it with mountains. That's why you have all the steps. That's why you have the tiered land, which was a really big part of the agriculture in sub-Saharan Africa that was wiped out during colonization. And largely, now, you only see tiered land like that for farming in Asian countries. But it was a huge part of African agriculture and farming. It's just not there anymore. And it's the best way, actually, too-- that's designing and building a way to have your water feed your land without actually having all of the technology to do it. Right, so that's where it was born from. But now, it's gone. So we needed to add that back. And so it was these things that was an important part. So I had to think about Golden City 10,000 years ago. They were farming on tiered land. That's why the tiered land is still in there, because the golden tribe was the first people to settle in Golden City, and they were farmers. Then, the next tribe that came was the merchant tribe. And I took sort of the history of the meatpacking district and the Native Americans for the merchant district in that there were cooling systems underground in New York. [inaudible] Yeah, that's the area. That's why you have the Meatpacking District, and why they sold things only at night. You don't really see that on screen, but Merchant District over time evolved into a more residential nightlife place, because it was always open at night. But the story goes sort of in the same direction as the Meatpacking District. So they were there second. When they started to realize that they can sell their goods around to the other tribes that were now existing in this area, they-- I completely made it up. I'm telling a story that isn't true. [laughs] I just realized, like, I'm going on like this with some real thing, and it absolutely what I made up. But that's incredible that you can fool yourself. I just totally fooled myself. Like, I am actually telling you some real, factual continent-of-Africa stuff. And it is not. That was weird for a second. I was like, whoa. Because I'm looking down here, like, right? You read this, clearly? He saw. He knows. The Merchant Tribe isn't a real thing. That's where my head goes all the time. But that's how deep we had to go. I had to understand, like, why Step Town existed. So you know, after that city-- I'm going to tell you a little bit more. I don't even care anymore. I'm just going do it. So after that city-- I'm going to tell you all this news nobody else knows. After the city starting to be built and the golden tribe became sort of the royal family and no longer was farming, the tiered landing started to be built. That's where we have Step Town. That's why it's called "Steps." And it's also called Step Town because that's where young artists come to get their experience. So they also take-- so when you see Step Town, you will see, like, a lot of Afropunk-looking people. And you have the lip plate, and you have-- [? andiboli ?] painting on one of the buildings, so there's some tradition. You have some Senegalese art work. You have the bride cooking. And then, you have like the hover bus going by. And then, you, kind of get a sense of the train, you know? These young artists are taking what their tribal traditions are, and they're just evolving into a new art form, a new tradition. The other traditions are still there. That's not denied. That's not destroyed. It's still used. Unlike us, we stick it in the building, and we call it, like, well, you pay $10 to go see the thing that we don't actually own, right? And yeah, I said that. I heard some groans over there, like, mm-hm. Look, I said it. I said what I said. Anyways, so yeah, so we wanted it to be still a part of the community. And those spaces then become these open spaces. I don't even know. I'm like, going out of control now. No, no, not at all. Because you're giving us a sense of how layered your thinking, and your research, and then the actual visual design has to be in order to give a sense. I think you're answering the question of why the idea of Wakanda resonates with people so strongly. It is. It's about community and family. Because it's not completely disconnected. Although, you could call it a fantasy space, there's so much about it that's tied to actual, historical, cultural, economic history that you guys have been tracing. Absolutely. Absolutely, that's what it is. It's about community. It's about family. It's about kids. It's about rituals, spirituality, the things that you don't see in normal, futurescapes, if you will. It's always, like, overpopulated, and too many buildings, and they can't all fit. It's Elysium, and then all the rich people are in the sky, and everybody else is like-- you know what I mean? Like, it's these horrible futures that we think, like, that will never bleed back into our reality. It's just entertainment, and it's fun. But it actually does bleed back into our reality. Where are black people in the future? There aren't any. I don't know how many aliens with elephant heads, but you will find one black person in Star Wars. And I think there were two Asian ladies. But how many camels with body parts-- you know what I mean? I'm looking this, like, he's a lobster, but you can't have more than one black person? OK, come on now. You know what I'm saying? That's what I'm saying. And it's not a hopeful future. It's like, well, what do you have to look forward to? And then how do people then look around their own worlds? Like, what's the point, you know? So now, it's time to put something different on screen. You put black excellence on screen. To put, you know-- [applause] In many different ways, you know? In many different ways. To put tradition back in the fold. To have evolved something and not just plunked it down because it looked cool, you know what I'm saying? To take a tradition and say, OK, how did that serve them through time? And what are we seeing of it now? You know, we did a timeline for Wakanda that started in the Bronze Age, and it went to the present day. So this timeline covered off where we were, all the points that we hit in the real Western world-- so industrialism, all the stuff, all the stuff. And then, I was like, OK, so now, let's all sit down and figure out what Wakanda was doing. So when did they have the internet superhighway? What were we doing? We were still figuring out how to get the Pony Express to California, and they had the internet. We had to figure out why they hadn't been hacked yet, because they don't work on a binary system. They have a completely different computer system. So we can't hack it. They can hack us, because they can mimic a binary system. But we don't know yet what their system-- I mean, I know, but you don't. I know what the system is. We're going to have Professor [? griffin ?] come on up and join us. I'm blah, blah, blah. Thank you all. We're going to keep talking. Oh, you're going to use the step. I don't even really want to come up anymore. No, come up. I'm just a blabber. I'm a talker. --a part of the audience. And I think I was just trying to figure out how to jump into-- Yeah, now, you start talking. Well, I could go in so many different directions, right? So one, I'm just completely fascinated by this constructed development history that you're walking us through that's related to economic and social trends that are going on and the city responds around it, which we all have. In the United States in particular, black narratives are very much tied to land. Yes. Right? And so you've now constructed that whole narrative for this place, Wakanda now that some people really believe, and some people are really kind of annoyed that people believe it, and you've mashed these things up. Yeah, yeah. That's great. So I have a two-part question, because I actually want to get Jacqueline's response to this, as you've looked through a catalog of black film, which is about the way in which you've seen the city show up as a vehicle for telling those narratives, right? So in the US, we get a lot of films and movies, and we're trying to tell those stories through a white space, right, and not through the ability of creating that. And you've been able to deconstruct that in Lemonade. It was deconstructed in Childish Gambino's video as well. So I'd like you to talk about how effective black storytelling and black film has been in using the American context to enable that story. And then, I want to come back to Wakanda and ask you about-- and constructing such a rich history. Who were your collaborators in building that story? So you are a story designer. Do you have real historians, real architects, real landscape-- real ecologists-- and "real" is not the right word. Other disciplines, how do they inform the way in which you create these histories and then ultimately create the environments that you do? Yeah, the figure of the city across African-American cinema has always been prominent, and the city has been a problematic space and, I think for the most part, a space in which people have attached great hopes, and those hopes have been dashed. So we can take this all the way back to the early race movies that were made for segregated audiences in the '20s, '30s, and '40s. People go to the city; that's where you become corrupt. That's where women lose their everything. And this is where families fall apart. And then even if we trace that through black independent cinema of the '60s, '70s. I'm thinking about the LA Rebellion Group, for example, Haile Gerima, Charles Burnett-- I mean, the city is a space of tremendous difficulty and oppression. People are subject to the city, and the struggle is how to find some agency, how to navigate the space in a way that makes you feel as though you can be a whole person and keep black community intact. And I think we see that through the Boyz n the Hood films, the police state, economic exploitation. So I just love the reel that you shared with us. And especially my favorite line in that film, a bunch of [? cosmocolonizers, ?] you know? Because I think that the historical processes of colonizing and decolonizing really help us to understand what you and your colleagues are doing. It has to do with decolonizing the cinematic imagination and really centering blackness in a way. Even in Moonlight, which you could see is like an abject story of a kind of abjectness. But still, there's a way in which there's a different relationship between black people and those urban spaces that suggest that there can still be intimacy or they can still be some kind of human connection. Which is a whole 'nother manipulation because you kind of have to take the Miami out of Miami in order for the black narrative to be told and for us not to be distracted by the Miami that's already in our head. So there is even an interesting manipulation that you do there, which is a constructive space taking a real space. You see little having to traverse this urban, sort of concrete crumbling, right in the beginning-- urban concrete jungle, where in some suburbs from like the '70s and '80s, where it was like, everything should be concrete. You know, you go out to some suburbs, and they've repurposed them into skate parks and these types of things. You go into urban areas, and it's just crumbled. And so he's running from these kids because of who he is through this [? scape, ?] pass the trouble, the drug dealers that are there to make money on the lives of others, and hides in a trap house, basically, and sees all the destruction. And he looks and he sees the needle, and the spoon, and the garbage, and he's hiding. And then, you have Juan come and take that board off and this light, pssh, comes through-- I'm a big sound-maker comes through and eliminates him. This is the person who is going to eliminate him within this construct of this urban-- what some would call an urban nightmare in a way. Right. And is the yellow we see through moonlight supposed to remind us of the illuminating of-- Of Juan? Of Juan. Yeah, there's definitely specifically, yes. There's the yellow, and the blue, which is he's in the blue car. That is him. The water-- it's that lightness. It's that-- sort of when you think of the sky. It's when you look up and you think of, like, the universe, or God, or whatever it is you think of when you look up at that the thing that's so much bigger than you. To Little, that's what he was. When that light came through it, it could have been an angel. It could have been God to him, you know? So we kept him in that area. Now as Juan is bringing Little into his home for the first time, the home is this soft pastel pink. Because that was in Miami-- the teal and the pink, you know? That's very Miami without being Birdcage, right? You know? But then you see it's getting painted over. And as Chiron comes to us in a place of being in the [? poke ?] & Beans in Liberty City projects, which is one of the hardest projects, they're now tearing them down in the United States. I think they've filmed over 75 episodes of First 48 there, if that gives you any idea of that. And that's exploitation, as well. So I'll just say that. So as he becomes Chiron and the second time you see her talking to him, he won't speak. Paula is now full-on immersed in crack. Juan's house is white. Because now, that safety, that warmness of Miami has turned into this city. He is in the school that's built on a prison plan. Because that's what we do. We build schools off of the plans of prisons, and we just add classrooms. So that's really how that goes. Right, I want to loop that back to collaboration a little bit. So one of my favorite images here was that you actually had a plan of the city, with like districts, the center [? of ?] [? the ?] [? city ?] is like, the university. It was fantastic. I would love to unpack your process a little bit more in terms of-- I know you immerse yourself in your own research and with the rest of the filmmaking team, but do you look outside of your sector and your discipline to build that body of research, particularly for such a richly developed place that does not exist? And I'm sure some people-- I'm glad you reminded them that this was not-- I had to remind myself. I was like, what am I talking about people. People will go home for dinner and talk about Yeah, this woman thought she was from Wakanda. It was strange. So tell us about who you collaborate with, how your collaboration process works. Oh, we collaborate with a lot of people. So we brought in architects, futurist architects who-- we brought in a couple of people who are working on designing Google City, that will maybe show up in the West Coast at some point, and talk to her about what that is. Like, is that? This is a completely technological city. So we sat down and we talked with her, and she sort of told us about how they plan to make it more of a communal place with shared yards-- all transportation is underground. All the technology is behind walls. There's a shared currency. Once you cross into this city-- they're basically building it so you would never have to leave. So everything you need is here. And she's telling me this and telling me this, and I'm a bit stubborn-- couldn't tell-- and outspoken a little bit. And she's telling me this, and I'm soaking it in, because I want to understand what is someone like Google think the future should look like. And as she's talking to me and I said, well, who lives here? Because what you're saying to me, I can't even afford. So who's living here? You know? All of a sudden, I see the big circle in the sky and Matt Damon, like, I'm coming, you know? [laughter] Right? And she really kind of looked at me and Ryan. And she was, like, well, you know, you would need to be-- clearly, you'd have to have money to live there. Well, that's not useful to me, you know? So mute on that. [laughter] You know, that's where my stubbornness comes in. Because then, I don't want your idea. I don't want to be inspired by something that's only for a few. Like, that's not what we're doing here. So thank you for the information, but that's not the information I'm looking for here, you know? But we did then talk to experts who were in anthropology, geology experts we brought in just to talk about vibranium, which is the fake metal that Cap's shield is made out of. Because I had to be an expert in metallurgy at one point because I had to figure out, how do you mine vibranium without exploding Wakanda or the earth, for that matter. I had to figure out how does that much vibranium that's that elemental and, you know, get through the atmosphere with, again, not blowing up the earth? So we had to talk to a lot of biologists, nanotechnologies I talked to. So I brought in a bunch of people-- a lot about the science and the math, because I was never good at that. But then a big part of it was my dad's voice-- right here, the architect, the perfectionist saying, you need to know what the land looks like, Hannah, before you can build anything. Because he would always say that to me. Like, I'd be like draw me a house. And he's like, I don't know what the land looks like. I can't draw-- [laughter] So I don't know if that's a lazy thing. I'm going to have to talk to some architects here. Like, was he just, like, really messing with me on that one? He just didn't want to draw me a house? Or is that real? But I took it as real, whether it was or wasn't. And so I realized I needed to understand the land. So we brought in specialists about that as well, like the different climates in Africa was one that we-- So even your description of the development history that you had-- the construct and then the representation of that-- and I'm so excited to go back and actually watch the movie now hearing you. Because what I went to look for is how I see the evolution of the city through different scenes, right? So you go into any urban environment, and you can tell the history of the city by what is no longer there, what remnants are there, what's new, and then you begin the overlay the socioeconomic story and histories. And sometimes those histories are erased. Some I'm kind of now curious to go back and look at these landscapes you've created and see if I can trace the story you've showed us through what we see. Because some of it looks a bit even, even though the environments are different. I can't really tell class. I read an interesting article where someone critiqued the film for not showing poverty. And then the writer went on to say, well, why would you want to see poverty in Wakanda? It's Wakanda. But there was a debate about, what is society like? And how does the built environment represent those forms to society, so I'm really kind of curious to look back through that. And you and I on our phone call the other day talked a little bit about, I have a handful of African friends who are architects. And when Wakanda first came out, I was like, it was so great! Aren't you excited? I'm like, eh. And not because I didn't like it, but it's the mash-up. They were very conflicted by the way in which all these different cultures of Africa, the continent that is represented by many countries which are virtually distinct, seemed to be seamlessly kind of mished, and mashed, and swirling around. And they were really challenged by that. And my interpretation of that was that, because most of the world is, quite frankly, really not very well-informed about the continent, the culture, what's progressive, what's metropolitan, what's rural, just its history overall, that Wakanda was creating this false narrative, and now people are going to go off in the world and think Africa is like this and still not understand the texture of it. And I sort of said, well, let's put that on the table and have you educate folks about it. And I think you've done that, even through this constructed narrative. So where I'd like to maybe take the conversation in my last few minutes before we hand it over is, there is a conviction you have to have as the designer, the person visioning this, to withstand this critique-- to [? a ?] [? standard ?] as a woman who is leading that version, a black woman who is leading that vision, and all of these forces that come at you, not just on this film, but probably every film and in every aspect of your life. We were talking about the fact that there are 105,000 architects in this country, and only 440 are black women. And I'm sure the same exist in you all's fields. So tell our students a little bit about what it took of you to hold true to your vision for Wakanda and all the other films that you've created. Where do you show up in defending-- That's a thing for me. You know, I stand by what I do. And that's why I always say to people-- like, when I'm working with my crew, I was like, I'll fall on my sword. I'll fall on my sword for you. I'm not falling on anybody else's sword. And if somebody brings me, like, OK, I think this piece would work really well here and duh-duh-duh-duh, and I'm like, yes, I see it, blah, blah, blah, blah, blah. We go, and we do what we need to do. I stand by that. And that's all I can do, you know? I'm a failure if I don't learn from criticism. I'm not a failure because something didn't work. I'm a failure because I didn't learn from it, you know? So I tend to want to take a lesson from what people are saying to me about things. You know, when it gets crazy and weird, it's like, I'm-- mute. But when it's constructive criticism, that's important to hear as well. And there were many reasons why-- that one, I hadn't heard. That was interesting about the mashup, and it was confusing. And part of my thought about that. My response to that would be if the concern is that, no, we don't know enough about the continent, or a lot of people don't know enough about the continent to really say, and then they'll see this and be like, oh, yeah, they got like, whatever. And honestly, I'd rather them misconstrue it this way than what I grew up with for 48 years, personally. I would rather have a child sit in a classroom and have someone be like, well, in Wakanda, it's awesome, instead of them mispronouncing the country of Niger because I'm the only black person in the room at seven. Because that was painful. You know what I mean? I think that's a big difference between African and African-American. And I don't really see myself being either one. I always place myself in the hyphen, you know? And that's where I am right now. So this view is my view as a little black girl in a predominantly white community growing up in the country in Ohio and how I felt when people said things to me about Africa, all the hurtful, derogatory things that you hear as a kid. Like, all Africans are uncivilized. Well, I mean, our president called it a shithole, basically. So that's not a shithole. Let's just be clear. I don't know if I can curse here. Yes. You know, and I'm always really weird about that. I cuss a lot. But I was like, I'm trying to keep it-- but, you know what I mean? So that's sort of my response is that if this is creating some kind of new narrative, then because this was created from love, from hope, from joy, from what our future can be, from putting something positive from black excellence, I would rather someone try to say, like, something about that. With that said, that's just sort of like, OK, I can't get mad at that, right? I detect no lies. But I feel like I understand what they're saying because it was a concern for me as well. Yeah. It really was. So let me tie one more thread before we hand it over, which is, you said, this is my vision as a little black girl. This is how I want people to see it. So we are each little black girls from segregated cities in the Midwest. So maybe I can end my curiosity by asking each of you to talk about-- Hannah, maybe for you, how you know the female perspective or the feminine city shows up in your work. How does the feminine story show up? You know, you've been looking at a breadth of black films. Where is the feminine story? How are you seeing it show up in your work? And then at dinner, I can tell you how it shows up in mine. But this is about you all. [laughs] --my work, well, a couple of things are coming to mind. You know, one of the things that we talked about a lot when we were looking at Lemonade, we being black feminist media scholars were the resonances between it and Julie Dash's work, especially her film Daughters of the Dust, which is not set in an urban environment, but is about the prospect of going to the city and what you try to hold onto before going. And so there are some really interesting ways, I think, that across your work, especially, I can see a lot of resonances with the kinds of questions that black feminism has been trying to address for a long time about making space about creating a sense of community, about honoring the intimate and recognizing how the personal impacts our ability to do political work and those kinds of things. So I just see you firmly in that line of people that we normally have focus on directors, and we haven't looked at the maybe small number of women of color, but incredibly powerful, creative, important women who have been doing work that sustains the same kind of idea over time. And then one thing you mentioned when you read my bio before I could cut you off was a project that I direct collecting home movies shot by people on the south side of Chicago, mostly by, like, dads and uncles, but the films that we had that are shot by women, again, are doing exactly what you do. Like, these are the people who are paying attention to the food and paying attention to, like, the child's play, and paying attention to home decor in different ways. The settings that enable life to take place versus just the setting? Yeah. Yeah, absolutely. It's exactly that, you know? And I was very lucky on something like Panther. I think for most of my projects and, specifically, working with Ryan, who I always considered a feminist himself, you know? He has a sense of intimacy which-- and a sense of place within an interior, you know? A sense of what you were saying, the detail to the children, to the family, to that-- that's always very important to him as is the transportation in the city itself. So in that sense, yes, I see there being a sense of black feminism, you know, in that sense. I feel like a lot of what I do also comes-- because I would say, as a black woman-- I talked about this a little earlier today that when I work, I always have to be in this position. Now, I've got a be forward. I have to be up. I have to be shouldering everything at all times. As a black woman in this industry, you can't ever do this. Because the minute you do that, then you're seen as weak, vulnerable, not maybe useful. Or you recede. You become invisible. Yes, exactly. And in the weakness, then, you're able to be controlled. I'm a Leo, so that's just not a thing, right? But you do find yourself getting weak of that, of this, of constantly, it's exhausting, you know? So in that sense, I think that's in my work, this sense of constant female strain, especially with black women. You know, with Lemonade, of course, I was with the queen, so-- excuse me, I was with the queen. And again, I worked with her in Jamaica just recently for all her-- all the interludes in OTR 2. And it was this same-- but it was a little more nurturing in that sense, and it was a little more sexy as well. And I'll go there, and I'll say that. Because I mean, all her stuff was sexy. But in a way, it was more-- because we did a lot of stuff with dancehall, and it was like, you know, black women being able to own that femininity of being sexy and not being, like, you know, child bearing, or overwrought-- like, the things that were-- the tropes that we're presented with, but soft and feminine, because you don't really get that, you know? I say that to people all the time. Like, sometimes I just want to be vulnerable. Sometimes I don't want to be the one that has to take care of everything constantly. And I try to create that in the spaces where they're strong-- a strong sense of women, like, in the throne room in Black Panther, you know? It was like, OK, we talked about, like, whoa, there's going to be all these kings guard men in there, and then we're going to have the door of Malaysia in there, and then we're going to have the council in there, and where does everybody stand? Well, they stand on top. The women stand on top. And if you notice, the king's guard is down and sort of out of the way in the circle, the circle of life, and you have the women on top, on that top level, with the giant 10-foot mud murals behind them that represent their tribes. Because, in that sense, it's the matriarch. So I was always doing [inaudible].. There's actually one funny story, and I hope I don't offend anybody. I'm, like, whispering. So when we went to present all the-- I think it was second phase or third phase round of designs and I had just kind of gotten to a place with the palace that I really was like, this is it, you know? Like, I feel like I'm gonna show just to Ryan and everybody, and they're going to love it and everything. And so I show them this, and I don't know how much you see in the movie, and I don't even know-- [inaudible] tell the story. But the front door of the place-- he was like, well, doesn't that look-- what does that look like? And I was like, what are you talking about? He's like this giant. And he was supposed to be, like, 80 feet tall, like eight stories of this. He's like, it looks like a woman part, you know? And I was like, well, I'm a woman. I was like, then maybe that's-- we're so used to seeing all these, like, very male, tall structures, and I'm like, well, now, this is what you got. And I said that to everybody in the room. I was like, you know, yeah, right? That's what it is. That's what it is. That's my center of power. I gave life, and he's 20, and he's getting me lunch. So you know what I mean? Like, that's my sense of power. Like, why wouldn't that subconsciously show itself some place, just like all these movies that you look at and designs of cities. Of course that has to do with what we consider-- So everybody has a new watch list for the weekend? I am telling you, somebody is going to come after me in Marvel and be like, what are you saying about these things? And I'll be like-- well, it was funniest thing because I never changed it. And every time I see it, I'm just like, ugh. Oh, there it is! Have a fabulous laugh about it. We arrived! Yeah. So we have a little bit of time for some questions, emphasis on questions. So there are a few people who are going to be walking around with a microphone. Don't try to grab the mike. You will be unsuccessful. But we would love to be able to take some questions for Jacqueline and Hannah from the audience. So the mics are on the side. Raise your hand. Maybe we can turn the lights up, just a little bit, and we can see who's asking. So introduce yourself, your name, your program, and don't give her the mic because she'll keep it forever. Why don't you stand up, Chandra, and ask your question? Hi, again. I'm Chandra, a second year urban planning student. I have a question for both of you. So for Jackie, I wanted to go back to your comment about decolonizing the cinematic imagination, if you could talk more about how your scholarship looks at that. And then for Hannah, I was wondering about in terms of what you talked about transforming the Lemonade production set from a place of oppression to a place of empowerment, why you chose to think about that transformation versus just creating a new place as opposed to placing them within like the plantation context. Sure, one thing I do-- thanks for the question, Chandra. One way, I guess, I try to get at that issue is to look at spectatorship quite a bit-- black spectatorship. As much as I'm interested in what filmmakers do and what's put on the screen, I think that's part of what happens in the exchange. There's so much that happens at the point of reception. There's a loop, actually, where meaning is being constructed. So this is one of the reasons why Black Panther is such an important-- another reason why it's such an important film. You alluded to this-- the fact that people were turning out dressed Wakandan. I did an outdoor screening of Black Panther this summer, and we had, like, a costume contest. And I thought it was kind of like, oh, maybe two or three people, nah. [interposing voices] --yeah, everybody. So the ways in which African-Americans have figured out how to find pleasure, even with films that were not designed to provide any kind of entree for them at all, just to find those small moments or to connect-- to be able to appreciate what a maid is doing in a film, in a classical Hollywood film, or to somehow make the narrative work for their own purposes, I think is tremendously creative. And that's a really important way that I can see a kind of decolonizing happen despite what the text might be originating in itself, yeah. [inaudible] have to tell me your question. I can hear you. I was wondering in the [audio out] --the place of empowerment versus just creating a whole new landscape for that set. You know, well, and here's another thing. When the artist is telling you what they want to do, you have to figure out a way to do it. And it was really important for her to be on that plantation. So while if it was just like completely do whatever you want-- because there was a lot of leeway she gave me to just do whatever. There was, like, OK, she wants to be in these plantations. It was very important for her to take that ownership back, especially in a place like New Orleans, where I'm from, and probably also speaks to why a lot of my work is the way it is. But that's, yeah. So that's why we did it that way, really, necessarily. But yeah, it could have been an entirely new place. I think, then, it would become something different. Because the feeling of what she was trying to convey is not new. How she handles that feeling is new, right? So that's how we learn. That's how we evolve. We're faced with the same stuff over, and over, and over, and over, and over again. It's how we decide to handle it each and every time. If we do the same thing each and every time, then, we're probably insane. But if we learn, then we can do it a different way. And that's where I think she was actually coming from. What I wanted to do was create a place, a sort of a free-thinking place. Again, we shot a lot that you didn't see, because we had done all of this sort of educational side of it, where these women that lived in this plantation were learning to shoot guns. They were learning to-- archery. They were doing all these different things that was their day. And then, they all had the duties in the kitchen-- we used a real slave kitchen because this was on Destrehan Plantation. We used two plantations; Destrehan was the main one. And so that's some of the things we did. So that was the overall thing. When it was edited, a lot of that was edited out. But I think you still got the feeling of the women in the garden and that. So she's very smart about that. And I mean, she knows herself well enough to know that she's had that feeling before. And now, this is how she's going to take charge of that and take power of it. And I think that's what that was. Other questions? Way in the back there in the gray sweater. Yes? Young man right there. Hi, my name is Lafayette, I'm a second-year Master in City Planning student at MIT, I had a question about the insertion of the humanity of people of color, both in the histories that you constructed, but then the resulting features. I think of particularly like with Lemonade and how inserting-- I feel like when we talk about plantations, we often ignore the flames. They're just kind of background people, and their humanity's not there, but you inserted women of color there and created this powered [? ethnofuture. ?] And then in Wakanda, we often think of Africa as this colonizied place or this untamed place, but you inserted humanity and history. So I was just wondering how-- like, how you do that? Because in general, futurists and media, we don't see humanity in people of color in the past or in the future. [inaudible] well, I do it because I'm black. [laughter] And I'm human. So I put those two things together. I'm a smartass. I'm sorry. I'm so silly, and I can't help myself. And maybe that's why Ryan keeps me around, because I keep the laughter coming in between all the stress and crying. But yeah, Lemonade, having people of color be in the front-- or black people, because people of color to me are people of color, but black people-- you know, that sounded weird. He's like, OK. [laughs] I mean, that was a very important thing. That was part of a taking back. In a way, that felt more useful than some of the language that we used to say we're taking it back, you know what I'm saying? That's why that's in the forefront, you know? And it was a lot about the matriarchy and not the patriarchy. It was a lot about generations of women and what we see from generation to generation in Lemonade. In Wakanda-- that was [inaudible],, but in Wakanda-- I mean, again, a fictional, African nation-- and by where we set it-- OK, so, it's actually placed above Burundi. We kind of fudged it a little bit and scooched it a little closer to the DRC and added Lake Kivu, like we moved Lake Kivu down a little because we wanted it to be on the border of the Impenetrable Forest, so we did a little bit of [? training ?] [? around ?] [? that ?] [? one. ?] No big deal, right? We just moved some stuff. But after we placed it there, I started looking at all the surrounding countries of who would have then migrated to this one little spot 10,000 years ago. And it's mostly sub-Saharan. When we see Africa, it's either Tarzan or Egypt. And in Egypt, the dark-skinned people are the bad people or the slaves, you know? And if it's Tarzan, it's the help, you know? Black people or the help. So again, I think Wakanda is just another form of destroying a narrative of what-- or giving humanity. Like Oscar Grant in Fruitvale Station. It was like, I'm going to give him his humanity. Like, he's a son and a father. So that's been played out in my work, and it continues to go into my work is, giving people their humanity. Because then, you can't look away. Then, you can't just, like, walk out of the theater and be like, whatever, you know what I mean? You have to sort of think about it a little more. It's more present. Where it's like, oh, OK, these are people as well. I don't know if I answered that very well, but that's what I got. Was there a question over here, too? Yeah, so my name is Kofe, a second-year architecture student. I just wanted to say that I'm African. I grew up in Africa. I was born there. And on the issue of depictions, I see a lot of depictions of Africa that as somebody that is African that grew up in Africa is totally alien to me. I cannot relate to it. So I just wanted to say that there are fictions out there anyway about Africa that are totally different from the reality of it. I love this fiction. It's something we can have a conversation about, and it's so inspiring. I talk to a lot of friends that still live back home, and they absolutely love it, so I just wanted to say that. Thank you. Thank you. You know, the environment or-- what I noticed in Africa when I went there was-- or in South Africa-- I was in South Africa-- was that there is no camera. There is no thing that has been invented that can replicate what you see with your eyes [inaudible].. So it was like, we're not going to try to do that. We're not trying to replicate this vastness and this beauty on camera. We can only, again, capture an essence and a feeling of what I felt when I was there, which was a sense of joy, which was a sense of pride in who your tribe, [inaudible] or Zulu. Because there was a lot of [inaudible] people that were our guides and that were really talking to us about the history, about the Afrikan history and what that did, about colonization, about apartheid, and what that did to the farmers in all the land grab, right? So yeah, I was like, I'm never going to be able to fit thousands of languages and thousands of tribes and cultures from this ginormous-- I mean, it's like 18 hours to fly around the continent. It's insane. It's huge. That's not a possibility. And had I tried to do that, that would have just been an absolute failure. So what I needed to do is capture all the things that I saw, like, women walking down the street, and they had these great, colorful skirts on with these great colorful socks that came all the way up, and these great-- the way the babies were being held with a cloth around with their little legs peeping out [kissing sound] right here. You know, you just wanted to grab them and kiss them. And the smiles and the joy-- like, watching the kids when we would go to a township playing soccer, and kicking it over the edge and then having an argument about who is going to get it, and coming up to me and saying, yeah, boo, and all of that. That's the essence. I needed to capture when I went to the [inaudible] place and techno music came on. I was, like techno? We're doing this, you know? And watching little kids dance, and eating the food-- I could only do as much to capture the smell, and the texture, and the essence of everything that I saw there. I was never going to recreate it, and I was never going to just recreate one thing of it. But just really quickly, it just seems like that's a really valuable aspect of what you're doing. It's not about all fiction being bad, nor is it that your research has to be so exhaustive that you get every particular detail right and include it all. It just seems like there's some lessons there in terms of thinking about the implications for something like design, right? Like, if you think of Wakanda more as a kind of like design fiction, where you get to play out some different possibilities, rather than something that's accurately documenting or trying to be true to a variety of disciplines or something like that, then that honors the creative work that you're doing. That can also animate all of the work that we try to do. And you know, it speaks a little to gentrification. Because it's like, why can't we go to-- so, you know, like, everybody's talking about the mash-up, right? And I was talking about the migration. So are they just supposed to give up the way they know to build? The way they know to create and craft? Because now, there's like two other tribes around them? It's like, oh, well, we're not going to do that anymore. We're going to create something completely new out of it. No, I think part of that is allowing there to be a space for you in your culture and your tradition. And how does the creation of that space evolve as other migrants and other histories sort of usurp it. And just as an essence, informs your work. A set of values informs your work. And so I think the translation, for us as designers, is, you know, what are the values we think we're bringing to design? And not just a technocratic approach to that. And then how does that then translate and respond to the context. So we have one last question from a student. I'd like that to be the last question for tonight. Thank you. So stand up; tell us who you are. Hello, my name is Ashley. I'm a second year at the Divinity School here. And so, actually, I'm in a class with Professor [inaudible] about African religions, and he mentions their spirituality. And we were in a discussion about how that plays in the film. So I was wondering how indigenous African religions actually are present in set design in your concept of designing the film-- if that played a role at all. You know, it does in a sense. Again, there's a lot of stuff that's not seen. Had we done it all-- you know, we filmed a lot-- there was hours of film, right? And the first cut of Black Panther was close to five hours because-- you know, everything's gotta go in. I was happy with it. It looked fabulous. But it's like, who's sitting for five hours, you what I mean? Like, it's fun, but calm down, right? It's like, level up, pull up. A lot of that spirituality was surrounded in the City of the Dead. And it really got cut down a little bit, so that was-- you know, it's still great, and there's a lot of-- Ryans sensibility about how he as a director because he's in and out of scenes pretty quickly. You'll notice the pacing of his films are really quick. I think, more than anything, in Wakanda, he spent a little bit more on time on sort of the settings and stuff. But it's really what people-- it's their environments and canvas. So that part of it-- you know, there was this whole idea of how the vibranium was discovered in the first place. And we really went towards a religious and spiritual way that that was discovered by the monks. That was really inspired to me by [inaudible].. I don't know if anybody has seen that film, but [inaudible] is fabulous. And that was what that inspiration was, but it was a whole thing about how they discovered this-- and using-- even in some Asian traditions of low vocals in African traditions. So since vibranium is sensitive to energy, sounds, like anything, when our Wakandan and monk started in a meditation of low vocalization, they noticed that the vibranium was becoming brighter, and it was heating up. Then, they realized that when they were-- and a lot of African tribes bury; but in Wakanda, they do both. They bury and burn the dead. So that's one way that they would bury their dead is to lay out the vibranium rocks. They didn't know what it was. And then, they would all gather around in a circle, and they would do a low vocalization that would then heat up the rocks and burn the body. That's how they found fire in Wakanda, tens of thousands of years before any Western nation. That's part of their advancement. So through that spirituality and through that religion, they had advanced themselves. Unfortunately, that didn't end up on the screen. But maybe in Black Panther 2-- ba-da-ba, see you tomorrow. [laughter, cheers] And on that note, Hannah, Jacqueline, thank you very much. [applause]

Contents

Best Animated Feature

Academy Award for Best Animated Feature
Year Name Film Status Notes
2007 Marjane Satrapi Persepolis Nominated First woman to be nominated for Animated Feature
Shared with Vincent Paronnaud
2011 Jennifer Yuh Nelson Kung Fu Panda 2 Nominated
2012 Brenda Chapman Brave Won First woman to win for Best Animated Feature
Shared with Mark Andrews
2013 Jennifer Lee Frozen Won Shared with Chris Buck and Peter Del Vecho
Kristine Belson The Croods Nominated Shared with Kirk DeMicco and Chris Sanders
2014 Bonnie Arnold How to Train Your Dragon 2 Nominated Shared with Dean DeBlois
2015 Rosa Tran Anomalisa Nominated Shared with Charlie Kaufman and Duke Johnson
2016 Arianne Sutner Kubo and the Two Strings Nominated Shared with Travis Knight
Osnat Shurer Moana Nominated Shared with John Musker and Ron Clements
2017 [note 1] Darla K. Anderson Coco Won Shared with Lee Unkrich
Ramsey Ann Naito The Boss Baby Nominated Shared with Tom McGrath
Nora Twomey The Breadwinner Nominated Shared with Anthony Leo
Lori Forte Ferdinand Nominated Shared with Carlos Saldanha
Dorota Kobiela Loving Vincent Nominated Shared with Hugh Welchman and Ivan Mactaggart
2018 Nicole Paradis Grindle Incredibles 2 Nominated Shared with Brad Bird and John Walker

Best Cinematography

Academy Award for Best Cinematography
Year Name Film Status Notes
2017 Rachel Morrison Mudbound Nominated First Woman to be nominated for Best Cinematography

Best Costume Design

At least one woman has been nominated for Best Costume Design at every ceremony since the category's inception.

Academy Award for Best Costume Design
Year Name Film Status Black and White or Color Notes
1948 Irene B.F.'s Daughter Nominated Black and White
Dorothy Jeakins
Karinska
Joan of Arc Won Color
Edith Head The Emperor Waltz Nominated Shared with Gile Steele
1949 The Heiress Won Black and White
Marjorie Best
Leah Rhodes
The Adventures of Don Juan Won Color Shared with Travilla
Kay Nelson Mother Is a Freshman Nominated
1950 Edith Head All About Eve Won Black and White Shared with Charles LeMaire
Edith Head
Dorothy Jeakins
Elois Jenssen
Gwen Wakeling
Samson and Delilah Won Color Shared with Charles LeMaire and Gile Steele
1951 Edith Head A Place in the Sun Won Black and White
Renié The Model and the Marriage Broker Nominated Shared with Charles LeMaire
Margaret Furse The Mudlark Nominated Shared with Edward Stevenson
Lucinda Ballard A Streetcar Named Desire Nominated
Irene Sharaff An American in Paris Won Color Shared with Orry-Kelly and Walter Plunkett
Helen Rose The Great Caruso Nominated Shared with Gile Steele
1952 The Bad and the Beautiful Won Black and White
Edith Head Carrie Nominated
Dorothy Jeakins My Cousin Rachel Nominated Shared with Charles LeMaire
Sheila O'Brien Sudden Fear Nominated
Edith Head
Dorothy Jeakins
The Greatest Show on Earth Nominated Color Shared with Miles White
Karinska
Mary Wills
Hans Christian Andersen Nominated Shared with Clavé
Helen Rose The Merry Widow Nominated Shared with Gile Steele
1953 Edith Head Roman Holiday Won Black and White
Helen Rose Dream Wife Nominated Shared with Herschel McCoy
Renié The President's Lady Nominated Shared with Charles LeMaire
Mary Ann Nyberg The Band Wagon Nominated Color
Irene Sharaff Call Me Madam Nominated
1954 Edith Head Sabrina Won Black and White
Rosine Delamare The Earrings of Madame de... Nominated Shared with Georges Annenkov
Helen Rose Executive Suite Nominated
Irene Sharaff Brigadoon Nominated Color
Mary Ann Nyberg
Irene Sharaff
A Star Is Born Nominated Shared with Jean Louis
1955 Helen Rose I'll Cry Tomorrow Won Black and White
Beatrice Dawson The Pickwick Papers Nominated
Edith Head The Rose Tattoo Nominated
Irene Sharaff Guys and Dolls Nominated Color
Helen Rose Interrupted Melody Nominated
Edith Head To Catch a Thief Nominated
Mary Wills The Virgin Queen Nominated Shared with Charles LeMaire
1956 Helen Rose The Power and the Prize Nominated Black and White
Edith Head The Proud and Profane Nominated
Mary Wills Teenage Rebel Nominated Color Shared with Charles LeMaire
Irene Sharaff The King and I Won
Marjorie Best Giant Nominated Shared with Moss Mabry
Edith Head
Dorothy Jeakins
The Ten Commandments Nominated Shared with Ralph Jester, John Jensen, and Arnold Friberg
Maria De Matteis War and Peace Nominated
1957 Edith Head Funny Face Nominated Shared with Hubert de Givenchy
1958 The Buccaneer Nominated Shared with Ralph Jester and John Jensen
Mary Wills A Certain Smile Nominated Shared with Charles LeMaire
1959 Edith Head Career Nominated Black and White
Mary Wills The Diary of Anne Frank Nominated Shared with Charles LeMaire
Helen Rose The Gazebo Nominated
Elizabeth Haffenden Ben-Hur Won Color
Adele Palmer The Best of Everything Nominated
Renié The Big Fisherman Nominated
Edith Head The Five Pennies Nominated
Irene Sharaff Porgy and Bess Nominated
1960 Edith Head The Facts of Life Won Black and White Shared with Edward Stevenson
Irene Sharaff Can-Can Nominated Color
Irene Midnight Lace Nominated
Edith Head Pepe Nominated
Marjorie Best Sunrise at Campobello Nominated
1961 Dorothy Jeakins The Children's Hour Nominated Black and White
Irene Sharaff West Side Story Won Color
Flower Drum Song Nominated
Edith Head Pocketful of Miracles Nominated Shared with Walter Plunkett
1962 Norma Koch What Ever Happened to Baby Jane? Won Black and White
Edith Head The Man Who Shot Liberty Valance Nominated
Ruth Morley The Miracle Worker Nominated
Mary Wills The Wonderful World of the Brothers Grimm Won Color
Dorothy Jeakins The Music Man Nominated
Edith Head My Geisha Nominated
1963 Love with the Proper Stranger Nominated Black and White
Wives and Lovers Nominated
Renié
Irene Sharaff
Cleopatra Won Color Shared with Vittorio Nino Novarese
Edith Head A New Kind of Love Nominated
1964 Dorothy Jeakins The Night of the Iguana Won Black and White
Edith Head A House Is Not a Home Nominated
Norma Koch Hush… Hush, Sweet Charlotte Nominated
Margaret Furse Becket Nominated Color
Edith Head What a Way to Go! Nominated Shared with Moss Mabry
1965 Julie Harris Darling Won Black and White
Edith Head The Slender Thread Nominated
Phyllis Dalton Doctor Zhivago Won Color
Marjorie Best The Greatest Story Ever Told Nominated Shared with Vittorio Nino Novarese
Edith Head Inside Daisy Clover Nominated Shared with Bill Thomas
Dorothy Jeakins The Sound of Music Nominated
1966 Irene Sharaff Who's Afraid of Virginia Woolf? Won Black and White
Helen Rose Mister Buddwing Nominated
Jocelyn Rickards Morgan! Nominated
Joan Bridge
Elizabeth Haffenden
A Man for All Seasons Won Color
Dorothy Jeakins Hawaii Nominated
Edith Head The Oscar Nominated
1967 Theadora Van Runkle Bonnie and Clyde Nominated
Irene Sharaff The Taming of the Shrew Nominated Shared with Danilo Donati
1968 Margaret Furse The Lion in Winter Nominated
Phyllis Dalton Oliver! Nominated
1969 Margaret Furse Anne of the Thousand Days Won
Irene Sharaff Hello, Dolly! Nominated
Edith Head Sweet Charity Nominated
1970 Airport Nominated
Margaret Furse Scrooge Nominated
1971 Yvonne Blake Nicholas and Alexandra Won Shared with Antonio Castillo
Margaret Furse Mary, Queen of Scots Nominated
1972 Anna Hill Johnstone The Godfather Nominated
Norma Koch Lady Sings the Blues Nominated Shared with Ray Aghayan and Bob Mackie
1973 Edith Head The Sting Won
Dorothy Jeakins The Way We Were Nominated Shared with Moss Mabry
1974 Theoni V. Aldredge The Great Gatsby Won
Anthea Sylbert Chinatown Nominated
Theadora Van Runkle The Godfather Part II Nominated
1975 Milena Canonero
Ulla-Britt Söderlund
Barry Lyndon Won
Yvonne Blake The Four Musketeers Nominated Shared with Ron Talsky
Karin Erskine
Henny Noremark
The Magic Flute Nominated
Edith Head The Man Who Would Be King Nominated
1976 Mary Wills The Passover Plot Nominated
1977 Edith Head Airport '77 Nominated Shared with Burton Miller
Anthea Sylbert Julia Nominated
Florence Klotz A Little Night Music Nominated
Irene Sharaff The Other Side of Midnight Nominated
1978 Renié Caravans Nominated
Patricia Norris Days of Heaven Nominated
1979 Shirley Ann Russell Agatha Nominated
Ambra Danon La cage aux folles Nominated Shared with Piero Tosi
Judy Moorcroft The Europeans Nominated
1980 Patricia Norris The Elephant Man Nominated
Anna Senior My Brilliant Career Nominated
1981 Milena Canonero Chariots of Fire Won
Anna Hill Johnstone Ragtime Nominated
Shirley Ann Russell Reds Nominated
1982 Bhanu Athaiya Gandhi Won Shared with John Mollo
Elois Jenssen
Rosanna Norton
Tron Nominated
Patricia Norris Victor/Victoria Nominated
1983 Anne-Marie Marchand The Return of Martin Guerre Nominated
1984 Jenny Beavan The Bostonians Nominated Shared with John Bright
Judy Moorcroft A Passage to India Nominated
Ann Roth Places in the Heart Nominated
Patricia Norris 2010 Nominated
1985 Emi Wada Ran Won
Aggie Guerard Rodgers The Color Purple Nominated
Milena Canonero Out of Africa Nominated
1986 Jenny Beavan A Room with a View Won Shared with John Bright
Anna Anni Otello Nominated
Theadora Van Runkle Peggy Sue Got Married Nominated
1987 Dorothy Jeakins The Dead Nominated
Jenny Beavan Maurice Nominated Shared with John Bright
Marilyn Vance-Straker The Untouchables Nominated
1988 Deborah Nadoolman Coming to America Nominated
Jane Robinson A Handful of Dust Nominated
Patricia Norris Sunset Nominated
Milena Canonero Tucker: The Man and His Dream Nominated
1989 Phyllis Dalton Henry V Won
Gabriella Pescucci The Adventures of Baron Munchausen Nominated
Elizabeth McBride Driving Miss Daisy Nominated
1990 Franca Squarciapino Cyrano de Bergerac Won
Gloria Gresham Avalon Nominated
Elsa Zamparelli Dances with Wolves Nominated
Milena Canonero Dick Tracy Nominated
1991 Ruth Myers The Addams Family Nominated
Corinne Jorry Madame Bovary Nominated
1992 Eiko Ishioka Bram Stoker's Dracula Won
Sheena Napier Enchanted April Nominated
Jenny Beavan Howards End Nominated Shared with John Bright
Ruth Carter Malcolm X Nominated
1993 Gabriella Pescucci The Age of Innocence Won First year in which every nominated film had a woman costume designer
Sandy Powell Orlando Nominated
Janet Patterson The Piano Nominated
Jenny Beavan The Remains of the Day Nominated Shared with John Bright
Anna B. Sheppard Schindler's List Nominated
1994 Lizzy Gardiner The Adventures of Priscilla, Queen of the Desert Won Shared with Tim Chappel
Colleen Atwood Little Women Nominated
April Ferry Maverick Nominated
Moidele Bickel Queen Margot Nominated
1995 Shuna Harwood Richard III Nominated
Jenny Beavan Sense and Sensibility Nominated Shared with John Bright
Julie Weiss 12 Monkeys Nominated
1996 Ann Roth The English Patient Won
Ruth Myers Emma Nominated
Alexandra Byrne Hamlet Nominated
Janet Patterson The Portrait of a Lady Nominated
1997 Deborah Lynn Scott Titanic Won
Ruth E. Carter Amistad Nominated
Janet Patterson Oscar and Lucinda Nominated
Sandy Powell The Wings of the Dove Nominated
1998 Shakespeare in Love Won First year in which only women were nominated
Velvet Goldmine Nominated
Colleen Atwood Beloved Nominated
Alexandra Byrne Elizabeth Nominated
Judianna Makovsky Pleasantville Nominated
1999 Lindy Hemming Topsy-Turvy Won
Jenny Beavan Anna and the King Nominated
Colleen Atwood Sleepy Hollow Nominated
Ann Roth The Talented Mr. Ripley Nominated Shared with Gary Jones
Milena Canonero Titus Nominated
2000 Janty Yates Gladiator Won
Rita Ryack How the Grinch Stole Christmas Nominated
Jacqueline West Quills Nominated
2001 Catherine Martin Moulin Rouge! Won Shared with Angus Strathie
Milena Canonero The Affair of the Necklace Nominated
Jenny Beavan Gosford Park Nominated
Judianna Makovsky Harry Potter and the Sorcerer's Stone Nominated
Ngila Dickson The Lord of the Rings: The Fellowship of the Ring Nominated Shared with Richard Taylor
2002 Colleen Atwood Chicago Won
Julie Weiss Frida Nominated
Sandy Powell Gangs of New York Nominated
Ann Roth The Hours Nominated
Anna B. Sheppard The Pianist Nominated
2003 Ngila Dickson The Lord of the Rings: The Return of the King Won Shared with Richard Taylor
The Last Samurai Nominated
Wendy Stites Master and Commander: The Far Side of the World Nominated
Judianna Makovsky Seabiscuit Nominated
2004 Sandy Powell The Aviator Won
Alexandra Byrne Finding Neverland Nominated
Colleen Atwood Lemony Snicket's A Series of Unfortunate Events Nominated
Sharen Davis Ray Nominated
2005 Colleen Atwood Memoirs of a Geisha Won
Gabriella Pescucci Charlie and the Chocolate Factory Nominated
Sandy Powell Mrs Henderson Presents Nominated
Jacqueline Durran Pride & Prejudice Nominated
Arianne Phillips Walk the Line Nominated
2006 Milena Canonero Marie Antoinette Won
Patricia Field The Devil Wears Prada Nominated
Sharen Davis Dreamgirls Nominated
Consolata Boyle The Queen Nominated
2007 Alexandra Byrne Elizabeth: The Golden Age Won Twelfth consecutive woman to win in this category
Jacqueline Durran Atonement Nominated
Marit Allen La vie en rose Nominated Posthumous nomination
Colleen Atwood Sweeney Todd: The Demon Barber of Fleet Street Nominated
2008 Catherine Martin Australia Nominated
Jacqueline West The Curious Case of Benjamin Button Nominated
2009 Sandy Powell The Young Victoria Won
Janet Patterson Bright Star Nominated
Catherine Leterrier Coco Before Chanel Nominated
Monique Prudhomme The Imaginarium of Doctor Parnassus Nominated
Colleen Atwood Nine Nominated
2010 Alice in Wonderland Won
Antonella Cannarozzi I Am Love Nominated
Jenny Beavan The King's Speech Nominated
Sandy Powell The Tempest Nominated
Mary Zophres True Grit Nominated
2011 Lisy Christl Anonymous Nominated
Sandy Powell Hugo Nominated
Arianne Phillips W.E. Nominated
2012 Jacqueline Durran Anna Karenina Won
Joanna Johnston Lincoln Nominated
Eiko Ishioka Mirror Mirror Nominated Posthumous nomination
Colleen Atwood Snow White and the Huntsman Nominated
2013 Catherine Martin The Great Gatsby Won
Patricia Norris 12 Years a Slave Nominated
2014 Milena Canonero The Grand Budapest Hotel Won
Colleen Atwood Into the Woods Nominated
Anna B. Sheppard Maleficent Nominated
Jacqueline Durran Mr. Turner Nominated
2015 Jenny Beavan Mad Max: Fury Road Won
Sandy Powell Carol Nominated
Cinderella Nominated
Jacqueline West The Revenant Nominated
2016 Colleen Atwood Fantastic Beasts and Where to Find Them Won
Joanna Johnston Allied Nominated
Consolata Boyle Florence Foster Jenkins Nominated
Madeline Fontaine Jackie Nominated
Mary Zophres La La Land Nominated
2017 Jacqueline Durran Beauty and the Beast Nominated
Darkest Hour Nominated
Consolata Boyle Victoria & Abdul Nominated
2018 Ruth E. Carter Black Panther Won First African-American woman to win for Best Costume Design
Mary Zophres The Ballad of Buster Scruggs Nominated
Sandy Powell The Favourite Nominated
Mary Poppins Returns Nominated
Alexandra Byrne Mary Queen of Scots Nominated

Best Director

Academy Award for Best Director
Year Name Film Status Notes
1976 Lina Wertmüller Seven Beauties Nominated First woman to be nominated for Best Director
1993 Jane Campion The Piano Nominated
2003 Sofia Coppola Lost in Translation Nominated
2009 Kathryn Bigelow The Hurt Locker Won First woman to win for Best Director
2017 Greta Gerwig Lady Bird Nominated First woman to be nominated for Best Director for a debut film

Best Documentary Feature

Academy Award for Documentary Feature
Year Name Film Status Notes
1948 Janice Loeb The Quiet One Nominated
1955 Nancy Hamilton Helen Keller in Her Story Won
1972 Sarah Kernochan Marjoe Won Shared with Howard Smith
1973 Gertrude Ross Marks Walls of Fire Nominated Shared with Edmund F. Penney
1974 Judy Collins
Jill Godmilow
Antonia: A Portrait of the Woman Nominated
Natalie R. Jones The Wild and the Brave Nominated Shared with Eugene S. Jones
1975 Shirley MacLaine The Other Half of the Sky: A China Memoir Nominated
1976 Barbara Kopple Harlan County, U.S.A. Won
1977 Julia Reichert Union Maids Nominated Shared with Jim Klein and Miles Mogulescu
1978 Joan Root Mysterious Castles of Clay Nominated Shared with Alan Root
Anne Bohlen
Lyn Goldfarb
Lorraine Gray
With Babies and Banners: Story of the Women's Emergency Brigade Nominated
1981 Suzanne Bauman Against Wind and Tide: A Cuban Odyssey Nominated Shared with Paul Neshamkin and Jim Burroughs
Mary Benjamin
Susanne Simpson
Eight Minutes to Midnight: A Portrait of Dr. Helen Caldicott Nominated Shared with Boyd Estus
1982 Meg Switzgable In Our Water Nominated
1983 Robin Anderson First Contact Nominated Shared with Bob Connolly
Tina Viljoen The Profession of Arms Nominated Shared with Michael Bryans
Julia Reichert Seeing Red Nominated Shared with James Klein
1984 Nancy Sloss High Schools Nominated Shared with Charles Guggenheim
Cheryl McCall Streetwise Nominated
1985 Maria Florio
Victoria Mudd
Broken Rainbow Won
Susana Blaustein Muñoz
Lourdes Portillo
Las Madres: The Mothers of Plaza de Mayo Nominated
1986 Brigitte Berman Artie Shaw: Time Is All You've Got Won Tied with Joseph Feury and Milton Justice for Down and Out in America
Sharon I. Sopher Witness to Apartheid Nominated
1987 Aviva Slesin The Ten-Year Lunch: The Wit and Legend of the Algonquin Round Table Won
Callie Crossley Eyes on the Prize: America's Civil Rights Years/Bridge to Freedom 1965 Nominated Shared with James A. DeVinney
Barbara Herbich A Stitch for Time Nominated Shared with Cyril Christo
1988 Nan Bush Let's Get Lost Nominated Shared with Bruce Weber
Ginny Durrin Promises to Keep Nominated
Renee Tajima-Peña
Christine Choy
Who Killed Vincent Chin? Nominated
1989 Yvonne Smith Adam Clayton Powell Nominated Shared with Richard Kilberg
Betsy Broyles Breier For All Mankind Nominated Shared with Al Reinert
Judith Leonard Super Chief: The Life and Legacy of Earl Warren Nominated Shared with Bill Jersey
1990 Barbara Kopple American Dream Won Shared with Arthur Cohn
Susan Robinson Building Bombs Nominated Shared with Mark Mori
Judith Montell Forever Activists: Stories from the Veterans of the Abraham Lincoln Brigade Nominated
1991 Allie Light In the Shadow of the Stars Won Shared with Irving Saraf
Susan Raymond Doing Time: Life Inside the Big House Nominated Shared with Alan Raymond
Hava Kohav Beller The Restless Conscience: Resistance to Hitler Within Germany 1933-1945 Nominated
Diane Garey Wild by Law Nominated Shared with Lawrence Hott
1992 Barbara Trent The Panama Deception Won Shared with David Kasper
Sally Dundas Fires of Kuwait Nominated
Nina Rosenblum Liberators: Fighting on Two Fronts in World War II Nominated Shared with Bill Miles
Margaret Smilow
Roma Baran
Music for the Movies: Bernard Herrmann Nominated
1993 Susan Raymond I Am a Promise: The Children of Stanton Elementary School Won Shared with Alan Raymond
Susan Todd Children of Fate Nominated Shared with Andrew Young
Betsy Thompson For Better or For Worse Nominated Shared with David Collier
Chris Hegedus The War Room Nominated Shared with D.A. Pennebaker
1994 Freida Lee Mock Maya Lin: A Strong Clear Vision Won
Deborah Hoffmann Complaints of a Dutiful Daughter Nominated
Connie Field
Marilyn Mulford
Freedom on My Mind Nominated
Jean Bach A Great Day in Harlem Nominated
1995 Jeanne Jordan Troublesome Creek: A Midwestern Nominated Shared with Steven Ascher
1996 Susan W. Dryfoos The Line King: The Al Hirschfeld Story Nominated
Anne Belle
Deborah Dickson
Suzanne Farrell: Elusive Muse Nominated
1997 Michèle Ohayon
Julia Schachter
Colors Straight Up Nominated
1998 Liz Garbus The Farm: Angola, U.S.A. Nominated Shared with Jonathan Stack
Barbara Sonneborn
Janet Cole
Regret to Inform Nominated
1999 Nanette Burstein On the Ropes Nominated Shared with Brett Morgen
Paola di Florio
Lilibet Foster
Speaking in Strings Nominated
2000 Deborah Oppenheimer Into the Arms of Strangers: Stories of the Kindertransport Won Shared with Mark Jonathan Harris
Deborah Hoffmann
Frances Reid
Long Night's Journey into Day Nominated
2001 Edet Belzberg Children Underground Nominated
Deborah Dickson
Susan Frömke
LaLee's Kin: The Legacy of Cotton Nominated
Justine Shapiro Promises Nominated Shared with B.Z. Goldberg
2002 Gail Dolgin Daughter from Danang Nominated Shared with Vicente Franco
2003 Susan R. Behr My Architect Nominated Shared with Nathaniel Kahn
2004 Zana Briski Born into Brothels Won Shared with Ross Kauffman
Byambasuren Davaa The Story of the Weeping Camel Nominated Shared with Luigi Falorni
Karolyn Ali
Lauren Lazin
Tupac: Resurrection Nominated
2006 Amy Berg Deliver Us from Evil Nominated Shared with Frank Donner
Heidi Ewing
Rachel Grady
Jesus Camp Nominated
Jocelyn Glatzer
Laura Poitras
My Country, My Country Nominated}
2007 Eva Orner Taxi to the Dark Side Won Shared with Alex Gibney
Audrey Marrs No End in Sight Nominated Shared with Charles Ferguson
Meghan O'Hara Sicko Nominated Shared with Michael Moore
Andrea Nix Fine War/Dance Nominated Shared with Sean Fine
2008 Ellen Kuras The Betrayal (Nerakhoon) Nominated Shared with Thavisouk Phrasavath
Tia Lessin Trouble the Water Nominated Shared with Carl Deal
2009 Lise Lense-Møller Burma VJ Nominated Shared with Anders Østergaard
Elise Pearlstein Food, Inc. Nominated Shared with Robert Kenner
Judith Ehrlich The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers Nominated Shared with Rick Goldsmith
Rebecca Cammisa Which Way Home Nominated
2009 Audrey Marrs Inside Job Won Shared with Charles Ferguson
Trish Adlesic Gasland Nominated Shared with Josh Fox
Lucy Walker Waste Land Nominated Shared with Angus Aynsley
2012 Philippa Kowarsky
Estelle Fialon
The Gatekeepers Nominated Shared with Dror Moreh
Amy Ziering The Invisible War Nominated Shared with Kirby Dick
2013 Caitrin Rogers 20 Feet from Stardom Won Shared with Morgan Neville and Gil Friesen
Signe Byrge Sorensen The Act of Killing Nominated Shared with Joshua Oppenheimer
Lydia Dean Pilcher Cutie and the Boxer Nominated Shared with Zachary Heinzerling
Jehane Noujaim The Square Nominated Shared with Karim Amer
2014 Laura Poitras
Mathilde Bonnefoy
Citizenfour Won Shared with Dirk Wilutzky
Rory Kennedy Last Days in Vietnam Nominated Shared with Keven McAlester
Joanna Natasegara Virunga Nominated Shared with Orlando von Einsiedel
2015 Signe Byrge Sorensen The Look of Silence Nominated Shared with Joshua Oppenheimer
Liz Garbus
Amy Hobby
What Happened, Miss Simone? Nominated Shared with Justin Wilkes
2016 Caroline Waterlow O.J.: Made in America Won Shared with Ezra Edelman
Donatella Palermo Fire at Sea Nominated Shared with Gianfranco Rosi
Julie Goldman Life, Animated Nominated Shared with Roger Ross Williams
Ava DuVernay 13th Nominated Shared with Spencer Averick and Howard Barish
2017 Julie Goldman Abacus: Small Enough to Jail Nominated Shared with Steve James and Mark Mitten
Agnès Varda
Rosalie Varda
Faces Places Nominated Shared with JR
Joslyn Barnes Strong Island Nominated Shared with Yance Ford
2018 Elizabeth Chai Vasarhelyi
Shannon Dill
Free Solo Won Shared with Jimmy Chin and Evan Hayes
Joslyn Barnes
Su Kim
Hale County This Morning, This Evening Nominated Shared with RaMell Ross
Diane Quon Minding the Gap Nominated Shared with Bing Liu
Eva Kemme Of Fathers and Sons Nominated Shared with Talal Derki, Ansgar Frerich, and Tobias N. Siebert
Betsy West
Julie Cohen
RBG Nominated

Best Documentary Short Subject

Academy Award for Documentary Short Subject
Year Name Film Status Notes
1960 Altina Schinasi George Grosz' Interregnum Nominated First woman nominated in this category
Shared with Charles Carey
1966 Helen Kristt Radin The Odds Against  Nominated Shared with Lee R. Bobker
1969 Joan Horvath Jenny Is a Good Thing Nominated
Joan Keller Stern The Magic Machines Nominated
1970 Vivien Carey Oisin Nominated Shared with Patrick Carey
1972 Martina Huguenot van der Linden This Tiny World Won First woman to win for Best Documentary Short
Shared with Charles Huguenot van der Linden
1973 June Wayne Four Stones for Kanemitsu Nominated Shared with Terry Sanders
1974 Lesley Foster John Muir's High Sierra Nominated Shared with Dewitt Jones
1975 Claire Wilbur The End of the Game Won Shared with Robin Lehman
Kristine Samuelson Arthur and Lillie Nominated Shared with Jon Else and Steven Kovacs
1976 Lynne Littman
Barbara Myerhoff
Number Our Days Won
1977 Helen Whitney First Edition Nominated Shared with DeWitt L. Sage, Jr.
1978 Jacqueline Phillips Shedd The Flight of the Gossamer Condor Won Shared with Ben Shedd
1981 Linda Chapman
Pam LeBlanc
Freddi Stevens
See What I Say Nominated
1982 Terre Nash If You Love This Planet Won Shared with Edward Le Lorrain
Freida Lee Mock To Live or Let Die Nominated
1983 Cynthia Scott Flamenco at 5:15 Won Shared with Adam Symansky
Vivienne Verdon-Roe In the Nuclear Shadow: What Can the Children Tell Us? Nominated Shared with Eric Thiermann
Dea Brokman
Ilene Landis
You Are Free (Ihr Zent Frei) Nominated
1984 Marjorie Hunt The Stone Carvers Won Shared with Paul Wagner
Joan Sawyer Code Gray: Ethical Dilemmas in Nursing Nominated Shared with Ben Achtenberg
Irina Kalinina Recollections of Pavlovsk Nominated
1985 Barbara Willis Sweete Making Overtures: The Story of a Community Orchestra Nominated
1986 Vivienne Verdon-Roe Women – for America, for the World Won
Alison Nigh-Strelich Debonair Dancers Nominated
Sonya Friedman The Masters of Disaster Nominated
Madeline Bell Red Grooms: Sunflower in a Hothouse Nominated Shared with Thomas L. Neff
1987 Sue Marx
Pamela Conn
Young at Heart Won
Deborah Dickson Frances Steloff: Memoirs of a Bookseller Nominated
Megan Williams Language Says It All Nominated
Lynn Mueller Silver into Gold Nominated
1988 Karen Goodman The Children's Storefront Nominated
Lise Yasui
Ann Tegnell
Family Gathering Nominated
Nancy Hale
Meg Partridge
Portrait of Imogen Nominated
1990 Karen Goodman Chimps: So Like Us Nominated Shared with Kirk Simon
Freida Lee Mock Rose Kennedy: A Life to Remember Nominated Shared with Terry Sanders
1991 Debra Chasnoff Deadly Deception: General Electric, Nuclear Weapons and Our Environment Won
Immy Humes A Little Vicious Nominated
1992 Gerardine Wurzburg Educating Peter Won Shared with the late Thomas C. Goodwin
Wendy L. Weinberg Beyond Imagining: Margaret Anderson and the 'Little Review' Nominated
Sally Bochner The Colours of My Father: A Portrait of Sam Borenstein Nominated Shared with Richard Elson
Dorothy Fadiman When Abortion Was Illegal: Untold Stories Nominated
1993 Margaret Lazarus Defending Our Lives Won Shared with Renner Wunderlich
Elaine Holliman Chicks in White Satin Nominated Shared with Jason Schneider
1994 Dee Mosbacher
Frances Reid
Straight from the Heart Nominated
1995 Nancy Dine Jim Dine: A Self-Portrait on the Walls Nominated Shared with Richard Stilwell
Freida Lee Mock Never Give Up: The 20th Century Odyssey of Herbert Zipper Nominated Shared with Terry Sanders
1996 Jessica Yu Breathing Lessons: The Life and Work of Mark O'Brien Won
Susanne Simpson Special Effects: Anything Can Happen Nominated Shared with Ben Burtt
1997 Donna Dewey
Carol Pasternak
A Story of Healing Won
Terri Randall Daughter of the Bride Nominated
Andrea Blaugrund Still Kicking: The Fabulous Palm Springs Follies Nominated Shared with Mel Damski
1998 Keiko Ibi The Personals: Improvisations on Romance in the Golden Years Won
1999 Susan Hannah Hadary King Gimp Won Shared with William A. Whiteford
2000 Tracy Seretean Big Mama Nominated
2001 Thoth Sarah Kernochan
Lynn Appelle
Won
Lianne Klapper McNally Artists and Orphans: A True Drama Nominated
Freida Lee Mock
Jessica Sanders
Sing! Nominated
2002 Alice Elliott The Collector of Bedford Street  Nominated
2003 Maryann DeLeo Chernobyl Heart Won
Sandy McLeod
Gini Reticker
Asylum Nominated
Katja Esson Ferry Tales  Nominated
2004 Gerardine Wurzburg Autism Is a World Nominated
Hanna Polak The Children of Leningradsky Nominated Shared with Andrzej Celinski
Erin Faith Young Hardwood Nominated Shared with Hubert Davis
2005 Corinne Marrinan A Note of Triumph: The Golden Age of Norman Corwin Won Shared with Eric Simonson
Kimberlee Acquaro
Stacy Sherman
God Sleeps in Rwanda Nominated
2006 Ruby Yang The Blood of Yingzhou District Won Shared with Thomas Lennon
Leslie Iwerks Recycled Life Nominated Shared with Mike Glad
Karen Goodman Rehearsing a Dream Nominated Shared with Kirk Simon
Susan Rose Behr Two Hands Nominated Shared with Nathaniel Kahn
2007 Cynthia Wade
Vanessa Roth
Freeheld Won
Amanda Micheli
Isabel Vega
La Corona Nominated
2008 Megan Mylan Smile Pinki Won
Irene Taylor Brodsky The Final Inch Nominated Shared with Tom Grant
Margaret Hyde The Witness: From the Balcony of Room 306 Nominated Shared with Adam Pertofsky
2009 Elinor Burkett Music by Prudence Won Shared with Roger Ross Williams
Julia Reichert The Last Truck: Closing of a GM Plant Nominated Shared with Steven Bognar
Anna Wydra Rabbit à la Berlin Nominated Shared with Bartek Konopka
2010 Karen Goodman Strangers No More Won Shared with Kirk Simon
Sara Nesson Poster Girl Nominated Shared with Mitchell Block
Jennifer Redfearn Sun Come Up Nominated Shared with Tim Metzger
Ruby Yang The Warriors of Qiugang Nominated Shared with Thomas Lennon
2011 Sharmeen Obaid-Chinoy Saving Face Won Shared with Daniel Junge
Robin Fryday
Gail Dolgin
The Barber of Birmingham: Foot Soldier of the Civil Rights Movement Nominated
Rebecca Cammisa
Julie Anderson
God Is the Bigger Elvis Nominated
Lucy Walker
Kira Carstensen
The Tsunami and the Cherry Blossom Nominated
2012 Andrea Nix Fine Inocente Won Shared with Sean Fine
Sari Gilman Kings Point Nominated Shared with Jedd Wider
Cynthia Wade
Robin Honan
Mondays at Racine Nominated
Cori Shepherd Stern Open Heart Nominated Shared with Kief Davidson
2013 Sara Ishaq Karama Has No Walls Nominated
2014 Ellen Goosenberg Kent
Dana Perry
Crisis Hotline: Veterans Press 1 Won
Aneta Kopacz Joanna Nominated
2015 Sharmeen Obaid-Chinoy A Girl in the River: The Price of Forgiveness Won First woman to win twice in this category
Courtney Marsh Chau, Beyond the Lines Nominated Shared with Jerry Franck
Dee Hibbert-Jones
Nomi Talisman
Last Day of Freedom Nominated
2016 Joanna Natasegara The White Helmets Won Shared with Orlando von Einsiedel
Daphne Matziaraki 4.1 Miles Nominated
Kahane Cooperman
Raphaela Neihausen
Joe's Violin Nominated
2017 Laura Checkoway Edith+Eddie Nominated Shared with Thomas Lee Wright
Elaine McMillion Sheldon Heroin(e) Nominated Shared with Kerrin Sheldon
Kate Davis Traffic Stop Nominated Shared with David Heilbroner
2018 Rayka Zehtabchi
Melissa Berton
Period. End of Sentence. Won

Best Film Editing

Academy Award for Best Film Editing
Year Name Film Status Notes
1934 Anne Bauchens Cleopatra Nominated
1935 Barbara McLean Les Misérables Nominated
Margaret Booth Mutiny on the Bounty Nominated
1936 Barbara McLean Lloyds of London Nominated
1938 Alexander's Ragtime Band Nominated
1939 The Rains Came Nominated
Dorothy Spencer Stagecoach Nominated Shared with Otho Lovering
1940 Anne Bauchens North West Mounted Police Won First female to win for Best Editing
1943 Barbara McLean The Song of Bernadette Nominated
1944 Wilson Won
1947 Monica Collingwood The Bishop's Wife Nominated
1950 Barbara McLean All About Eve Nominated
1951 Adrienne Fazan An American in Paris Nominated
Dorothy Spencer Decision Before Dawn Nominated
1952 Anne Bauchens The Greatest Show on Earth Nominated
1955 Alma Macrorie The Bridges at Toko-Ri Nominated
1956 Anne Bauchens The Ten Commandments Nominated
1957 Viola Lawrence Pal Joey Nominated Shared with Jerome Thoms
1958 Adrienne Fazan Gigi Won
1960 Viola Lawrence Pepe Nominated Shared with Al Clark
1962 Anne V. Coates Lawrence of Arabia Won
1963 Dorothy Spencer Cleopatra Nominated
1964 Anne V. Coates Becket Nominated
1967 Marjorie Fowler Doctor Dolittle Nominated Shared with Samuel E. Beetley
1968 Eve Newman Wild in the Streets Nominated Shared with Fred R. Feitshans Jr.
1969 Françoise Bonnot Z Won
1970 Thelma Schoonmaker Woodstock Nominated
1973 Verna Fields
Marcia Lucas
American Graffiti Nominated
1974 Dorothy Spencer Earthquake Nominated
1975 Verna Fields Jaws Won
Dede Allen Dog Day Afternoon Nominated
Lynzee Klingman One Flew Over the Cuckoo's Nest Nominated Shared with Richard Chew and Sheldon Kahn
1976 Eve Newman Two-Minute Warning Nominated Shared with Walter Hannemann
1977 Marcia Lucas Star Wars Won Shared with Paul Hirsch and Richard Chew
1979 Lisa Fruchtman Apocalypse Now Nominated Shared with Richard Marks, Walter Murch and Gerald B. Greenberg
1980 Thelma Schoonmaker Raging Bull Won
Anne V. Coates The Elephant Man Nominated
1981 Dede Allen Reds Nominated Shared with Craig McKay
1982 Carol Littleton E.T. the Extra-Terrestrial Nominated
1983 Lisa Fruchtman The Right Stuff Won Shared with Glenn Farr, Stephen A. Rotter, Douglas Stewart and Tom Rolf
1984 Nena Danevic Amadeus Nominated Shared with Michael Chandler
1985 Kaja Fehr Prizzi's Honor Nominated Shared with Rudi Fehr
1986 Claire Simpson Platoon Won
Susan E. Morse Hannah and Her Sisters Nominated
1987 Gabriella Cristiani The Last Emperor Won
1989 Noëlle Boisson The Bear Nominated
1990 Lisa Fruchtman The Godfather Part III Nominated Shared with Barry Malkin and Walter Murch
Thelma Schoonmaker Goodfellas Nominated
1992 Geraldine Peroni The Player Nominated
1993 Anne V. Coates In the Line of Fire Nominated
Veronika Jenet The Piano Nominated
1994 Sally Menke Pulp Fiction Nominated
1996 Pip Karmel Shine Nominated
1998 Simona Paggi Life is Beautiful Nominated
Anne V. Coates Out of Sight Nominated
Leslie Jones The Thin Red Line Nominated Shared with Billy Weber and Saar Klein
1999 Lisa Zeno Churgin The Cider House Rules Nominated
2000 Dede Allen Wonder Boys Nominated
2001 Dody Dorn Memento Nominated
Jill Bilcock Moulin Rouge! Nominated
2002 Thelma Schoonmaker Gangs of New York Nominated
2004 The Aviator Won
2005 Claire Simpson The Constant Gardener Nominated
2006 Thelma Schoonmaker The Departed Won Third win for Best Editing, tying the record for most wins in this category
Clare Douglas United 93 Nominated Shared with Richard Pearson and Christopher Rouse
2007 Juliette Welfling The Diving Bell and the Butterfly Nominated
2009 Chris Innis The Hurt Locker Won Shared with Bob Murawski
Sally Menke Inglourious Basterds Nominated
2010 Pamela Martin The Fighter Nominated
2011 Anne-Sophie Bion The Artist Nominated Shared with Michel Hazanavicius
Thelma Schoonmaker Hugo Nominated
2014 Sandra Adair Boyhood Nominated
2015 Margaret Sixel Mad Max: Fury Road Won
Maryann Brandon
Mary Jo Markey
Star Wars: The Force Awakens Nominated
2016 Joi McMillon Moonlight Nominated Shared with Nat Sanders
2017 Tatiana S. Riegel I, Tonya Nominated

Best Makeup and Hairstyling

Academy Award for Best Makeup and Hairstyling
Year Name Film Status Notes
1982 Sarah Monzani
Michèle Burke
Quest for Fire Won First women to win for Best Makeup
1986 Michèle Burke The Clan of the Cave Bear Nominated Shared with Michael Westmore
1988 Ve Neill Beetlejuice Won Shared with Steve La Porte and Robert Short
Bari Dreiband-Burman Scrooged Nominated Shared with Thomas R. Burman
1989 Lynn Barber Driving Miss Daisy Won Shared with Manlio Rocchetti and Kevin Haney
Maggie Weston The Adventures of Baron Munchausen Nominated Shared with Fabrizio Sforza
1990 Michèle Burke Cyrano de Bergerac Nominated Shared with Jean-Pierre Eychenne
Ve Neill Edward Scissorhands Nominated Shared with Stan Winston
1991 Christina Smith Hook Nominated Shared with Monty Westmore and Greg Cannom
1992 Michèle Burke Bram Stoker's Dracula Won Shared with Greg Cannom and Matthew W. Mungle
Ve Neill Batman Returns Nominated Shared with Ronnie Specter and Stan Winston
Hoffa Nominated Shared with Greg Cannom and John Blake
1993 Christina Smith
Judy Alexander Cory
Schindler's List Nominated Shared with Matthew W. Mungle
Ve Neill
Yolanda Toussieng
Mrs. Doubtfire Won Shared with Greg Cannom
1994 Ed Wood Won Shared with Rick Baker
Hallie D'Amore
Judith A. Cory
Forrest Gump Nominated Shared with Daniel C. Striepeke
Carol Hemming Mary Shelley's Frankenstein Nominated Shared with Daniel Parker and Paul Engelen
1995 Lois Burwell Braveheart Won Shared with Peter Frampton and Paul Pattison
Colleen Callaghan Roommates Nominated Shared with Greg Cannom and Bob Laden
1996 Deborah La Mia Denaver Ghosts of Mississippi Nominated Shared with Matthew W. Mungle
1997 Lisa Westcott
Veronica Brebner
Beverley Binda
Mrs Brown Nominated
Tina Earnshaw Titanic Nominated Shared with Greg Cannom and Simon Thompson
1998 Jenny Shircore Elizabeth Won
Lois Burwell Saving Private Ryan Nominated Shared with Conor O'Sullivan and Daniel C. Striepeke
Lisa Westcott
Veronica Brebner
Shakespeare in Love Nominated
1999 Christine Blundell Topsy-Turvy Won Shared with Trefor Proud
Michèle Burke Austin Powers: The Spy Who Shagged Me Nominated Shared with Mike Smithson
2000 Gail Ryan How the Grinch Stole Christmas Won Shared with Rick Baker
Michèle Burke The Cell Nominated Shared with Edouard F. Henriques
Ann Buchanan
Amber Sibley
Shadow of the Vampire Nominated
2001 Colleen Callaghan A Beautiful Mind Nominated Shared with Greg Cannom
2002 Beatrice De Alba Frida Won Shared with John E. Jackson
Barbara Lorenz The Time Machine Nominated Shared with John M. Elliott Jr.
2003 Yolanda Toussieng Master and Commander: The Far Side of the World Nominated Shared with Edouard F. Henriques
Ve Neill Pirates of the Caribbean: The Curse of the Black Pearl Nominated Shared with Martin Samuel
2004 Valli O'Reilly Lemony Snicket's A Series of Unfortunate Events Won Shared with Bill Corso
Jo Allen The Sea Inside Nominated Shared with Manolo García
2005 Tami Lane The Chronicles of Narnia: The Lion, the Witch and the Wardrobe Won Shared with Howard Berger
Nikki Gooley Star Wars: Episode III – Revenge of the Sith Nominated Shared with Dave Elsey
2006 Montse Ribé Pan's Labyrinth Won Shared with David Martí
2007 Jan Archibald La Vie en Rose Won Shared with Didier Lavergne
Ve Neill Pirates of the Caribbean: At World's End Nominated Shared with Martin Samuel
2009 Mindy Hall Star Trek Won Shared with Barney Burman and Joel Harlow
Jenny Shircore The Young Victoria Nominated Shared with Jon Henry Gordon
2010 Yolanda Toussieng The Way Back Nominated Shared with Gregory Funk and Edouard F. Henriques
2011 Lynn Johnson Albert Nobbs Nominated Shared with Martial Corneville and Matthew W. Mungle
Amanda Knight
Lisa Tomblin
Harry Potter and the Deathly Hallows – Part 2 Nominated Shared with Nick Dudman
2012 Lisa Westcott
Julie Dartnell
Les Misérables Won
Tami Lane The Hobbit: An Unexpected Journey Nominated Shared with Peter Swords King and Rick Findlater
2013 Adruitha Lee
Robin Mathews
Dallas Buyers Club Won
Gloria Pasqua-Casny The Lone Ranger Nominated Shared with Joel Harlow
2014 Frances Hannon The Grand Budapest Hotel Won Shared with Mark Coulier
Elizabeth Yianni-Georgiou Guardians of the Galaxy Nominated Shared with David White
2015 Lesley Vanderwalt
Elka Wardega
Mad Max: Fury Road Won Shared with Damian Martin
Siân Grigg The Revenant Nominated Shared with Duncan Jarman and Robert Pandini
Eva von Bahr The 100-Year-Old Man Who Climbed Out of the Window and Disappeared Nominated Shared with Love Larson
2016 A Man Called Ove Nominated
2017 Lucy Sibbick Darkest Hour Won Shared with Kazuhiro Tsuji and David Malinowski
Lou Sheppard Victoria & Abdul Nominated Shared with Daniel Phillips
2018 Kate Biscoe
Patricia DeHaney
Vice Won Shared with Greg Cannom
Pamela Goldammer Border Nominated Shared with Göran Lundström
Jenny Shircore
Jessica Brooks
Mary Queen of Scots Nominated Shared with Marc Pilcher

Best Original Score

Academy Award for Best Original Score [note 2]
Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation
Year Name Film Status
1974 Angela Morley The Little Prince Nominated
1977 The Slipper and the Rose Nominated
Original Song Score and Its Adaptation or Adaptation Score
1983 Marilyn Bergman Yentl Won
Original Musical or Comedy Score
1996 Rachel Portman Emma Won
Academy Award for Original Music Score
1997 Anne Dudley The Full Monty Won
Lynn Ahrens Anastasia Nominated
1999 Rachel Portman The Cider House Rules Nominated
2000 Chocolat Nominated
2016 Mica Levi Jackie Nominated

Best Original Song

Academy Award for Best Original Song
Year Name Film Song Status Notes
1935 Dorothy Fields (lyrics) Roberta "Lovely to Look At" Nominated Shared with Jerome Kern (music); Jimmy McHugh (lyrics)
1936 Swing Time "The Way You Look Tonight" Won Shared with Jerome Kern (music)
1945 Ann Ronell (music and lyrics) G.I. Joe "Linda" Nominated
1953 Sylvia Fine (lyrics) The Moon Is Blue "The Moon Is Blue" Nominated Shared with Herschel Burke Gilbert (music)
1959 Sylvia Fine (music and lyrics) The Five Pennies "The Five Pennies" Nominated
1960 Dory Langdon (lyrics) Pepe "Faraway Part of Town" Nominated Shared with André Previn (music)
1962 Two for the Seesaw "Song from Two for the Seesaw (Second Chance)" Nominated
1968 Marilyn Bergman (lyrics) The Thomas Crown Affair "The Windmills of Your Mind" Won Shared with Michel Legrand (music); Alan Bergman (lyrics)
1969 The Happy Ending "What Are You Doing the Rest of Your Life?" Nominated
Dory Langdon (lyrics) The Sterile Cuckoo Come Saturday Morning" Nominated Shared with Fred Karlin (music)
1970 Marilyn Bergman (lyrics) Pieces of Dreams "Pieces of Dreams" Nominated Shared with Michel Legrand (music); Alan Bergman (lyrics)
1971 Sometimes a Great Notion "All His Children" Nominated Shared with Henry Mancini (music); Alan Bergman (lyrics)
1972 The Life and Times of Judge Roy Bean "Marmalade, Molasses & Honey" Nominated Shared with Maurice Jarre (music); Alan Bergman (lyrics)
Marsha Karlin (lyrics) The Little Ark "Come Follow, Follow Me" Nominated Shared with Fred Karlin (music)
1973 Marilyn Bergman (lyrics) The Way We Were "The Way We Were" Won Shared with Marvin Hamlisch (music); Alan Bergman (lyrics)
Linda McCartney (music and lyrics) Live and Let Die "Live and Let Die" Nominated Shared with Paul McCartney (music and lyrics)
1974 Betty Box (lyrics) Benji "I Feel Love" Nominated Shared with Euel Box (music)
1976 Barbra Streisand (music) A Star Is Born "Evergreen" Won Shared with Paul Williams (lyrics)
Carol Connors & Ayn Robbins (lyrics) Rocky "Gonna Fly Now" Nominated Shared with Bill Conti (music)
1977 The Rescuers "Someone's Waiting for You" Nominated Shared with Sammy Fain (music)
Carole Bayer Sager (lyrics) The Spy Who Loved Me "Nobody Does It Better" Nominated Shared with Marvin Hamlisch (music)
1978 Marilyn Bergman (lyrics) Same Time, Next Year "The Last Time I Felt Like This" Nominated Shared with Marvin Hamlisch (music); Alan Bergman (lyrics)
1979 Carole Bayer Sager (lyrics) Ice Castles "Through the Eyes of Love" Nominated Shared with Marvin Hamlisch (music)
Marilyn Bergman (lyrics) The Promise "I'll Never Say Goodbye" Nominated Shared with David Shire (music); Alan Bergman (lyrics)
1980 Lesley Gore (lyrics) Fame "Out Here on My Own" Nominated First openly LGBT woman nominated for Best Original Song
Shared with Michael Gore (music)
Dolly Parton (music and lyrics) Nine to Five "9 to 5" Nominated
1981 Carole Bayer Sager (music and lyrics) Arthur "Arthur's Theme (Best That You Can Do)" Won Shared with Burt Bacharach, Christopher Cross and Peter Allen (music and lyrics)
1982 Buffy Sainte-Marie (music) An Officer and a Gentleman "Up Where We Belong" Won Shared with Jack Nitzche (music); Will Jennings (lyrics)
Marilyn Bergman (lyrics) Best Friends "How Do You Keep the Music Playing?" Nominated Shared with Michel Legrand (music); Alan Bergman (lyrics)
Tootsie "It Might Be You" Nominated Shared with Dave Grusin (music); Alan Bergman (lyrics)
Yes, Giorgio "If We Were in Love" Nominated Shared with John Williams (music); Alan Bergman (lyrics)
1983 Irene Cara (lyrics) Flashdance "Flashdance... What a Feeling" Won First black woman to win in a non-acting category
Shared with Giorgio Moroder (music); Keith Forsey (lyrics)
Marilyn Bergman (lyrics) Yentl "Papa, Can You Hear Me?" Nominated Shared with Michel Legrand (music); Alan Bergman (lyrics)
"The Way He Makes Me Feel" Nominated
1986 Cynthia Weil (lyrics) An American Tail "Somewhere Out There" Nominated Shared with James Horner & Barry Mann (music)
Diane Nini (lyrics) The Karate Kid Part II "Glory of Love" Nominated Shared with David Foster (music); Peter Cetera (music and lyrics)
1987 Diane Warren (music and lyrics) Mannequin "Nothing's Gonna Stop Us Now" Nominated Shared with Albert Hammond (music and lyrics)
1988 Carly Simon (music and lyrics) Working Girl "Let the River Run" Won
1989 Marilyn Bergman (lyrics) Shirley Valentine "The Girl Who Used to Be Me" Nominated Shared with Marvin Hamlisch (music); Alan Bergman (lyrics)
1992 Linda Thompson (lyrics) The Bodyguard "I Have Nothing" Nominated Shared with David Foster (music)
1993 Carole Bayer Sager (music and lyrics) Beethoven's 2nd "The Day I Fall in Love" Nominated Shared with James Ingram and Clif Magness (music and lyrics)
Janet Jackson (music and lyrics) Poetic Justice "Again" Nominated Shared with James Harris III & Terry Lewis (music and lyrics)
1994 Carole Bayer Sager & Patty Smyth (music and lyrics) Junior "Look What Love Has Done" Nominated Shared with James Ingram and James Newton Howard (music and lyrics)
1995 Marilyn Bergman (lyrics) Sabrina "Moonlight" Nominated Shared with John Williams (music); Alan Bergman (lyrics)
1996 Barbra Streisand (music and lyrics) The Mirror Has Two Faces "I Finally Found Someone" Nominated Shared with Bryan Adams, Marvin Hamlisch and Mutt Lange (music and lyrics)
Diane Warren (music and lyrics) Up Close and Personal "Because You Loved Me" Nominated
1997 Con Air "How Do I Live?" Nominated
Lynn Ahrens (lyrics) Anastasia "Journey to the Past" Nominated Shared with Stephen Flaherty (music)
1998 Allison Moorer (music and lyrics) The Horse Whisperer "A Soft Place to Fall" Nominated Shared with Gwil Owen (music and lyrics)
Carole Bayer Sager (music and lyrics) Quest for Camelot "The Prayer" Nominated Shared with David Foster (music and lyrics); Tony Renis & Alberto Testa (lyrics)
Diane Warren (music and lyrics) Armageddon "I Don't Wanna Miss a Thing" Nominated
1999 Music of the Heart "Music of My Heart" Nominated
Aimee Mann (music and lyrics) Magnolia "Save Me" Nominated
2000 Björk (music) Dancer in the Dark "I've Seen It All" Nominated Shared with Lars von Trier & Sjón Sigurdsson (lyrics)
2001 Diane Warren (music and lyrics) Pearl Harbor "There You'll Be" Nominated
Enya & Roma Ryan (music and lyrics) The Lord of the Rings: The Fellowship of the Ring "May It Be" Nominated Shared with Nicky Ryan (music and lyrics)
2002 Julie Taymor (lyrics) Frida "Burn It Blue" Nominated Shared with Elliot Goldenthal (music)
2003 Annie Lennox & Fran Walsh (music and lyrics) The Lord of the Rings: The Return of the King "Into the West" Won Shared with Howard Shore (music and lyrics)
Annette O'Toole (music and lyrics) A Mighty Wind "A Kiss at the End of the Rainbow" Nominated Shared with Michael McKean (music and lyrics)
2005 Kathleen "Bird" York (music and lyrics) Crash "In the Deep" Nominated Shared with Michael Becker (music)
Dolly Parton (music and lyrics) Transamerica "Travellin' Thru" Nominated
2006 Melissa Etheridge (music and lyrics) An Inconvenient Truth "I Need to Wake Up Won First song from a Documentary to win
First openly gay woman to win
Siedah Garrett (lyrics) Dreamgirls "Love You I Do" Nominated Shared with Henry Krieger (music)
Anne Preven (lyrics) "Listen" Nominated Shared with Scott Cutler & Henry Krieger (music)
2007 Markéta Irglová (music and lyrics) Once "Falling Slowly" Won Shared with Glen Hansard (music and lyrics)
2008 M.I.A. (music and lyrics) Slumdog Millionaire "O... Saya" Nominated Shared with A. R. Rahman (music and lyrics)
2010 Hillary Lindsey (music and lyrics) Country Strong "Coming Home" Nominated Shared with Troy Verges and Tom Douglas (music and lyrics)
Dido (lyrics) 127 Hours "If I Rise" Nominated Shared with A.R. Rahman (music); Rollo Armstrong (lyrics)
2011 Siedah Garrett (lyrics) Rio "Real In Rio" Nominated Shared with Sérgio Mendes & Carlinhos Brown (music)
2012 Adele (music and lyrics) Skyfall "Skyfall" Won Shared with Paul Epworth (music and lyrics)
Bombay Jayashri (lyrics) Life of Pi "Pi's Lullaby" Nominated Shared with Mychael Danna (music)
2013 Kristen Anderson-Lopez (music and lyrics) Frozen "Let It Go" Won Shared with Robert Lopez (music and lyrics)
Karen O (music and lyrics) Her "The Moon Song" Nominated Shared with Spike Jonze (lyrics)
2014 Danielle Brisebois (music and lyrics) Begin Again "Lost Stars" Nominated Shared with Gregg Alexander (music and lyrics)
Diane Warren (music and lyrics) Beyond the Lights "Grateful" Nominated
2015 Anohni (lyrics) Racing Extinction Manta Ray Nominated First transgender woman to nominated for Best Original Song
Second transgender woman to be nominated in any category
Shared with J. Ralph (music)
Diane Warren & Lady Gaga (music and lyrics) The Hunting Ground Till It Happens to You Nominated
2017 Kristen Anderson-Lopez (music and lyrics) Coco "Remember Me" Won Shared with Robert Lopez (music and lyrics)
Diane Warren (music and lyrics) Marshall "Stand Up for Something" Nominated Shared with Lonnie Lynn (lyrics)
Mary J. Blige & Taura Stinson (music and lyrics) Mudbound "Mighty River" Nominated Shared with Raphael Saadiq (music and lyrics)
Blige is the first person to be nominated for acting and songwriting in the same year
2018 Lady Gaga (music and lyrics) A Star is Born "Shallow" Won Shared with Mark Ronson, Anthony Rossomando & Andrew Wyatt (music and lyrics)
SZA (lyrics) Black Panther "All the Stars" Nominated Shared with Sounwave (music); Kendrick Lamar & Anthony Tiffith (music and lyrics)
Diane Warren (music and lyrics) RBG "I'll Fight" Nominated
Gillian Welch (music and lyrics) The Ballad of Buster Scruggs "When a Cowboy Trades His Spurs for Wings" Nominated Shared with David Rawlings (music and lyrics)

Best Picture

Academy Award for Best Picture
Year Name Film Status Notes
1973 Julia Phillips The Sting Won Shared with Tony Bill and Michael Phillips
1976 Taxi Driver Nominated Shared with Michael Phillips
1979 Tamara Asseyev
Alexandra (Alex) Rose
Norma Rae Nominated
1982 Kathleen Kennedy E.T. the Extra-Terrestrial Nominated Shared with Steven Spielberg
1984 Arlene Donovan Places in the Heart Nominated
1985 Kathleen Kennedy The Color Purple Nominated Shared with Steven Spielberg, Frank Marshall, and Quincy Jones
1987 Sherry Lansing Fatal Attraction Nominated Shared with Stanley R. Jaffe
1988 Norma Heyman Dangerous Liaisons Nominated Shared with Hank Moonjean
1989 Lili Fini Zanuck Driving Miss Daisy Won Shared with Richard D. Zanuck
1990 Lisa Weinstein Ghost Nominated
1991 Barbra Streisand The Prince of Tides Nominated Shared with Andrew S. Karsch
1993 Jan Chapman The Piano Nominated
1994 Wendy Finerman Forrest Gump Won Shared with Steve Tisch and Steve Starkey
Niki Marvin The Shawshank Redemption Nominated
1995 Lindsay Doran Sense and Sensibility Nominated
1996 Jane Scott Shine Nominated
1997 Bridget Johnson
Kristi Zea
As Good as It Gets Nominated Shared with James L. Brooks
1998 Donna Gigliotti Shakespeare in Love Won Shared with David Parfitt, Harvey Weinstein, Edward Zwick and Marc Norman
Alison Owen Elizabeth Nominated Shared with Eric Fellner and Tim Bevan
Elda Ferri Life Is Beautiful Nominated Shared with Gianluigi Braschi
1999 Kathleen Kennedy The Sixth Sense Nominated Shared with Frank Marshall and Barry Mendel
2000 Kit Golden
Leslie Holleran
Chocolat Nominated Shared with David Brown
Stacey Sher Erin Brockovich Nominated Shared with Danny DeVito and Michael Shamberg
Laura Bickford Traffic Nominated Shared with Edward Zwick and Marshall Herskovitz
2001 Fran Walsh The Lord of the Rings: The Fellowship of the Ring Nominated Shared with Peter Jackson and Barrie M. Osborne
2002 The Lord of the Rings: The Two Towers Nominated
2003 The Lord of the Rings: The Return of the King Won
Sofia Coppola Lost in Translation Nominated Shared with Ross Katz
Judie G. Hoyt Mystic River Nominated Shared with Robert Lorenz and Clint Eastwood
Kathleen Kennedy Seabiscuit Nominated Shared with Frank Marshall and Gary Ross
2004 Nellie Bellflower Finding Neverland Nominated Shared with Richard N. Gladstein
2005 Cathy Schulman Crash Won Shared with Paul Haggis
Diana Ossana Brokeback Mountain Nominated Shared with James Schamus
Caroline Baron Capote Nominated Shared with William Vince and Michael Ohoven
Kathleen Kennedy Munich Nominated Shared with Steven Spielberg and Barry Mendel
2006 Christine Langan
Tracey Seaward
The Queen Nominated Shared with Andy Harries
2007 Lianne Halton Juno Nominated Shared with Mason Novick and Russell Smith
Jennifer Fox Michael Clayton Nominated Shared with Kerry Orent and Sydney Pollack
JoAnne Sellar There Will Be Blood Nominated Shared with Paul Thomas Anderson and Daniel Lupi
2008 Kathleen Kennedy
Ceán Chaffin
The Curious Case of Benjamin Button Nominated Shared with Frank Marshall
Donna Gigliotti The Reader Nominated Shared with Anthony Minghella, Sydney Pollack and Redmond Morris
2009 [note 3] Kathryn Bigelow The Hurt Locker Won Shared with Mark Boal, Greg Shapiro and Nicolas Chartier
Carolynne Cunningham District 9 Nominated Shared with Peter Jackson
Finola Dwyer
Amanda Posey
An Education Nominated
Sarah Siegel-Magness Precious: Based on the Novel 'Push' by Sapphire Nominated Shared with Lee Daniels and Gary Magness
2010 Emma Thomas Inception Nominated Shared with Christopher Nolan
Celine Rattray The Kids Are All Right Nominated Shared with Gary Gilbert and Jeffrey Levy-Hinte
Ceán Chaffin The Social Network Nominated Shared with Dana Brunetti, Michael De Luca and Scott Rudin
Darla K. Anderson Toy Story 3 Nominated
Alix Madigan
Anne Rosellini
Winter's Bone Nominated
2011 Rachael Horovitz Moneyball Nominated Shared with Michael De Luca and Brad Pitt
Letty Aronson Midnight in Paris Nominated Shared with Stephen Tenenbaum
Sarah Green
Dede Gardner
The Tree of Life Nominated Shared with Bill Pohlad and Grant Hill
Kathleen Kennedy War Horse Nominated Shared with Steven Spielberg
2012 Margaret Menegoz Amour Nominated Shared with Stefan Arndt, Veit Heiduschka and Michael Katz
Stacey Sher
Pilar Savone
Django Unchained Nominated Shared with Reginald Hudlin
Debra Hayward Les Misérables Nominated Shared with Tim Bevan, Eric Fellner and Cameron Mackintosh
Kathleen Kennedy Lincoln Nominated Shared with Steven Spielberg
Donna Gigliotti Silver Linings Playbook Nominated Shared with Bruce Cohen and Jonathan Gordon
Kathryn Bigelow
Megan Ellison
Zero Dark Thirty Nominated Shared with Mark Boal
2013 Dede Gardner 12 Years a Slave Won Shared with Brad Pitt, Jeremy Kleiner, Steven McQueen and Anthony Katagas
Megan Ellison American Hustle Nominated Shared with Charles Roven, Richard Suckle, and Jonathan Gordon
Her Nominated Shared with Vincent Landay and Spike Jones
Robbie Brenner
Rachel Winter
Dallas Buyers Club Nominated
Gabrielle Tana
Tracey Seaward
Philomena Nominated Shared with Steve Coogan
Emma Tillinger Koskoff The Wolf of Wall Street Nominated Shared with Martin Scorsese, Leonardo DiCaprio and Joey McFarland
2014 Cathleen Sutherland Boyhood Nominated Shared with Richard Linklater
Nora Grossman The Imitation Game Nominated Shared with Ido Ostrowsky and Teddy Schwarzman
Oprah Winfrey
Dede Gardner
Selma Nominated Shared with Christian Colson and Jeremy Kleiner
Lisa Bruce The Theory of Everything Nominated Shared with Tim Bevan, Eric Fellner, and Anthony McCarten
Helen Estabrook Whiplash Nominated Shared with Jason Blum and David Lancaster
2015 Blye Pagon Faust
Nicole Rocklin
Spotlight Won Shared with Steve Golin and Michael Sugar
Dede Gardner The Big Short Nominated Shared with Jeremy Kleiner and Brad Pitt
Kristie Macosko Krieger Bridge of Spies Nominated Shared with Marc Platt and Steven Spielberg
Finola Dwyer
Amanda Posey
Brooklyn Nominated
Mary Parent The Revenant Nominated Shared with Alejandro G. Iñárritu, Steve Golin, Arnon Milchan, and Keith Redmon
2016 Adele Romanski
Dede Gardner
Moonlight Won Shared with Jeremy Kleiner
Carla Hacken
Julie Yorn
Hell or High Water Nominated
Donna Gigliotti
Jenno Topping
Hidden Figures Nominated Shared with Peter Chernin, Pharrell Williams and Theodore Melfi
Angie Fielder Lion Nominated Shared with Emile Sherman and Iain Canning
Kimberly Steward
Lauren Beck
Manchester by the Sea Nominated Shared with Matt Damon, Chris Moore and Kevin J. Walsh
2017 Emilie Georges Call Me by Your Name Nominated Shared with Luca Guadagnino, Peter Spears, and Marco Morabito
Lisa Bruce Darkest Hour Nominated Shared with Tim Bevan, Eric Fellner, Anthony McCarten, and Douglas Urbanski
Emma Thomas Dunkirk Nominated Shared with Christopher Nolan
Evelyn O'Neill Lady Bird Nominated Shared with Eli Bush and Scott Rudin
Megan Ellison
JoAnne Sellar
Phantom Thread Nominated Shared with Paul Thomas Anderson and Daniel Lupi
Kristie Macosko Krieger
Amy Pascal
The Post Nominated Shared with Steven Spielberg
2018 Ceci Dempsey
Lee Magiday
The Favourite Nominated Shared with Ed Guiney and Yorgos Lanthimos
Gabriela Rodríguez Roma Nominated Shared with Alfonso Cuarón
Lynette Howell Taylor A Star is Born Nominated Shared with Bill Gerber and Bradley Cooper
Dede Gardner Vice Nominated Shared with Jeremy Kleiner, Adam McKay and Kevin J. Messick

Best Production Design

Academy Award for Best Production Design
Year Name Film Status Notes
1941 Julia Heron That Hamilton Woman Nominated Shared with Vincent Korda
1942 Jungle Book Nominated
Fay Babcock The Talk of the Town Nominated Shared with Lionel Banks and Rudolph Sternad
1943 Julia Heron Casanova Brown Nominated Shared with Perry Ferguson
1944 Fay Babcock Cover Girl Nominated Shared with Lionel Banks and Cary Odell
1945 Mildred Griffiths National Velvet Nominated Shared with Cedric Gibbons, Urie McCleary and Edwin B. Willis
1946 Carmen Dillon Henry V Nominated Shared with Paul Sheriff
1948 Hamlet Won First female to win for Best Production Design
Shared with Roger K. Furse
1954 Grace Gregory This Country Girl Nominated Shared with Hal Pereira, Roland Anderson and Samuel M. Comer
Irene Sharaff A Star Is Born Nominated Shared with Malcolm Bert, Gene Allen and George James Hopkins
1959 Julia Heron The Big Fisherman Nominated Shared with John DeCuir
Ruby R. Levitt Pillow Talk Nominated Shared with Richard H. Riedel and Russell A. Gausman
1960 Julia Heron Spartacus Won Shared with Harry Horner and Russell A. Gausman
1963 Grace Gregory Love with the Proper Stranger Nominated Shared with Hal Pereira, Roland Anderson and Samuel M. Comer
Jocelyn Herbert
Josie MacAvin
Tom Jones Nominated Shared with Ralph Brinton and Ted Marshall
1965 Ruby R. Levitt The Sound of Music Nominated Shared with Boris Leven and Walter M. Scott
Josie MacAvin The Spy Who Came in from the Cold Nominated Shared with Hal Pereira, Tambi Larsen and Ted Marshall
1970 Pamela Cornell Scrooge Nominated Shared with Terence Marsh and Bob Cartwright
1971 Ruby R. Levitt The Andromeda Strain Nominated Shared with Boris Leven and William Tuntke
1974 Chinatown Nominated Shared with Richard Sylbert and W. Stewart Campbell
1979 Linda DeScenna Star Trek: The Motion Picture Nominated Shared with Harold Michelson, Joe Jennings, Leon Harris and John Vallone
1981 Ann Mollo The French Lieutenant's Woman Nominated Shared with Assheton Gorton
Patrizia von Brandenstein Ragtime Nominated Shared with John Graysmark, Tony Reading, George DeTitta Sr., George DeTitta Jr. and Peter Howitt
1982 Linda DeScenna Blade Runner Nominated Shared with Lawrence G. Paull and David L. Snyder
1983 Anna Asp
Susanne Lingheim
Fanny and Alexander Won
Polly Platt Terms of Endearment Nominated Shared with Harold Michelson, Tom Pedigo and Anthony Mondell
Tessa Davies Yentl Nominated Shared with Roy Walker and Leslie Tomkins
1984 Patrizia von Brandenstein Amadeus Won Shared with Karel Černý
1985 Josie MacAvin Out of Africa Won Shared with Stephen B. Grimes
Maggie Gray Brazil Nominated Shared with Norman Garwood
Linda DeScenna The Color Purple Nominated Shared with J. Michael Riva and Bo Welch
Shinobu Muraki Ran Nominated Shared with Yoshiro Muraki
1986 Karen O'Hara The Color of Money Nominated Shared with Boris Leven
Carol Joffe Hannah and Her Sisters Nominated Shared with Stuart Wurtzel
1987 Joanne Woollard Hope and Glory Nominated Shared with Anthony Pratt
Carol Joffe Radio Days Nominated Shared with Santo Loquasto, Leslie Bloom and George DeTitta Jr.
Patrizia von Brandenstein The Untouchables Nominated Shared with William A. Elliott and Hal Gausman
1988 Ida Random
Linda DeScenna
Rain Man Nominated
1989 Anne Kuljian The Abyss Nominated Shared with Leslie Dilley
Francesca Lo Schiavo The Adventures of Baron Munchausen Nominated Shared with Dante Ferretti
1990 Hamlet Nominated
Lisa Dean Dances with Wolves Nominated Shared with Jeffrey Beecroft
1991 Nancy Haigh Bugsy Won Shared with Dennis Gassner
Barton Fink Nominated
Cindy Carr The Fisher King Nominated Shared with Mel Bourne
Caryl Heller The Prince of Tides Nominated Shared with Paul Sylbert
1992 Luciana Arrighi Howards End Won Shared with Ian Whittaker
Linda DeScenna Toys Nominated Shared with Ferdinando Scarfiotti
Janice Blackie-Goodine Unforgiven Nominated Shared with Henry Bumstead
1993 Ewa Braun Schindler's List Won Shared with Allan Starski
Luciana Arrighi The Remains of the Day Nominated Shared with Ian Whittaker
1994 [note 4] Carolyn Scott The Madness of King George Won Shared with Ken Adam
Susan Bode Bullets over Broadway Nominated Shared Santo Loquasto
Nancy Haigh Forrest Gump Nominated Shared with Rick Carter
Francesca Lo Schiavo Interview with the Vampire Nominated Shared with Dante Ferretti
Lilly Kilvert
Dorree Cooper
Legends of the Fall Nominated
1995 Merideth Boswell Apollo 13 Nominated Shared with Michael Corenblith
Kerrie Brown Babe Nominated Shared with Roger Ford
Cheryl Carasik A Little Princess Nominated Shared with Bo Welch
1996 Stephenie McMillan The English Patient Won Shared with Stuart Craig
Catherine Martin
Brigitte Broch
Romeo + Juliet Nominated
Cheryl Carasik The Birdcage Nominated Shared with Bo Welch
1997 Men in Black Nominated
Nancy Nye Gattaca Nominated Shared with Jan Roelfs
Francesca Lo Schiavo Kundun Nominated Shared with Dante Ferretti
Jeannine Oppewall L.A. Confidential Nominated Shared with Jay Hart
1998 Jill Quertier Shakespeare in Love Won Shared with Martin Childs
Jeannine Oppewall Pleasantville Nominated Shared with Jay Hart
Lisa Dean Kavanaugh Saving Private Ryan Nominated Shared with Tom Sanders
Cindy Carr What Dreams May Come Nominated Shared with Eugenio Zanetti
1999 Luciana Arrighi Anna and the King Nominated Shared with Ian Whittaker
Beth Rubino The Cider House Rules Nominated Shared with David Gropman
Eve Stewart Topsy-Turvy Nominated Shared with John Bush
2000 Merideth Boswell How the Grinch Stole Christmas Nominated Shared with Michael Corenblith
Jill Quertier Quills Nominated Shared with Martin Childs
Françoise Benoît-Fresco Vatel Nominated Shared with Jean Rabasse
2001 Catherine Martin
Brigitte Broch
Moulin Rouge! Won
Aline Bonetto
Marie-Laure Valla
Amélie Nominated
Anna Pinnock Gosford Park Nominated Shared with Stephen Altman
Stephenie McMillan Harry Potter and the Philosopher's Stone Nominated Shared with Stuart Craig
2002 Hania Robledo Frida Nominated Shared with Felipe Fernández del Paso
Francesca Lo Schiavo Gangs of New York Nominated Shared with Dante Ferretti
Nancy Haigh Road to Perdition Nominated Shared with Dennis Gassner
2003 Cecile Heideman Girl with a Pearl Earring Nominated Shared with Ben Van Os
Lilly Kilvert
Gretchen Rau
The Last Samurai  Nominated
Jeannine Oppewall
Leslie Pope
Seabiscuit Nominated
2004 [note 4] Francesca Lo Schiavo The Aviator Won Shared with Dante Ferretti
Gemma Jackson
Trisha Edwards
Finding Neverland Nominated
Cheryl Carasik Lemony Snicket's A Series of Unfortunate Events Nominated Shared with Rick Heinrichs
Celia Bobak The Phantom of the Opera Nominated Shared with Anthony Pratt
Aline Bonetto A Very Long Engagement Nominated
2005 Gretchen Rau Memoirs of a Geisha Won Shared with John Myhre
Jan Pascale Good Night, and Good Luck. Nominated Shared with Jim Bissell
Stephenie McMillan Harry Potter and the Goblet of Fire Nominated Shared with Stuart Craig
Sarah Greenwood
Katie Spencer
Pride & Prejudice Nominated
2006 [note 4] Pilar Revuelta Pan's Labyrinth Won Shared with Eugenio Caballero
Nancy Haigh Dreamgirls Nominated Shared with John Myhre
Jeannine Claudia Oppewall
Gretchen Rau
The Good Shepherd Nominated Shared with Leslie E. Rollins
Cheryl Carasik Pirates of the Caribbean: Dead Man's Chest Nominated Shared with Rick Heinrichs
Julie Ochipinti The Prestige Nominated Shared with Nathan Crowley
2007 Francesca Lo Schiavo Sweeney Todd: The Demon Barber of Fleet Street Won Shared with Dante Ferretti
Beth A. Rubino American Gangster Nominated Shared with Arthur Max
Sarah Greenwood
Katie Spencer
Atonement Nominated
Anna Pinnock The Golden Compass Nominated Shared with Dennis Gassner
2008 Rebecca Alleway The Duchess Nominated Shared with Michael Carlin
Kristi Zea
Debra Schutt
Revolutionary Road Nominated
2009 Anastasia Masaro
Caroline Smith
The Imaginarium of Doctor Parnassus Nominated Shared with Dave Warren
Sarah Greenwood
Katie Spencer
Sherlock Holmes Nominated
Maggie Gray The Young Victoria Nominated Shared with Patrice Vermette
2010 Karen O'Hara Alice in Wonderland Nominated Shared with Robert Stromberg
Stephenie McMillan Harry Potter and the Deathly Hallows – Part 1  Nominated Shared with Stuart Craig
Eve Stewart
Judy Farr
The King's Speech Nominated
Nancy Haigh True Grit Nominated Shared with Jess Gonchor
2011 Francesca Lo Schiavo Hugo Won Shared with Dante Ferretti
Stephenie McMillan Harry Potter and the Deathly Hallows – Part 2 Nominated Shared with Stuart Craig
Anne Seibel
Hélène Dubreuil
Midnight in Paris Nominated
2012 Sarah Greenwood
Katie Spencer
Anna Karenina Nominated
Eve Stewart
Anna Lynch-Robinson
Les Misérables Nominated
Anna Pinnock Life of Pi Nominated Shared with David Gropman
2013 Catherine Martin
Beverley Dunn
The Great Gatsby Won
Judy Becker
Heather Loeffler
American Hustle Nominated
Rosie Goodwin
Joanne Woollard
Gravity Nominated Shared with Andy Nicholson
Alice Baker 12 Years a Slave Nominated Shared with Adam Stockhausen
2014 Anna Pinnock The Grand Budapest Hotel Won
Into the Woods Nominated Shared with Dennis Gassner
Maria Djurkovic
Tatiana Macdonald
The Imitation Game Nominated
Suzie Davies
Charlotte Watts
Mr. Turner Nominated
2015 Lisa Thompson Mad Max: Fury Road Won Shared with Colin Gibson
Rena DeAngelo Bridge of Spies Nominated Shared with Adam Stockhausen and Bernhard Henrich
Eve Stewart The Danish Girl Nominated Shared with Michael Standish
Celia Bobak The Martian Nominated Shared with Arthur Max
2016 Sandy Reynolds-Wasco La La Land Won Shared with David Wasco
Anna Pinnock Fantastic Beasts and Where to Find Them Nominated Shared with Stuart Craig
Nancy Haigh Hail, Caesar! Nominated Shared with Jess Gonchor
2017 Sarah Greenwood
Katie Spencer
Beauty and the Beast Nominated
Darkest Hour Nominated
Alessandra Querzola Blade Runner 2049 Nominated Shared with Dennis Gassner
2018 Hannah Beachler Black Panther Won First black woman to be nominated for and to win for Best Production Design
Shared with Jay Hart
Fiona Crombie
Alice Felton
The Favourite Nominated
Kathy Lucas First Man Nominated Shared with Nathan Crowley
Bárbara Enríquez Roma Nominated Shared with Eugenio Caballero

Best Short Film (Animated)

Academy Award for Best Animated Short Film
Year Name Film Status Notes
1962 Faith Hubley The Hole Won Shared with John Hubley
1966 Herb Alpert and the Tijuana Brass Double Feature Won
1968 Windy Day Nominated
1969 Of Men and Demons Nominated
1974 Voyage to Next Nominated
1976 Suzanne Baker Leisure Won
Caroline Leaf The Street Nominated Shared with Guy Glover
1977 Faith Hubley The Doonesbury Special Nominated Shared with John Hubley and Garry Trudeau
1978 Eunice Macaulay Special Delivery Won Shared with John Weldon
1981 Janet Perlman The Tender Tale of Cinderella Penguin Nominated
1982 Dianne Jackson The Snowman Nominated
1983 Eda Godel Hallinan Sound of Sunshine - Sound of Rain Nominated
1985 Cilia van Dijk Anna & Bella Won
Alison Snowden Second Class Mail Nominated
1986 Linda Van Tulden A Greek Tragedy Won Shared with Willem Thijsen
1987 Eunice Macaulay George and Rosemary Nominated
1991 Wendy Tilby Strings Nominated
1992 Joan C. Gratz Mona Lisa Descending a Staircase Won
Michaela Pavlátová Reci, Reci, Reci... Nominated
1994 Alison Snowden Bob's Birthday Won Shared with David Fine
Erica Russell Triangle Nominated
Vanessa Schwartz The Janitor Nominated
1997 Joanna Quinn Famous Fred Nominated
1999 Torill Kove My Grandmother Ironed the King's Shirts Nominated
Wendy Tilby
Amanda Forbis
When the Day Breaks Nominated
2000 Annette Schäffler Periwig Maker Nominated Shared with Steffen Schäffler
2002 Heidi Wittlinger Das Rad Nominated Shared with Chris Stenner
2005 Peggy Stern The Moon and the Son: An Imagined Conversation Won Shared with John Canemaker
Sharon Colman Badgered Nominated
2006 Torill Kove The Danish Poet Won
2007 Suzie Templeton Peter & the Wolf Won Shared with Hugh Welchman
2011 Sue Goffe A Morning Stroll Nominated
Wendy Tilby
Amanda Forbis
Wild Life Nominated
2012 Fodhla Cronin O'Reilly Head Over Heels Nominated Shared with Timothy Reckart
2013 Lauren MacMullan
Dorothy McKim
Get a Horse! Nominated
2014 Kristina Reed Feast Won Shared with Patrick Osborne
Torill Kove Me and My Moulton Nominated
Daisy Jacobs The Bigger Picture Nominated Shared with Christopher Hees
2015 Imogen Sutton Prologue Nominated Shared with Richard Williams
Nicole Paradis Grindle Sanjay's Super Team Nominated Shared with Sanjay Patel
2016 Cara Speller Pear Cider and Cigarettes Nominated Shared with Robert Valley
2017 Dana Murray Lou Nominated Shared with Dave Mullins
Ru Kuwahata Negative Space Nominated Shared with Max Porter
2018 Domee Shi
Becky Neiman-Cobb
Bao Won
Alison Snowden Animal Behaviour Nominated Shared with David Fine
Louise Bagnall
Nuria González-Blanco
Late Afternoon Nominated

Best Short Film (Live Action)

Academy Award for Live Action Short Film
Year Name Film Status Notes
1959 Shirley Clarke Skyscraper Nominated Shared with Willard Van Dyke and Irving Jacoby
1962 Martina Huguenot van der Linden Big City Blues Nominated Shared with Charles Huguenot van der Linden
1969 Joan Keller Stern The Magic Machines Won First female to win for Live Action Short Film
1976 Marjorie Anne Short Kudzu Nominated
Claire Wilbur Nightlife Nominated Shared with Robin Lehman
Dyan Cannon Number One Nominated Shared with Vince Cannon
1977 Beverly Shaffer
Yuki Yoshida
I'll Find a Way Won
1978 Fern Field A Different Approach Nominated Shared with Jim Belcher
1979 Sarah Pillsbury Board and Care Won Shared with Ron Ellis
Carol Lowell Oh Brother, My Brother Nominated Shared with Ross Lowell
1980 Sally Heckel A Jury of Her Peers Nominated
1981 Shelley Levinson Violet Won Shared with Paul Kemp
Christine Oestreicher Couples and Robbers Nominated
1982 A Shocking Accident Won
1983 Janice L. Platt Boys and Girls Won
1984 The Painted Door Nominated Shared with Michael MacMillan
Sharon Oreck
Lesli Linka Glatter
Tales of Meeting and Parting Nominated
1985 Dianna Costello Graffiti Nominated
1986 Fredda Weiss Love Struck Nominated
1987 Jana Sue Memel Ray's Male Heterosexual Dance Hall Won Shared with Jonathan Sanger
Ann Wingate Making Waves Nominated
1988 Matia Karrell
Abbee Goldstein
Cadillac Dreams Nominated
1990 Hillary Ripps 12:01 PM Nominated Shared with Jonathan Heap
1992 Jana Sue Memel Contact Nominated Shared with Jonathan Darby
1993 Partners Nominated Shared with Peter Weller
Stacy Title Down on the Waterfront Nominated Shared with Jonathan Penner
Susan Seidelman The Dutch Master Nominated Shared with Jonathan Brett
1994 [note 5] Ruth Kenley-Letts Franz Kafka's It's a Wonderful Life Won Shared with Peter Capaldi
Peggy Rajski Trevor Won Shared with Randy Stone
Christine Astin Kangaroo Court Nominated Shared with Sean Astin
JoBeth Williams
Michele McGuire
On Hope Nominated
1995 Christine Lahti
Jana Sue Memel
Lieberman in Love Won
Tikki Goldberg Little Surprises Nominated Shared with Jeff Goldblum
Dianne Houston
Joy Ryan
Tuesday Morning Ride Nominated
1996 Bernadette Carranza Wordless Nominated Shared with Antonello De Leo
1998 Vivian Goffette La Carte Postale (The Postcard) Nominated
1999 Barbara Schock
Tamara Tiehel
My Mother Dreams the Satan's Disciples in New York Won
Gabriele Lins Kleingeld Nominated Shared with Marc-Andreas Bochert
2000 Ericka Frederick By Courier Nominated Shared with Peter Riegert
Joan Stein
Christina Lazaridi
One Day Crossing Nominated
Gail Lerner Seraglio Nominated Shared with Colin Campbell
2001 Lisa Blount The Accountant Won Shared with Ray McKinnon
Shameela Bakhsh Speed for Thespians Nominated Shared with Kalman Apple
2002 Mie Andreasen Der Er En Yndig Man (This Charming Man) Won Shared with Martin Strange-Hansen
Anja Daelemans Fait D'Hiver Nominated Shared with Dirk Beliën
Lexi Alexander Johnny Flynton Nominated Shared with Alexander Buono
2004 Andrea Arnold Wasp Won
Ainsley Gardiner Two Cars, One Night Nominated Shared with Taika Waititi
2005 Ulrike Grote Ausreisser (The Runaway) Nominated
Lene Bausager Cashback Nominated Shared with Sean Ellis
Pia Clemente Our Time Is Up Nominated Shared with Rob Pearlstein
2007 Louise Vesth At Night Nominated Shared with Christian E. Christiansen
Anja Daelemans Tanghi Argentini Nominated Shared with Guido Thys
2008 Elizabeth Marre Manon on the Asphalt Nominated Shared with Olivier Pont
Steph Green
Tamara Anghie
New Boy Nominated
Dorte Høgh The Pig Nominated Shared with Tivi Magnusson
2009 Juanita Wilson The Door Nominated Shared with James Flynn
2010 Samantha Waite Wish 143 Nominated Shared with Ian Barnes
2011 Oorlagh George The Shore Won Shared with Terry George
Eimear O'Kane Pentecost Nominated Shared with Peter McDonald
Gigi Causey Time Freak Nominated Shared with Andrew Bowler
2012 Ellen De Waele Dood van een Schaduw (Death of a Shadow) Nominated Shared with Tom Van Avermaet
2013 Selma Vilhunen
Kirsikka Saari
Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?) Nominated
2014 Mihal Brezis Aya Nominated Shared with Oded Binnun
Talkhon Hamzavi Parvaneh Nominated Shared with Stefan Eichenberger
2015 Serena Armitage Stutterer Won Shared with Benjamin Cleary
2016 Anna Udvardy Sing Won Shared with Kristóf Deák
2017 Rachel Shenton The Silent Child Won Shared with Chris Overton
Katja Benrath Watu Wore: All of Us Nominated Shared with Tobias Rosen
2018 Jaime Ray Newman Skin Won Shared with Guy Nattiv
Maria Gracia Turgeon Fauve Nominated Shared with Jeremy Comte
Marianne Farley
Marie-Hélène Panisset
Marguerite Nominated Shared with Tobias Rosen
María del Puy Alvarado Mother Nominated Shared with Rodrigo Sorogoyen

Best Sound Editing

Academy Award for Best Sound Editing
Year Name Film Status Notes
1984 [note 6] Kay Rose The River Won First woman to win for Sound Editing
1986 Cecelia Hall Top Gun Nominated Shared with George Watters II
1990 The Hunt for Red October Won
1991 Gloria Borders Terminator 2: Judgment Day Won Shared with Gary Rydstrom
1994 Forrest Gump Nominated Shared with Randy Thom
2007 Karen Baker Landers The Bourne Ultimatum Won Shared with Per Hallberg
2009 Gwendolyn Yates Whittle Avatar Nominated Shared with Christopher Boyes
2010 Tron: Legacy Nominated Shared with Addison Teague
2012 Karen Baker Landers Skyfall Won Shared with Per Hallberg
2014 Becky Sullivan Unbroken Nominated Shared with Andrew DeCristofaro
2016 Renée Tondelli Deepwater Horizon Nominated Shared with Wylie Stateman
Ai-Ling Lee
Mildred Iatrou Morgan
La La Land Nominated
2018 Nina Hartstone Bohemian Rhapsody Won Shared with John Warhurst
Ai-Ling Lee
Mildred Iatrou Morgan
First Man Nominated

Best Sound Mixing

Academy Award for Best Sound Mixing
Year Name Film Status Notes
1995 Anna Behlmer Braveheart Nominated Shared with Andy Nelson, Scott Millan and Brian Simmons
1996 Evita Nominated Shared with Andy Nelson and Ken Weston
1997 L.A. Confidential Nominated Shared with Andy Nelson and Kirk Francis
1998 Pud Cusack The Mask of Zorro Nominated Shared with Kevin O'Connell and Greg P. Russell
Anna Behlmer The Thin Red Line Nominated Shared with Andy Nelson and Paul Brincat
2001 Moulin Rouge! Nominated Shared with Andy Nelson, Roger Savage and Guntis Sics
2003 The Last Samurai Nominated Shared with Andy Nelson and Jeff Wexler
Seabiscuit Nominated Shared with Andy Nelson and Tod A. Maitland
2005 War of the Worlds Nominated Shared with Andy Nelson and Ron Judkins
2006 Blood Diamond Nominated Shared with Andy Nelson and Ivan Sharrock
2008 Lora Hirschberg The Dark Knight Nominated Shared with Gary Rizzo and Ed Novick
2009 Anna Behlmer Star Trek Nominated Shared with Andy Nelson and Peter J. Devlin
2010 Lora Hirschberg Inception Won First woman to win for Best Sound Mixing
Shared with Gary Rizzo and Ed Novick
2011 Deb Adair Moneyball Nominated Shared with Ron Bochar, Dave Giammarco and Ed Novick
2016 Ai-Ling Lee La La Land Nominated Shared with Andy Nelson and Steve A. Morrow
2017 Mary H. Ellis Baby Driver Nominated Shared with Julian Slater and Tim Cavagin
2018 Ai-Ling Lee
Mary H. Ellis
First Man Nominated Shared with Jon Taylor and Frank A. Montaño

Best Visual Effects

Academy Award for Visual Effects
Year Name Film Status Notes
1986 Suzanne M. Benson Aliens Won Shared with Robert Skotak, Stan Winston, and John Richardson
1993 Pamela Easley Cliffhanger Nominated Shared with Neil Krepela, John Richardson and John Bruno
2015 Sara Bennett Ex Machina Won Shared with Mark Williams Ardington, Paul Norris and Andrew Whitehurst

Best Writing (Adapted Screenplay)

Academy Award for Best Adapted Screenplay
Year Name Film Source Material Status Notes
1928-29 [note 7] Bess Meredyth A Woman of Affairs The novel The Green Hat by Michael Arlen Nominated
Wonder of Women The novel Die Frau des Steffen Tromholt by Hermann Sudermann Nominated
1932-33 Sarah Y. Mason Little Women The novel of the same name by Louisa May Alcott Won Shared with Victor Heerman
Sonya Levien State Fair The novel of the same name by Phil Stong Nominated Shared with Paul Green
1934 Frances Goodrich The Thin Man The novel of the same name by Dashiell Hammett Nominated Shared with Albert Hackett
1936 After the Thin Man A story by Dashiell Hammett Nominated
1937 Viña Delmar The Awful Truth The play of the same name by Arthur Richman Nominated
Dorothy Parker A Star Is Born A story by William A. Wellman & Robert Carson Nominated Shared with Alan Campbell and Robert Carson
1938 Elizabeth Hill The Citadel The novel of the same name by A. J. Cronin Nominated Shared with Ian Dalrymple and Frank Wead
Lenore Coffee Four Daughters The short story Sister Act by Fannie Hurst Nominated Shared with Julius J. Epstein
1939 Claudine West Goodbye, Mr. Chips The novel of the same name by James Hilton Nominated Shared with R.C. Sherriff and Eric Maschwitz
1940 Joan Harrison Rebecca The novel of the same name by Daphne du Maurier Nominated First woman nominated for Original Screenplay and Adapted Screenplay (both 1940)
Shared with Robert E. Sherwood
1941 Lillian Hellman The Little Foxes Her play of the same name Nominated
1942 Claudine West Mrs. Miniver The character Mrs. Miniver from the newspaper columns by Jan Struther Won Shared with George Froeschel, James Hilton and Arthur Wimperis
Random Harvest Based on the novel by James Hilton Nominated Shared with George Froeschel and Arthur Wimperis
1944 Betty Reinhardt Laura The novel of the same name by Vera Caspary Nominated Shared with Jay Dratler and Samuel Hoffenstein
1945 Tess Slesinger A Tree Grows in Brooklyn the novel of the same name by Betty Smith Nominated Posthumous nomination
Shared with Frank Davis
1946 Sally Benson Anna and the King of Siam the novel of the same name by Margaret Landon Nominated Shared with Talbot Jennings
1948 Irma von Cube Johnny Belinda The play of the same name by Elmer Blaney Harris Nominated Shared with Allen Vincent
1950 Frances Goodrich Father of the Bride The novel of the same name by Edward Streeter Nominated Shared with Albert Hackett
1953 Helen Deutsch Lili The story Love of Seven Dolls by Paul Gallico Nominated
1954 Frances Goodrich
Dorothy Kingsley
Seven Brides for Seven Brothers The story The Sobbin' Women by Stephen Vincent Benét Nominated Shared with Albert Hackett
1955 Isobel Lennart Love Me or Leave Me A story by Daniel Fuchs Nominated Shared with Daniel Fuchs
1960 The Sundowners The novel of the same name by Jon Cleary Nominated
1962 Eleanor Perry David and Lisa The story Lisa and David by Theodore Isaac Rubin Nominated
1963 Phoebe Ephron Captain Newman, M.D. The novel of the same name by Leo Rosten Nominated Shared with Richard L. Breen and Henry Ephron
Harriet Frank Jr. Hud The novel Horseman, Pass By by Larry McMurtry Nominated Shared with Irving Ravetch
1969 Bridget Boland Anne of the Thousand Days The play of the same name by Maxwell Anderson Nominated Shared with John Hale and Richard Sokolove
1970 Renée Taylor Lovers and Other Strangers The play of the same name by Joseph Bologna & Renée Taylor Nominated Shared with Joseph Bologna and David Zelag Goodman
1972 Jay Presson Allen Cabaret The musical of the same name, book by Joe Masteroff Nominated
1975 Gladys Hill The Man Who Would Be King The story of the same name by Rudyard Kipling Nominated Shared with John Huston
1978 Elaine May Heaven Can Wait The play of the same name by Harry Segall Nominated Shared with Warren Beatty
1979 Harriet Frank Jr. Norma Rae The novel Crystal Lee, a Woman of Inheritance by Hank Leiferman Nominated Shared with Irving Ravetch
1981 Jay Presson Allen Prince of the City The book Prince of the City: The True Story of a Cop Who Knew Too Much by Robert Daley Nominated Shared with Sidney Lumet
1985 Janet Roach Prizzi's Honor The novel of the same name by Richard Condon Nominated Shared with Richard Condon
1986 Ruth Prawer Jhabvala A Room with a View The novel of the same name by E.M. Forster Won
Hesper Anderson Children of a Lesser God The play of the same name by Mark Medoff Nominated Shared with Mark Medoff
Beth Henley Crimes of the Heart Her play of the same name Nominated
1988 Anna Hamilton Phelan Gorillas in the Mist An article by Harold Hayes Nominated Shared with Tab Murphy
Christine Edzard Little Dorrit The novel of the same name by Charles Dickens Nominated
1991 Agnieszka Holland Europa Europa The book I Was Hitler Youth Salomon by Solomon Perel Nominated
Fannie Flagg
Carol Sobieski
Fried Green Tomatoes The novel Fried Green Tomatoes at the Whistle Stop Cafe by Flagg Nominated
Becky Johnston The Prince of Tides The novel of the same name by Pat Conroy Nominated Shared with Pat Conroy
1992 Ruth Prawer Jhabvala Howards End The novel of the same name by E.M. Forster Won First woman to win twice for Best Adapted Screenplay
1993 The Remains of the Day The novel of the same name by Kazuo Ishiguro Nominated
1995 Emma Thompson Sense and Sensibility The novel of the same name by Jane Austen Won
Anna Pavignano Il Postino The novel Ardiente Paciencia by Antonio Skármeta Nominated Shared with Michael Radford, Massimo Troisi, Furio Scarpelli and Giacomo Scarpelli
1997 Hilary Henkin Wag the Dog The novel American Hero by Larry Beinhart Nominated Shared with David Mamet
1998 Elaine May Primary Colors The novel of the same name by Joe Klein Nominated
2000 Wang Hui-ling Crouching Tiger, Hidden Dragon The novel of the same name by Wang Dulu Nominated Shared with James Schamus and Kuo Jung Tsai
2001 Fran Walsh
Philippa Boyens
The Lord of the Rings: The Fellowship of the Ring The novel of the same name by J. R. R. Tolkien Nominated Shared with Peter Jackson
2003 The Lord of the Rings: The Return of the King The novel of the same name by J. R. R. Tolkien Won
Shari Springer Berman American Splendor The comic book series of the same name by Harvey Pekar & Our Cancer Year by Joyce Brabner Nominated Shared with Robert Pulcini
2004 Julie Delpy
Kim Krizan
Before Sunset Characters from the film Before Sunrise created by Richard Linklater and Kim Krizan Nominated Shared with Ethan Hawke and Richard Linklater
2005 Diana Ossana Brokeback Mountain The short story of the same name by Annie Proulx Won Shared with Larry McMurtry
2007 Sarah Polley Away from Her The short story "The Bear Went Over the Mountain" by Alice Munro Nominated
2008 Robin Swicord The Curious Case of Benjamin Button The short story "The Curious Case of Benjamin Button" by F. Scott Fitzgerald Nominated Shared with Eric Roth
2009 Terri Tatchell District 9 The short film Alive in Joburg written by Neill Blomkamp Nominated Shared with Neill Blomkamp
2010 Debra Granik
Anne Rosellini
Winter's Bone The novel of the same name by Daniel Woodrell Nominated
2011 Bridget O'Connor Tinker Tailor Soldier Spy The novel of the same name by John le Carré Nominated Posthumous nomination
Shared with Peter Straughan
2012 Lucy Alibar Beasts of the Southern Wild Her play Juicy and Delicious Nominated Shared with Benh Zeitlin
2013 Julie Delpy Before Midnight Characters from the film Before Sunrise created by Richard Linklater and Kim Krizan Nominated Shared with Ethan Hawke and Richard Linklater
2015 Phyllis Nagy Carol The novel The Price of Salt by Patricia Highsmith Nominated
Emma Donoghue Room Her novel of the same name Nominated
2016 Allison Schroeder Hidden Figures The book of the same name by Margot Lee Shetterly Nominated Shared with Theodore Melfi
2017 Dee Rees Mudbound The novel of the same name by Hillary Jordan Nominated First black woman and first queer to be nominated for Best Adapted Screenplay
Shared with Virgil Williams
2018 Nicole Holofcener Can You Ever Forgive Me? The autobiography of the same name by Lee Israel Nominated Shared with Jeff Whitty

Best Writing (Original Screenplay)

Academy Award for Best Original Screenplay
Year Name Film Status Notes
1928-29 [note 7] Josephine Lovett Our Dancing Daughters Nominated
1929-30 [note 7] Frances Marion The Big House Won
1940 Joan Harrison Foreign Correspondent Nominated First woman nominated for Original Screenplay and Adapted Screenplay (both 1940)
Shared with Charles Bennett
1943 Lillian Hellman The North Star Nominated
1944 Gladys Lehman Two Girls and a Sailor Nominated Shared with Richard Connell
1946 Muriel Box The Seventh Veil Won Shared with Sydney Box
1947 Ruth Gordon A Double Life Nominated Shared with Garson Kanin
1949 Helen Levitt
Janice Loeb
The Quiet One Nominated Shared with Sidney Meyers
1949 Frances H. Flaherty Louisiana Story Nominated Shared with Robert J. Flaherty[1]
1950 Ruth Gordon Adam's Rib Nominated Shared with Garson Kanin
Virginia Kellogg Caged Nominated Shared with Bernard C. Schoenfeld
1952 Ruth Gordon Pat and Mike Nominated Shared with Garson Kanin
1953 Betty Comden The Band Wagon Nominated Shared with Adolph Green
1955 Sonya Levien Interrupted Melody Won Shared with William Ludwig
Betty Comden It's Always Fair Weather Nominated Shared with Adolph Green
1958 Fay Kanin Teacher's Pet Nominated Shared with Michael Kanin
1960 Marguerite Duras Hiroshima, Mon Amour Nominated
1964 Ariane Mnouchkine That Man from Rio Nominated Shared with Jean-Paul Rappeneau, Daniel Boulanger and Philippe de Broca
1965 Suso Cecchi d'Amico Casanova 70 Nominated Shared with Agenore Incrocci, Furio Scarpelli, Mario Monicelli, Tonino Guerra and Giorgio Salvioni
1970 Adrien Joyce Five Easy Pieces Nominated Shared with Bob Rafelson
1971 Penelope Gilliatt Sunday Bloody Sunday Nominated
1972 Chris Clark
Suzanne de Passe
Lady Sings the Blues Nominated Shared with Terrence McCloy
1973 Gloria Katz American Graffiti Nominated Shared with George Lucas and Willard Huyck
1974 Suzanne Schiffman Day for Night Nominated Shared with François Truffaut and Jean-Louis Richard
1976 Daniele Thompson Cousin, Cousine Nominated Shared with Jean-Charles Tacchella
Lina Wertmüller Seven Beauties Nominated
1978 Nancy Dowd Coming Home Won Shared with Robert C. Jones and Waldo Salt
1979 Valerie Curtin ...And Justice for All Nominated Shared with Barry Levinson
1980 Nancy Meyers Private Benjamin Nominated Shared with Charles Shyer and Harvey Miller
1982 Melissa Mathison E.T. the Extra-Terrestrial Nominated
1983 Barbara Benedek The Big Chill Nominated Shared with Lawrence Kasdan
Nora Ephron
Alice Arlen
Silkwood Nominated
1984 Anna Thomas El Norte Nominated Shared with Gregory Nava
1985 Pamela Wallace Witness Won Shared with Earl W. Wallace and William Kelley
Aida Bortnik The Official Story Nominated Shared with Luis Puenzo
1988 Anne Spielberg Big Nominated Shared with Gary Ross
Naomi Foner Running on Empty Nominated
1989 Nora Ephron When Harry Met Sally... Nominated
1991 Callie Khouri Thelma & Louise Won
Meg Kasdan Grand Canyon Nominated Shared with Lawrence Kasdan
1993 Jane Campion The Piano Won
Nora Ephron Sleepless in Seattle Nominated Shared with Jeff Arch and David S. Ward
1994 Fran Walsh Heavenly Creatures Nominated Shared with Peter Jackson
2000 Susannah Grant Erin Brockovich Nominated
2002 Nia Vardalos My Big Fat Greek Wedding Nominated
2003 Sofia Coppola Lost in Translation Won
Kirsten Sheridan
Naomi Sheridan
In America Nominated Shared with Jim Sheridan
2006 Iris Yamashita Letters from Iwo Jima Nominated Shared with Paul Haggis
2007 Diablo Cody Juno Won
Nancy Oliver Lars and the Real Girl Nominated
Tamara Jenkins The Savages Nominated
2008 Courtney Hunt Frozen River Nominated
2010 Lisa Cholodenko The Kids Are All Right Nominated Shared with Stuart Blumberg
2011 Annie Mumolo
Kristen Wiig
Bridesmaids Nominated
2013 Melisa Wallack Dallas Buyers Club Nominated Shared with Craig Borten
2015 Meg LeFauve Inside Out Nominated Shared with Pete Docter, Josh Cooley and Ronnie del Carmen
Andrea Berloff Straight Outta Compton Nominated Shared with Jonathan Herman, S. Leigh Savidge and Alan Wenkus
2017 Greta Gerwig Lady Bird Nominated First woman nominated for Original Screenplay for a debut film
Vanessa Taylor The Shape of Water Nominated Shared with Guillermo del Toro
Emily V. Gordon The Big Sick Nominated Shared with Kumail Nanjiani
2018 Deborah Davis The Favourite Nominated Shared with Tony McNamara

Special awards

Academy Juvenile Award [note 8]
Year Name Notes
1934 Shirley Temple "in grateful recognition of her outstanding contribution to screen entertainment during the year 1934."
1938 Deanna Durbin "for [her] 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."
1939 Judy Garland "for her outstanding performance as a screen juvenile during the past year."
1944 Margaret O'Brien "outstanding child actress of 1944."
1945 Peggy Ann Garner "outstanding child actress of 1945."
1960 Hayley Mills "for Pollyanna, the most outstanding juvenile performance during 1960."


Academy Honorary Award
Year Name Notes
1954 Greta Garbo "for her unforgettable screen performances."
1968 Onna White "for her outstanding choreography achievemnt for Oliver!"
1970 Lillian Gish "for superlative artistry and for distinguished contribution to the progress of motion pictures."
1975 Mary Pickford "in recognition of her unique contributions to the film industry and the development of film as an artistic medium."
1977 Margaret Booth "for her exceptional contribution to the art of film editing in the motion picture industry."
1981 Barbara Stanwyck "for superlative creativity and unique contribution to the art of screen acting."
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."
Myrna Loy "in recognition of her extraordinary qualities both on screen and off, with appreciation for a lifetime's worth of indelible performances."
1993 Deborah Kerr "in appreciation for a full career's worth of elegant and beautifully crafted performances."
2009 Lauren Bacall "in recognition of her central place in the Golden Age of motion pictures."
2013 Angela Lansbury "an entertainment icon who has created some of cinema's most memorable characters, inspiring generations of actors."
2014 Maureen O'Hara "One of Hollywood's brightest stars, whose inspiring performances glowed with passion, warmth and strength."
2015 Gena Rowlands "an original talent whose devotion to her craft has earned her worldwide recognition as an independent film icon"
2016 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"
2017 Agnès Varda "her compassion and curiosity inform a uniquely personal cinema"
2018 Kathleen Kennedy
Cicely Tyson

Notes

  1. ^ For the first time in Academy history, all five films nominated for Best Animated Feature in this year were produced by both female and male producers
  2. ^ This category has had numerous name changes and demarcations throughout its history, as detailed on the award's page
  3. ^ In 2009, the Academy expanded the number of nominees for Best Picture from five to ten. In every subsequent year, there has been at least four films with female producers nominated for the award
  4. ^ a b c All five films nominated this year featured female production designers and/or set decorators.
  5. ^ A tie in voting this year resulted in two winners
  6. ^ This was presented as a Special Achievement Award, not competitively.
  7. ^ a b c At these Academy Awards, the award was bestowed as Best Writing and included original and adapted screenplays
  8. ^ The Juvenile Oscar was intermittently awarded between 1934 and 1960, recognizing performers under the age of eighteen. It was not gender-specific.

References

General
  • "Winners and Nominees". Academy of Motion Picture Arts and Sciences. Retrieved September 21, 2011.
Specific
  1. ^ "Louisiana Story". IMDB. Retrieved 23 March 2019.
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