This year was an anomaly of sorts in the movie industry, which has faced a steady decline in theater attendance and box office success over the years but was exacerbated by the pandemic.
“Barbenheimer was special,” says Eric Hoyt, the Kahl Family Professor of Media Production and a Professor of Film, Media and Cultural Studies in the Department of Communication Arts. “There was a real affirmation of moviegoing.”
Not only did "Barbie" and "Oppenheimer" lift each other up at the box office in July — garnering $244.5 million domestically and almost $537 million worldwide in their opening weekend — but the two blockbuster films snagged eight and 13 Academy Award nominations, respectively.
“Historically, the Oscars have been a good way to draw attention to lesser-known films,” says Professor Jeff Smith, also in the Department of Communication Arts. “This year, to some degree, it seems to be an exception.”
However, this is not to say that lesser-known films were not recognized in the Academy’s slate of nominees this year. "Anatomy of a Fall," a French language film directed by Justine Triet, received a nomination for Best Picture, Best Actress, Best Director, Best Original Screenplay and Best Film Editing.
“It’s a great film that shows us what’s possible in cinema,” Hoyt adds.
Since the Oscars’ conception in 1927, the Academy of Motion Picture Arts and Sciences has evolved, swapping what was once a “small affair” to become an international broadcast showcasing the cinematic achievements of the past year, in addition to the glitz and glamor of Hollywood. From the old-school studio system — when studios controlled all aspects of production, distribution and exhibition of films — to the dominance of streaming services, the Academy has attempted to maintain relevance, sometimes coming up short.
“Everybody likes to win awards,” Smith says. “But I think the translation of what that award means in terms of box office doesn’t mean as much as it did 30 years ago.”
The Academy has been riddled with controversy since its inception, from a naked streaker running across the stage at the 1974 ceremony to actor Will Smith slapping Chris Rock across the face on stage in 2022. But there have also been serious questions about the body’s representation of those historically marginalized in the film industry.
#OscarsSoWhite, a social justice campaign started on X in 2015 to diversify nominations, changed the social fabric of the Academy. The number of nominees of color has grown to 17% in the eight years since the hashtag’s inception, compared to a meek 8% in the eight years prior to the campaign, as per a study from the University of Southern California.
This year, approximately a third of all nominees are women while 19% are from other underrepresented groups, according to the Academy. Also, Lily Gladstone, who starred in Martin Scorsese’s "Killers of the Flower Moon," is the first Native American woman and the fourth Indigenous woman to receive a nomination in the lead actress category.
“It gets people talking about the political and social implications in who Hollywood hires and who gets recognized,” says Smith. “And that’s always a good conversation to be having.”
But the Oscars have another institutional problem: dwindling viewership. The 2023 ceremony drew in just about 20 million viewers. In 2013, it was nearly double that, garnering 40.38 million eyeballs.
“Movies and moviegoing have less of an essential role in the culture,” Hoyt says. “And the question is, how do you reach an audience and make them care about movies?”
The Academy has sought to make changes to boost relevance and connect with younger, more diverse audiences. In 2020, it implemented new representation and inclusion standards for the Best Picture category to better reflect the diversity of viewers.
There have been shifts in the more technical aspects of award nominations, as well. The Academy announced that it will introduce a category for Best Casting Director in 2026 in an effort to highlight the effort that goes into identifying the best talent for a production, something that became integral as the oligopoly of the studio system disappeared in the 1940s. Industry leaders have been advocating for a casting category since the 1990s.
“Back in the old days, nobody would have cared,” Smith says. “But today, getting the right people for a project is much more important.”
This year, both Hoyt and Smith expect "Oppenheimer" to dominate, winning awards in several categories.
“Hollywood loves to keep score,” Hoyt says. “And one way it does that is through prestige and awards.”