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Academy Award for Best Production Design | 1960s | 1960s
Year Film Art director(s) Set decorator(s) 1960 Black-and-White The Apartment Alexandre Trauner Edward G. Boyle The Facts of Life Joseph McMillan Johnson and Kenneth A. Reid Ross Dowd Psycho Joseph Hurley and Robert Clatworthy George Milo Sons and Lovers Tom Morahan Lionel Couch Visit to a Small Planet Hal Pereira and Walter Tyler Samuel M. Comer and Arthur Krams Color Spartacus Alexander Golitzen and Eric Orbom Russell A. Gausman and Julia Heron Cimarron George Davis and Addison Hehr Henry Grace, Hugh Hunt and Otto Siegel It Started in Naples Hal Pereira and Roland Anderson Samuel M. Comer and Arrigo Breschi Pepe Ted Haworth William Kiernan Sunrise at Campobello Edward Carrere George James Hopkins 1961 Black-and-White The Hustler Harry Horner Gene Callahan The Absent-Minded Professor Carroll Clark Emile Kuri and Hal Gausman The Children's Hour Fernando Carrere Edward G. Boyle Judgment at Nuremberg Rudolph Sternad George Milo La Dolce Vita Piero Gherardi — Color West Side Story Boris Leven Victor A. Gangelin Breakfast at Tiffany's Hal Pereira and Roland Anderson Samuel M. Comer and Ray Moyer El Cid Veniero Colasanti and John Moore — Flower Drum Song Alexander Golitzen and Joseph C. Wright Howard Bristol Summer and Smoke Hal Pereira and Walter Tyler Samuel M. Comer and Arthur Krams 1962 Black-and-White To Kill a Mockingbird Alexander Golitzen and Henry Bumstead Oliver Emert Days of Wine and Roses Joseph C. Wright George James Hopkins The Longest Day Ted Haworth, Léon Barsacq and Vincent Korda Gabriel Béchir Period of Adjustment George Davis and Edward Carfagno Henry Grace and Richard Pefferle The Pigeon That Took Rome Hal Pereira and Roland Anderson Samuel M. Comer and Frank R. McKelvy Color Lawrence of Arabia John Box and John Stoll Dario Simoni The Music Man Paul Groesse George James Hopkins Mutiny on the Bounty George Davis and Joseph McMillan Johnson Henry Grace and Hugh Hunt That Touch of Mink Alexander Golitzen and Robert Clatworthy George Milo The Wonderful World of the Brothers Grimm George Davis and Edward Carfagno Henry Grace and Richard Pefferle 1963 Black-and-White America America Gene Callahan — 8½ Piero Gherardi — Hud Hal Pereira and Tambi Larsen Samuel M. Comer and Robert R. Benton Love with the Proper Stranger Hal Pereira and Roland Anderson Samuel M. Comer and Grace Gregory Twilight of Honor George Davis and Paul Groesse Henry Grace and Hugh Hunt Color Cleopatra John DeCuir, Jack Martin Smith, Hilyard M. Brown, Herman A. Blumenthal, Elven Webb, Maurice Pelling and Boris Juraga Walter M. Scott, Paul S. Fox and Ray Moyer The Cardinal Lyle R. Wheeler Gene Callahan Come Blow Your Horn Hal Pereira and Roland Anderson Samuel M. Comer and James W. Payne How the West Was Won George Davis, William Ferrari and Addison Hehr Henry Grace, Don Greenwood Jr. and Jack Mills Tom Jones Ralph W. Brinton, Jocelyn Herbert, and Ted Marshall Josie MacAvin 1964 Black-and-White Zorba the Greek Vassilis Photopoulos — The Americanization of Emily George Davis, Hans Peters and Elliot Scott Henry Grace and Robert R. Benton Hush...Hush, Sweet Charlotte William Glasgow Raphaël Bretton The Night of the Iguana Stephen B. Grimes — Seven Days in May Cary Odell Edward G. Boyle Color My Fair Lady Gene Allen and Cecil Beaton George James Hopkins Becket John Bryan and Maurice Carter Patrick McLoughlin and Robert Cartwright Mary Poppins Carroll Clark and William H. Tuntke Emile Kuri and Hal Gausman The Unsinkable Molly Brown George Davis and E. Preston Ames Henry Grace and Hugh Hunt What a Way to Go! Jack Martin Smith and Ted Haworth Walter M. Scott and Stuart A. Reiss 1965 Black-and-White Ship of Fools Robert Clatworthy Joseph Kish King Rat Robert Emmet Smith Frank Tuttle A Patch of Blue George Davis and Urie McCleary Henry Grace and Charles S. Thompson The Slender Thread Hal Pereira and Jack Poplin Robert R. Benton and Joseph Kish The Spy Who Came In from the Cold Hal Pereira and Tambi Larsen Ted Marshall and Josie MacAvin Color Doctor Zhivago John Box and Terence Marsh Dario Simoni The Agony and the Ecstasy John DeCuir and Jack Martin Smith Dario Simoni The Greatest Story Ever Told Richard Day, William Creber and David S. Hall Ray Moyer and Fred M. MacLean and Norman Rockett Inside Daisy Clover Robert Clatworthy George James Hopkins The Sound of Music Boris Leven Walter M. Scott and Ruby Levitt 1966 Black-and-White Who's Afraid of Virginia Woolf? Richard Sylbert George James Hopkins The Fortune Cookie Robert Luthardt Edward G. Boyle The Gospel According to St. Matthew Luigi Scaccianoce — Is Paris Burning? Willy Holt Marc Frédérix and Pierre Guffroy Mister Buddwing George Davis and Paul Groesse Henry Grace and Hugh Hunt Color Fantastic Voyage Jack Martin Smith and Dale Hennesy Walter M. Scott and Stuart A. Reiss Gambit Alexander Golitzen and George C. Webb John McCarthy Jr. and John P. Austin Juliet of the Spirits Piero Gherardi — The Oscar Hal Pereira and Arthur Lonergan Robert R. Benton and James W. Payne The Sand Pebbles Boris Leven Walter M. Scott, John Sturtevant and William Kiernan 1967 Camelot John Truscott and Edward Carrere John W. Brown Doctor Dolittle Mario Chiari, Jack Martin Smith and Ed Graves Walter M. Scott and Stuart A. Reiss Guess Who's Coming to Dinner Robert Clatworthy Frank Tuttle The Taming of the Shrew Renzo Mongiardino, John DeCuir, Elven Webb and Giuseppe Mariani Dario Simoni and Luigi Gervasi Thoroughly Modern Millie Alexander Golitzen and George C. Webb Howard Bristol 1968 Oliver! John Box and Terence Marsh Vernon Dixon and Ken Muggleston The Shoes of the Fisherman George Davis and Edward Carfagno — Star! Boris Leven Walter M. Scott and Howard Bristol 2001: A Space Odyssey Anthony Masters, Harry Lange and Ernest Archer — War and Peace Mikhail Bogdanov and Gennady Myasnikov Georgi Koshelev and Vladimir Uvarov 1969 Hello, Dolly! John DeCuir, Jack Martin Smith and Herman A. Blumenthal Walter M. Scott, George James Hopkins and Raphaël Bretton Anne of the Thousand Days Maurice Carter and Lionel Couch Patrick McLoughlin Gaily, Gaily Robert F. Boyle and George B. Chan Edward G. Boyle and Carl Biddiscombe Sweet Charity Alexander Golitzen and George C. Webb Jack D. Moore They Shoot Horses, Don't They? Harry Horner Frank R. McKelvy |
Academy Award for Best Production Design | 1970s | 1970s
Year Film Art director(s) Set decorator(s) 1970 Patton Urie McCleary and Gil Parrondo Antonio Mateos and Pierre-Louis Thévenet Airport Alexander Golitzen and E. Preston Ames Jack D. Moore and Mickey S. Michaels The Molly Maguires Tambi Larsen Darrell Silvera Scrooge Terence Marsh and Robert Cartwright Pamela Cornell Tora! Tora! Tora! Jack Martin Smith, Yoshirō Muraki, Richard Day and Taizô Kawashima Walter M. Scott, Norman Rockett and Carl Biddiscombe 1971 Nicholas and Alexandra John Box, Ernest Archer, Jack Maxsted and Gil Parrondo Vernon Dixon The Andromeda Strain Boris Leven and William H. Tuntke Ruby Levitt Bedknobs and Broomsticks John B. Mansbridge and Peter Ellenshaw Emile Kuri and Hal Gausman Fiddler on the Roof Robert F. Boyle and Michael Stringer Peter Lamont Mary, Queen of Scots Terence Marsh and Robert Cartwright Peter Howitt 1972 Cabaret Rolf Zehetbauer and Hans Jürgen Kiebach Herbert Strabel Lady Sings the Blues Carl Anderson Reg Allen The Poseidon Adventure William Creber Raphaël Bretton Travels with My Aunt John Box, Gil Parrondo and Robert W. Laing — Young Winston Donald M. Ashton and Geoffrey Drake John Graysmark, William Hutchinson and Peter James 1973 The Sting Henry Bumstead James W. Payne Brother Sun, Sister Moon Lorenzo Mongiardino and Gianni Quaranta Carmelo Patrono The Exorcist Bill Malley Jerry Wunderlich Tom Sawyer Philip M. Jefferies Robert De Vestel The Way We Were Stephen B. Grimes William Kiernan 1974 The Godfather Part II Dean Tavoularis and Angelo P. Graham George R. Nelson Chinatown Richard Sylbert and W. Stewart Campbell Ruby Levitt Earthquake Alexander Golitzen and E. Preston Ames Frank R. McKelvy The Island at the Top of the World Peter Ellenshaw, John B. Mansbridge, Walter Tyler and Al Roelofs Hal Gausman The Towering Inferno William Creber and Ward Preston Raphaël Bretton 1975 Barry Lyndon Ken Adam and Roy Walker Vernon Dixon The Hindenburg Edward Carfagno Frank R. McKelvy The Man Who Would Be King Alexandre Trauner and Tony Inglis Peter James Shampoo Richard Sylbert and W. Stewart Campbell George Gaines The Sunshine Boys Albert Brenner Marvin March 1976 All the President's Men George Jenkins George Gaines The Incredible Sarah Elliot Scott Norman Reynolds The Last Tycoon Gene Callahan and Jack T. Collis Jerry Wunderlich Logan's Run Dale Hennesy Robert De Vestel The Shootist Robert F. Boyle Arthur Jeph Parker 1977 Star Wars John Barry, Norman Reynolds and Leslie Dilley Roger Christian Airport '77 George C. Webb Mickey S. Michaels Close Encounters of the Third Kind Joe Alves and Dan Lomino Phil Abramson The Spy Who Loved Me Ken Adam and Peter Lamont Hugh Scaife The Turning Point Albert Brenner Marvin March 1978 Heaven Can Wait Paul Sylbert and Edwin O'Donovan George Gaines The Brink's Job Dean Tavoularis and Angelo P. Graham George R. Nelson and Bruce Kay California Suite Albert Brenner Marvin March Interiors Mel Bourne Daniel Robert The Wiz Tony Walton and Philip Rosenberg Edward Stewart and Robert Drumheller 1979 All That Jazz Philip Rosenberg and Tony Walton Edward Stewart and Gary J. Brink Alien Michael Seymour, Leslie Dilley and Roger Christian Ian Whittaker Apocalypse Now Dean Tavoularis and Angelo P. Graham George R. Nelson The China Syndrome George Jenkins Arthur Jeph Parker Star Trek: The Motion Picture Harold Michelson, Joe Jennings, Leon Harris and John Vallone Linda DeScenna |
Academy Award for Best Production Design | 1980s | 1980s
Year Film Art director(s) Set decorator(s) 1980 Tess Pierre Guffroy and Jack Stephens — Coal Miner's Daughter John W. Corso John M. Dwyer The Elephant Man Stuart Craig and Robert Cartwright Hugh Scaife Star Wars: Episode V – The Empire Strikes Back Norman Reynolds, Leslie Dilley, Harry Lange and Alan Tomkins Michael D. Ford Kagemusha Yoshirō Muraki — 1981 Raiders of the Lost Ark Norman Reynolds and Leslie Dilley Michael D. Ford The French Lieutenant's Woman Assheton Gorton Ann Mollo Heaven's Gate Tambi Larsen James L. Berkey Ragtime John Graysmark, Patrizia von Brandenstein and Tony Reading George DeTitta Sr., George DeTitta Jr. and Peter Howitt Reds Richard Sylbert Michael Seirton 1982 Gandhi Stuart Craig and Robert W. Laing Michael Seirton Annie Dale Hennesy Marvin March Blade Runner Lawrence G. Paull and David L. Snyder Linda DeScenna La Traviata Franco Zeffirelli and Gianni Quaranta — Victor/Victoria Rodger Maus, Tim Hutchinson and William Craig Smith Harry Cordwell 1983 Fanny and Alexander Anna Asp — Return of the Jedi Norman Reynolds, Fred Hole and James L. Schoppe Michael D. Ford The Right Stuff Geoffrey Kirkland, Richard Lawrence, W. Stewart Campbell and Peter R. Romero Jim Poynter and George R. Nelson Terms of Endearment Polly Platt and Harold Michelson Tom Pedigo and Anthony Mondell Yentl Roy Walker and Leslie Tomkins Tessa Davies 1984 Amadeus Patrizia von Brandenstein and Karel Černý — 2010 Albert Brenner Rick Simpson The Cotton Club Richard Sylbert George Gaines The Natural Mel Bourne and Angelo P. Graham Bruce Weintraub A Passage to India John Box Hugh Scaife 1985 Out of Africa Stephen B. Grimes Josie MacAvin Brazil Norman Garwood Maggie Gray The Color Purple J. Michael Riva and Bo Welch Linda DeScenna Ran Yoshirō Muraki and Shinobu Muraki — Witness Stan Jolley John H. Anderson 1986 A Room with a View Gianni Quaranta and Brian Ackland-Snow Brian Savegar and Elio Altramura Aliens Peter Lamont Crispian Sallis The Color of Money Boris Leven Karen O'Hara Hannah and Her Sisters Stuart Wurtzel Carol Joffe The Mission Stuart Craig Jack Stephens 1987 The Last Emperor Ferdinando Scarfiotti Bruno Cesari and Osvaldo Desideri Empire of the Sun Norman Reynolds Harry Cordwell Hope and Glory Anthony Pratt Joanne Woollard Radio Days Santo Loquasto Carol Joffe, Leslie Bloom and George DeTitta Jr. The Untouchables Patrizia von Brandenstein and William A. Elliott Hal Gausman 1988 Dangerous Liaisons Stuart Craig Gérard James Beaches Albert Brenner Garrett Lewis Rain Man Ida Random Linda DeScenna Tucker: The Man and His Dream Dean Tavoularis Armin Ganz Who Framed Roger Rabbit Elliot Scott Peter Howitt 1989 Batman Anton Furst Peter Young The Abyss Leslie Dilley Anne Kuljian The Adventures of Baron Munchausen Dante Ferretti Francesca Lo Schiavo Driving Miss Daisy Bruno Rubeo Crispian Sallis Glory Norman Garwood Garrett Lewis |
Academy Award for Best Production Design | 1990s | 1990s
Year Film Art director(s) Set decorator(s)1990(63rd) Dick Tracy Richard Sylbert Rick Simpson Cyrano de Bergerac Ezio Frigerio Jacques Rouxel Dances With Wolves Jeffrey Beecroft Lisa Dean The Godfather Part III Dean Tavoularis Gary Fettis Hamlet Dante Ferretti Francesca Lo Schiavo 1991(64th) Bugsy Dennis Gassner Nancy Haigh Barton Fink Dennis Gassner Nancy Haigh The Fisher King Mel Bourne Cindy Carr Hook Norman Garwood Garrett Lewis The Prince of Tides Paul Sylbert Caryl Heller 1992(65th) Howards End Luciana Arrighi Ian Whittaker Bram Stoker's Dracula Thomas E. Sanders Garrett Lewis Chaplin Stuart Craig Chris A. Butler Toys Ferdinando Scarfiotti Linda DeScenna Unforgiven Henry Bumstead Janice Blackie-Goodine 1993(66th) Schindler's List Allan Starski Ewa Braun Addams Family Values Ken Adam Marvin March The Age of Innocence Dante Ferretti Robert J. Franco Orlando Ben Van Os and Jan Roelfs — The Remains of the Day Luciana Arrighi Ian Whittaker 1994(67th) The Madness of King George Ken Adam Carolyn Scott Bullets Over Broadway Santo Loquasto Susan Bode Forrest Gump Rick Carter Nancy Haigh Interview with the Vampire Dante Ferretti Francesca Lo Schiavo Legends of the Fall Lilly Kilvert Dorree Cooper 1995(68th) Restoration Eugenio Zanetti — Apollo 13 Michael Corenblith Merideth Boswell Babe Roger Ford Kerrie Brown A Little Princess Bo Welch Cheryl Carasik Richard III Tony Burrough — 1996(69th) The English Patient Stuart Craig Stephenie McMillan The Birdcage Bo Welch Cheryl Carasik Evita Brian Morris Philippe Turlure Hamlet Tim Harvey — Romeo + Juliet Catherine Martin Brigitte Broch 1997(70th) Titanic Peter Lamont Michael D. Ford Gattaca Jan Roelfs Nancy Nye Kundun Dante Ferretti Francesca Lo Schiavo L.A. Confidential Jeannine Oppewall Jay Hart Men in Black Bo Welch Cheryl Carasik 1998(71st) Shakespeare in Love Martin Childs Jill Quertier Elizabeth John Myhre Peter Howitt Pleasantville Jeannine Oppewall Jay Hart Saving Private Ryan Tom Sanders Lisa Dean Kavanaugh What Dreams May Come Eugenio Zanetti Cindy Carr 1999(72nd) Sleepy Hollow Rick Heinrichs Peter Young Anna and the King Luciana Arrighi Ian Whittaker The Cider House Rules David Gropman Beth Rubino The Talented Mr. Ripley Roy Walker Bruno Cesari Topsy-Turvy Eve Stewart John Bush |
Academy Award for Best Production Design | 2000s | 2000s
Year Film Art director(s) Set decorator(s)2000(73rd) Crouching Tiger, Hidden Dragon Timmy Yip — Gladiator Arthur Max Crispian Sallis How the Grinch Stole Christmas Michael Corenblith Merideth Boswell Quills Martin Childs Jill Quertier Vatel Jean Rabasse Françoise Benoît-Fresco 2001(74th) Moulin Rouge! Catherine Martin Brigitte Broch Amélie Aline Bonetto Marie-Laure Valla Gosford Park Stephen Altman Anna Pinnock Harry Potter and the Sorcerer's Stone Stuart Craig Stephenie McMillan The Lord of the Rings: The Fellowship of the Ring Grant Major Dan Hennah 2002(75th) Chicago John Myhre Gordon Sim Frida Felipe Fernández del Paso Hania Robledo Gangs of New York Dante Ferretti Francesca Lo Schiavo The Lord of the Rings: The Two Towers Grant Major Dan Hennah and Alan Lee Road to Perdition Dennis Gassner Nancy Haigh 2003(76th) The Lord of the Rings: The Return of the King Grant Major Dan Hennah and Alan Lee Girl with a Pearl Earring Ben Van Os Cecile Heideman The Last Samurai Lilly Kilvert Gretchen Rau Master and Commander: The Far Side of the World William Sandell Robert Gould Seabiscuit Jeannine Oppewall Leslie Pope 2004(77th) The Aviator Dante Ferretti Francesca Lo Schiavo Finding Neverland Gemma Jackson Trisha Edwards Lemony Snicket's A Series of Unfortunate Events Rick Heinrichs Cheryl Carasik The Phantom of the Opera Anthony Pratt Celia Bobak A Very Long Engagement Aline Bonetto — 2005(78th) Memoirs of a Geisha John Myhre Gretchen Rau Good Night, and Good Luck Jim Bissell Jan Pascale Harry Potter and the Goblet of Fire Stuart Craig Stephenie McMillan King Kong Grant Major Dan Hennah and Simon Bright Pride & Prejudice Sarah Greenwood Katie Spencer 2006(79th) Pan's Labyrinth Eugenio Caballero Pilar Revuelta Dreamgirls John Myhre Nancy Haigh The Good Shepherd Jeannine Claudia Oppewall Gretchen Rau and Leslie E. Rollins Pirates of the Caribbean: Dead Man's Chest Rick Heinrichs Cheryl Carasik The Prestige Nathan Crowley Julie Ochipinti 2007(80th) Sweeney Todd: The Demon Barber of Fleet Street Dante Ferretti Francesca Lo Schiavo American Gangster Arthur Max Beth A. Rubino Atonement Sarah Greenwood Katie Spencer The Golden Compass Dennis Gassner Anna Pinnock There Will Be Blood Jack Fisk Jim Erickson 2008(81st) The Curious Case of Benjamin Button Donald Graham Burt Victor J. Zolfo Changeling James J. Murakami Gary Fettis The Dark Knight Nathan Crowley Peter Lando The Duchess Michael Carlin Rebecca Alleway Revolutionary Road Kristi Zea Debra Schutt 2009(82nd) Avatar Rick Carter and Robert Stromberg Kim Sinclair The Imaginarium of Doctor Parnassus Dave Warren and Anastasia Masaro Caroline Smith Nine John Myhre Gordon Sim Sherlock Holmes Sarah Greenwood Katie Spencer The Young Victoria Patrice Vermette Maggie Gray |
Academy Award for Best Production Design | 2010s | 2010s
Year Film Production designer(s) Set decorator(s)2010(83rd) Alice in Wonderland Robert Stromberg Karen O'Hara Harry Potter and the Deathly Hallows – Part 1 Stuart Craig Stephenie McMillan Inception Guy Hendrix Dyas Larry Dias and Doug Mowat The King's Speech Eve Stewart Judy Farr True Grit Jess Gonchor Nancy Haigh 2011(84th) Hugo Dante Ferretti Francesca Lo Schiavo The Artist Laurence Bennett Robert Gould Harry Potter and the Deathly Hallows – Part 2 Stuart Craig Stephenie McMillan Midnight in Paris Anne Seibel Hélène Dubreuil War Horse Rick Carter Lee Sandales 2012(85th) Lincoln Rick Carter Jim Erickson Anna Karenina Sarah Greenwood Katie Spencer The Hobbit: An Unexpected Journey Dan Hennah Ra Vincent and Simon Bright Les Misérables Eve Stewart Anna Lynch-Robinson Life of Pi David Gropman Anna Pinnock 2013(86th) The Great Gatsby Catherine Martin Beverley Dunn American Hustle Judy Becker Heather Loeffler Gravity Andy Nicholson Rosie Goodwin and Joanne Woollard Her K. K. Barrett Gene Serdena 12 Years a Slave Adam Stockhausen Alice Baker 2014(87th) The Grand Budapest Hotel Adam Stockhausen Anna Pinnock The Imitation Game Maria Djurkovic Tatiana Macdonald Interstellar Nathan Crowley Gary Fettis Into the Woods Dennis Gassner Anna Pinnock Mr. Turner Suzie Davies Charlotte Watts 2015(88th) Mad Max: Fury Road Colin Gibson Lisa Thompson Bridge of Spies Adam Stockhausen Rena DeAngelo and Bernhard Henrich The Danish Girl Eve Stewart Michael Standish The Martian Arthur Max Celia Bobak The Revenant Jack Fisk Hamish Purdy 2016(89th) La La Land David Wasco Sandy Reynolds-Wasco Arrival Patrice Vermette Paul Hotte Fantastic Beasts and Where to Find Them Stuart Craig Anna Pinnock Hail, Caesar! Jess Gonchor Nancy Haigh Passengers Guy Hendrix Dyas Gene Serdena 2017(90th) The Shape of Water Paul Denham Austerberry Shane Vieau and Jeff Melvin Beauty and the Beast Sarah Greenwood Katie Spencer Blade Runner 2049 Dennis Gassner Alessandra Querzola Darkest Hour Sarah Greenwood Katie Spencer Dunkirk Nathan Crowley Gary Fettis 2018(91st) Black Panther Hannah Beachler Jay Hart The Favourite Fiona Crombie Alice Felton First Man Nathan Crowley Kathy Lucas Mary Poppins Returns John Myhre Gordon Sim Roma Eugenio Caballero Bárbara Enrı́quez 2019(92nd) Once Upon a Time in Hollywood Barbara Ling Nancy Haigh The Irishman Bob Shaw Regina Graves Jojo Rabbit Ra Vincent Nora Sopková 1917 Dennis Gassner Lee Sandales Parasite Lee Ha-jun Cho Won-woo |
Academy Award for Best Production Design | 2020s | 2020s
Year Film Production designer(s) Set decorator(s)2020(93rd) Mank Donald Graham Burt Jan Pascale The Father Peter Francis Cathy Featherstone Ma Rainey's Black Bottom Mark Ricker Karen O'Hara and Diana Stoughton News of the World David Crank Elizabeth Keenan Tenet Nathan Crowley Kathy Lucas 2021(94th) Dune Patrice Vermette Zsuzsanna Sipos Nightmare Alley Tamara Deverell Shane Vieau The Power of the Dog Grant Major Amber Richards The Tragedy of Macbeth Stefan Dechant Nancy Haigh West Side Story Adam Stockhausen Rena DeAngelo 2022(95th) All Quiet on the Western Front Christian M. Goldbeck Ernestine Hipper Avatar: The Way of Water Dylan Cole and Ben Procter Vanessa Cole Babylon Florencia Martin Anthony Carlino Elvis Catherine Martin and Karen Murphy Bev Dunn The Fabelmans Rick Carter Karen O'Hara 2023(96th) Poor Things James Price and Shona Heath Zsuzsa Mihalek Barbie Sarah Greenwood Katie Spencer Killers of the Flower Moon Jack Fisk Adam Willis Napoleon Arthur Max Elli Griff Oppenheimer Ruth De Jong Claire Kaufman 2024(97th) Wicked Nathan Crowley Lee Sandales The Brutalist Judy Becker Patricia Cuccia Conclave Suzie Davies Cynthia Sleiter Dune: Part Two Patrice Vermette Shane Vieau Nosferatu Craig Lathrop Beatrice Brentnerová |
Academy Award for Best Production Design | Notes | Notes |
Academy Award for Best Production Design | Shortlisted finalists | Shortlisted finalists
Finalists for Best Production Design were selected by branch members, who voted for ten finalists which were screened to determine the five nominees.
Year FinalistsRef 1967 Barefoot in the Park, Bonnie and Clyde, The Flim-Flam Man, The Happiest Millionaire, In Like Flint 1968 Funny Girl, The Killing of Sister George, Never a Dull Moment, The Odd Couple, Planet of the Apes 1969 The April Fools, Marooned, The Secret of Santa Vittoria, Topaz, What Ever Happened to Aunt Alice? 1970 Cromwell, Darling Lili, Fellini Satyricon, The Great White Hope, M*A*S*H 1971 Carnal Knowledge, A Clockwork Orange, The French Connection, The Mephisto Waltz, Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? 1972 Butterflies Are Free, The Life and Times of Judge Roy Bean, Slaughterhouse-Five, Snowball Express, The War Between Men and Women 1973 40 Carats, Jesus Christ Superstar, Lost Horizon, Papillon, The World's Greatest Athlete 1974 The Dion Brothers, The Front Page, The Great Gatsby, Mame, Young Frankenstein 1975 At Long Last Love, Escape to Witch Mountain, Jaws, Sheila Levine Is Dead and Living in New York, Tommy 1976 Freaky Friday, From Noon till Three, Harry and Walter Go to New York, King Kong, A Star Is Born 1977 Looking for Mr. Goodbar, New York, New York, 1900, Pete's Dragon, Sorcerer 1978 The Boys from Brazil, Foul Play, Gray Lady Down, Grease, House Calls 1979 The Black Hole, Manhattan, Moonraker, 10, Winter Kills |
Academy Award for Best Production Design | Individuals with multiple wins | Individuals with multiple wins
11 wins
Cedric Gibbons
8 wins
Edwin B. Willis
7 wins
Richard Day
6 wins
Thomas Little
Walter M. Scott
5 wins
Lyle R. Wheeler
4 wins
John Box
Samuel M. Comer
F. Keogh Gleason
George James Hopkins
3 wins
Edward Carfagno
Stuart Craig
William S. Darling
John DeCuir
Vernon Dixon
Hans Dreier
Dante Ferretti
Paul S. Fox
Alexander Golitzen
Paul Groesse
John Meehan
Ray Moyer
Francesca Lo Schiavo
Jack Martin Smith
2 wins
Ken Adam
E. Preston Ames
Herman A. Blumenthal
Henry Bumstead
Donald Graham Burt
Gene Callahan
Rick Carter
George Davis
Leslie Dilley
Michael D. Ford
George Gaines
Russell A. Gausman
Nancy Haigh
Harry Horner
William A. Horning
Hugh Hunt
Wiard Ihnen
Emile Kuri
Terence Marsh
Catherine Martin
William Cameron Menzies
Urie McCleary
John Myhre
Gil Parrondo
Robert Priestley
Stuart A. Reiss
Norman Reynolds
Dario Simoni
Robert Stromberg
Richard Sylbert
Joseph C. Wright
Peter Young |
Academy Award for Best Production Design | See also | See also
BAFTA Award for Best Production Design
Critics' Choice Movie Award for Best Production Design
ADG Excellence in Production Design Awards
List of Academy Award–nominated films |
Academy Award for Best Production Design | References | References
Best Production Design
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Category:Awards for best production design |
Academy Award for Best Production Design | Table of Content | Short description, Superlatives, Winners and nominees, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, 2000s, 2010s, 2020s, Notes, Shortlisted finalists, Individuals with multiple wins, See also, References |
Academy Awards | Short description | The Academy Awards, commonly known as the Oscars, are awards for artistic and technical merit in film. They are presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS) in the United States in recognition of excellence in cinematic achievements as assessed by the Academy's voting membership. The Oscars are widely considered to be the most prestigious awards in the film industry.Attributed to multiple references:
The major award categories, known as the Academy Awards of Merit, are presented during a live-televised Hollywood ceremony in February or March. It is the oldest worldwide entertainment awards ceremony. The 1st Academy Awards were held in 1929. The second ceremony, in 1930, was the first one broadcast by radio. The 1953 ceremony was the first one televised. It is the oldest of the four major annual American entertainment awards. Its counterparts—the Emmy Awards for television, the Tony Awards for theater, and the Grammy Awards for music—are modeled after the Academy Awards.
The Oscar statuette depicts a knight, rendered in the Art Deco style. |
Academy Awards | History | History
The first Academy Awards presentation was held on May 16, 1929, at a private dinner function at the Hollywood Roosevelt Hotel, with an audience of about 270 people.
The post-awards party was held at the Mayfair Hotel. The cost of guest tickets for that night's ceremony was (). Fifteen statuettes were awarded, honoring artists, directors, and other participants in the film-making industry of the time, for their works during the 1927–28 period. The ceremony ran for 15minutes.
For this first ceremony, winners were announced to the media three months earlier. For the second ceremony in 1930, and the rest of the first decade, the results were given to newspapers for publication at 11:00pm on the night of the awards. In 1940, the Los Angeles Times announced the winners before the ceremony began. As a result, in 1941 the Academy started using a sealed envelope to reveal the names of the winners.
The term "Oscar" is a registered trademark of the AMPAS. |
Academy Awards | Milestones | Milestones
The first Best Actor awarded was Emil Jannings, for his performances in The Last Command and The Way of All Flesh. As he had to return to Europe before the ceremony, the Academy agreed to give him the prize early, making him the first Academy Award recipient. For the first Awards, winners were recognized for multiple films during the qualifying period; Jannings received the award for two films in which he starred, and Janet Gaynor won the first Best Actress award for performances in three films. Beginning with the second ceremony, performers received separate nominations for individual films; no performer has received multiple nominations in the same category since the 3rd Academy Awards.
For the first five ceremonies, the eligibility period ran from August 1 to July 31. The 6th Academy Awards' eligibility ran from August 1, 1932, to December 31, 1933, and as of the 7th Academy Awards, subsequent eligibility periods have matched the calendar year (with the exception of the 93rd Academy Awards, which, due to the COVID-19 pandemic, extended the eligibility period to February 28, 2021).
Best Foreign Language Film, now known as Best International Feature Film, was introduced at the 20th Academy Awards as a special award, and became a competitive category at the 29th Academy Awards.
The 74th Academy Awards, held in 2002, presented the first Academy Award for Best Animated Feature, won by Shrek.
Since 1973, all Academy Awards ceremonies, except for 2021, have ended with the Academy Award for Best Picture. Traditionally, the previous year's winners for Best Actor and Best Supporting Actor present the awards for Best Actress and Best Supporting Actress, respectively, and vice versa. In 2009, this model was replaced by each acting award being introduced by five previous winners, each of whom introduces one of the nominated performances, referred to as the "Fab 5" presenters format. The Fab 5 model returned in 2024 after a 15-year hiatus.
On February 9, 2020, Parasite became the first foreign-language film to win Best Picture at the 92nd Academy Awards.
The 93rd Academy Awards ceremony, honoring the best films of 2020 and early 2021, was held on April 25, 2021, after it was postponed from its original February 28, 2021, schedule due to the impact of the COVID-19 pandemic on cinema. As with the two previous ceremonies, there was no host. The ceremony was broadcast on ABC. It took place at the Dolby Theatre in Los Angeles, California for the 19th consecutive year, with satellite locations at Union Station also in Los Angeles. Because of the virus impact on films and TV industries, Academy president David Rubin and CEO Dawn Hudson announced that for the 2021 Oscar Ceremony, streaming films with a previously planned theatrical release were eligible. The theatrical requirement was reinstated starting with the 95th Academy Awards. |
Academy Awards | Oscar statuette | Oscar statuette |
Academy Awards | Overview | Overview
The Oscar statuette, officially the Academy Award of Merit, is given to winners of each year's awards. Made of gold-plated bronze on a black metal base, it is tall, weighs and depicts a knight rendered in Art Deco style holding a sword standing on a reel of film with five spokes. The five spokes represent the original branches of the Academy: Actors, Writers, Directors, Producers, and Technicians.
thumb|right|200px|Plaster War-time Oscar plaque (1943), State Central Museum of Cinema, Moscow (ru)
Sculptor George Stanley, who also did the Muse Fountain at the Hollywood Bowl, sculpted Cedric Gibbons' design. The statuettes presented at the initial ceremonies were gold-plated solid bronze. Within a few years, the bronze was abandoned in favor of Britannia metal, a pewter-like alloy that is then plated in copper, nickel silver, and finally, 24-karat gold. Due to a metal shortage during World War II, Oscars were made of painted plaster for three years. Following the war, the Academy invited recipients to redeem the plaster figures for gold-plated metal ones.
The only addition to the Oscar since it was created is a minor streamlining of the base. The original Oscar mold was cast in 1928 at the C.W. Shumway & Sons Foundry in Batavia, Illinois, which also contributed to casting the molds for the Vince Lombardi Trophy and Emmy Award statuettes. During the 1970s, the Oscar statues were cast in Crystal Lake, Illinois. From 1983 to 2015, approximately 50 Oscars in a tin alloy with gold plating were made each year in Chicago by Illinois manufacturer R.S. Owens & Company. () It would take between three and four weeks to manufacture 50 statuettes.
thumb|250x250px|Gints Zilbalodis's Academy Award statuette for Flow (2024) on display at the Latvian National Museum of Art in 2025
In 2016, the Academy returned to bronze as the core metal of the statuettes, handing manufacturing duties to Walden, New York-based Polich Tallix Fine Art Foundry, now owned and operated by UAP Urban Art Projects. While based on a digital scan of an original 1929 Oscar, the statuettes retain their modern-era dimensions and black pedestal. Cast in liquid bronze from 3D-printed ceramic molds and polished, they are then electroplated in 24-karat gold by Brooklyn, New York-based Epner Technology. The time required to produce 50 such statuettes is roughly three months. R.S. Owens is expected to continue producing other awards for the Academy, and service existing Oscars that need replating. |
Academy Awards | Naming | Naming
The origin of the nickname of the trophy has been disputed, as multiple people have taken credit for naming the trophy "Oscar".
Margaret Herrick, librarian and president of the Academy, may have said she named it after her supposed uncle Oscar in 1931. The only corroboration was a 1938 clipping from the Los Angeles Examiner, in which Herrick told a story of her and her husband joking with each other using the phrase, "How's your uncle Oscar".
Bette Davis, in her 1962 autobiography, claimed she named it in 1936 after her first husband, Harmon Oscar Nelson, of whom the statue's rear end reminded her. But the term had been in use at least two years before. In a 1974 biography written by Whitney Stine with commentary from Davis, Davis wrote, "I relinquish once and for all any claim that I was the one—so, Academy of Motion Picture Arts and Sciences, the honor is all yours."
Columnist Sidney Skolsky wrote in his 1970 memoir that he came up with the term in 1934 under pressure for a deadline, mocking Vaudeville comedians who asked "Will you have a cigar, Oscar?" The Academy credits Skolsky with "the first confirmed newspaper reference" to Oscar in his column on March 16, 1934, which was written about that year's 6th Academy Awards. But in the newspaper clipping that Skolsky referred to, he wrote that , meaning that the name was already in use.
Bruce Davis, a former executive director of the Academy, credited Eleanore Lilleberg, a secretary at the Academy when the award was first introduced, for the nickname. She had overseen the pre-ceremony handling of the awards. Davis credits Lilleberg because he found in an autobiography of Einar Lilleberg, Eleanore's brother, that Einar had referenced a Norwegian army veteran named Oscar whom the two knew in Chicago, whom Einar described as having always "stood straight and tall". He asserts credit "should almost certainly belong to" Lilleberg.
In 2021, Brazilian researcher Waldemar Dalenogare Neto found the probable first public mention of the name "Oscar", in journalist Relman Morin's "Cinematters" column in the Los Angeles Evening Record on December 5, 1933. Since the awards didn't take place that year, he said: "What's happened to the annual Academy banquet? As a rule, the banquet and the awarding of "Oscar", the bronze statuette given for best performances, is all over long before this." This information changes the version of Skolsky as the first to publicly mention the name. |
Academy Awards | Engraving | Engraving
To prevent information identifying the Oscar winners from leaking ahead of the ceremony, Oscar statuettes presented at the ceremony have blank baseplates. Until 2010, winners returned their statuettes to the Academy and had to wait several weeks to have their names inscribed on their respective Oscars. Since 2010, winners have had the option of having engraved nameplates applied to their statuettes at an inscription-processing station at the Governor's Ball, a party held immediately after the Oscar ceremony. The R.S. Owens company has engraved nameplates made before the ceremony, bearing the name of every potential winner. The nameplates for the non-winning nominees are later recycled. |
Academy Awards | Ownership of Oscar statuettes | Ownership of Oscar statuettes
Before 1950, Oscar statuettes were, and remain, the property of the recipient. Since then the statuettes have been legally encumbered by the requirement that the statuette be first offered for sale back to the Academy for . If a winner refuses to agree to this stipulation, then the Academy keeps the statuette. Academy Awards predating this agreement have been sold in public auctions and private deals for six-figure sums.
In 1989, Michael Todd's grandson tried to sell Todd's Best Picture Oscar for his 1956 production of Around the World in 80 Days to a movie prop collector. The Academy earned enforcement of its statuette contract by gaining a permanent injunction against the sale.
In 1992, Harold Russell consigned his 1946 Oscar for Best Supporting Actor for The Best Years of Our Lives to auction to raise money for his wife's medical expenses. Though his decision caused controversy, the first Oscar ever to be sold passed to a private collector on August 6, 1992, for . Russell defended his action, saying, "I don't know why anybody would be critical. My wife's health is much more important than sentimental reasons. The movie will be here, even if Oscar isn't".
In December 2011, Orson Welles' 1941 Oscar for Citizen Kane (Academy Award for Best Original Screenplay) was put up for auction, after his heirs won a 2004 court decision contending that Welles did not sign any agreement to return the statue to the Academy. On December 20, 2011, it sold in an online auction for .
Some buyers have subsequently returned the statuettes to the Academy, which keeps them in its treasury. |
Academy Awards | Other awards presented by the Academy | Other awards presented by the Academy
In addition to the Academy Award of Merit (Oscar award), there are nine honorary (non-competitive) awards presented by the Academy from time to time (except for the Academy Honorary Award, the Technical Achievement Award, and the Student Academy Awards, which are presented annually):
Governors Awards:
The Academy Honorary Award (annual) (which may or may not be in the form of an Oscar statuette);
The Irving G. Thalberg Memorial Award (since 1938) (in the form of a bust of Thalberg);
The Jean Hersholt Humanitarian Award (since 1957) (in the form of an Oscar statuette);
The Academy Scientific and Technical Awards:
Academy Award of Merit (non-competitive) (in the form of an Oscar statuette);
Scientific and Engineering Award (in the form of a bronze tablet);
Technical Achievement Award (annual) (in the form of a certificate);
The John A. Bonner Medal of Commendation (since 1978) (in the form of a medal);
The Gordon E. Sawyer Award (since 1982); and
The Academy Student Academy Awards (annual).
The Academy also awards Nicholl Fellowships in Screenwriting. |
Academy Awards | Nomination | Nomination
From 2004 to 2020, the Academy Award nomination results were announced to the public in mid-January. Prior to that, the results were announced in early February. In 2021, the nominees were announced in March. In 2022, the nominees were announced in early February for the first time since 2003. |
Academy Awards | Voters | Voters
The Academy of Motion Picture Arts and Sciences (AMPAS), a professional honorary organization, is composed of 9,905 voting members .
Academy membership is divided into different branches, with each representing a different discipline in film production. , actors constitute the largest bloc, numbering 1,258 (12.7% of the voting body). Votes have been certified by the auditing firm PricewaterhouseCoopers, and its predecessor Price Waterhouse, since the 7th Academy Awards in 1935. In May 2011, the Academy sent a letter advising its then-6,000 or so voting members that an online system for Oscar voting would be implemented in 2013, replacing mailed paper ballots.
All AMPAS members must be invited to join by the Board of Governors, on behalf of Academy Branch Executive Committees. Membership eligibility may be achieved by a competitive nomination, or an existing member may submit a name, based on other significant contributions to the field of motion pictures.
New membership proposals are considered annually. The Academy does not publicly disclose its membership, although as recently as 2007 press releases have announced the names of those who have been invited to join.
In 2012, the results of a study conducted by the Los Angeles Times were published describing the demographic breakdown of approximately 88% of AMPAS' voting membership. Of the 5,100+ active voters confirmed, 94% were Caucasian, 77% were male, and 54% were found to be over the age of 60. Thirty-three percent of voting members are former nominees (14%) and winners (19%). In 2016, the Academy launched an initiative to expand its membership and increase diversity. In 2024, voting membership stood at 9,905.
In 2025, a newly announced procedure required Academy members to view all nominated films within a category to be eligible to cast a vote in the final round of that category. The verification process will be done through the Academy's members-only streaming platform and submitting a form for films viewed at in-person events such as at festivals, screenings or private events. |
Academy Awards | Rules | Rules
According to Rules 2 and 3 of the official Academy Awards Rules, a film must open in the previous calendar year, from midnight at the start of January 1 to midnight at the end of December 31, in Los Angeles County, California, and play for seven consecutive days, to qualify, except for the Best International Feature Film, Best Documentary Feature, and awards in short film categories. The film must be shown at least three times on each day of its qualifying run, with at least one of the daily showings starting between 6pm and 10pm local time.
For example, the 2009 Best Picture winner, The Hurt Locker, was originally first released in 2008, but did not qualify for the 2008 awards, as it did not play its Oscar-qualifying run in Los Angeles until mid-2009, thus qualifying for the 2009 awards. Foreign films must include English subtitles. Each country can submit only one film for consideration in the International Feature Film category per year.
Rule 2 states that a film must be feature-length, defined as a minimum of 40minutes, except for short-subject awards. It must exist either on a 35 mm or 70 mm film print, or in 24frame/s or 48frame/s progressive scan digital cinema format, with a minimum projector resolution of 2,048 by 1,080 pixels. Since the 90th Academy Awards, presented in 2018, multi-part and limited series have been ineligible for the Best Documentary Feature award. This followed the win of O.J.: Made in America, an eight-hour presentation that was screened in a limited release before being broadcast in five parts on ABC and ESPN, in that category in 2017. The Academy's announcement of the new rule made no direct mention of that film.
The Best International Feature Film award does not require a U.S. release. It requires the film to be submitted as its country's official selection.
The Best Documentary Feature award requires either week-long releases in both Los Angeles County and any of the five boroughs of New York City during the previous calendar year, or a qualifying award at a competitive film festival from the Documentary Feature Qualifying Festival list, regardless of any public exhibition or distribution, or submission in the International Feature Film category as its country's official selection. The qualifying theatrical runs must meet the same requirements as those for non-documentary films regarding numbers and times of screenings. A film must have been reviewed by a critic from The New York Times, Time Out New York, the Los Angeles Times, or LA Weekly.
Producers must submit an Official Screen Credits online form before the deadline. If it is not submitted by the defined deadline, the film will be ineligible for Academy Awards in any year. The form includes the production credits for all related categories.
Awards in short film categories (Best Documentary Short Subject, Best Animated Short Film, and Best Live Action Short Film) have different eligibility rules from most other competitive awards. First, the qualifying period for release does not coincide with a calendar year, instead covering one year starting on October 1, and ending on September 30 of the calendar year before the ceremony. Second, there are multiple methods of qualification. The main method is a week-long theatrical release in either New York City or Los Angeles County during the eligibility period. Films also can qualify by winning specified awards at one of several competitive film festivals designated by the Academy, also without regard to prior public distribution.
A film that is selected as a gold, silver, or bronze medal winner in an appropriate category of the immediately previous Student Academy Awards is also eligible (Documentary category for that award, and Animation, Narrative, Alternative, or International for the other awards). The requirements for the qualifying theatrical run are also different from those for other awards. Only one screening per day is required. For the Documentary award, the screening must start between noon and 10pm local time. For other awards, no specific start time is required, but the film must appear in regular theater listings with dates and screening times.
In late December, ballots and lists of eligible films are sent to the membership. For most categories, members from each of the branches vote to determine the nominees only in their respective categories, i.e. only directors vote for directors, writers for writers, actors for actors, etc. In the special case of Best Picture, all voting members are eligible to select the nominees. A number of branches are only eligible to vote in Best Picture during nomination voting; this includes a producers' branch, as Best Picture is awarded to a film's producer(s), and other branches which have no corresponding award. In all major categories, a variant of the single transferable vote is used, with each member casting a ballot with up to five nominees (ten for Best Picture) ranked preferentially. In certain categories, including International Feature Film, Documentary and Animated Feature, nominees are selected by special screening committees made up of members from all branches.
In most categories, the winner is selected from among the nominees by plurality voting of all members. Since 2009, the Best Picture winner has been chosen by instant-runoff voting. Since 2013, re-weighted range voting has been used to select the nominees for the Best Visual Effects.
Film companies will spend as much as several million dollars on marketing to awards voters for a film in the running for Best Picture, in attempts to improve chances of receiving Oscars and other film awards conferred in Oscar season. The Academy enforces rules to limit overt campaigning by its members to try to eliminate excesses and prevent the process from becoming undignified. It has an awards czar on staff who advises members on allowed practices and levies penalties on offenders. For example, a producer of the 2009 Best Picture nominee The Hurt Locker was disqualified as a producer in the category when he contacted associates urging them to vote for his film and not another that was seen as the front-runner. The Hurt Locker eventually won. |
Academy Awards | Academy Screening Room | Academy Screening Room
The Academy Screening Room or Academy Digital Screening Room is a secure streaming platform which allows voting members of the Academy to view all eligible films (except, initially, those in the International category) in one place. It was introduced in 2019, for the 2020 Oscars. DVD screeners and Academy in-person screenings were still provided. For films to be included on the platform, the North American distributor must pay , including a watermarking fee, and a digital copy of the film to be prepared for streaming by the Academy. The platform can be accessed via Apple TV and Roku players. The watermarking process involved several video security firms, creating a forensic watermark and restricting the ability to take screenshots or screen recordings.
In 2021, for the 2022 Oscars, the Academy banned all physical screeners and in-person screenings, restricting official membership viewing to the Academy Screening Room. Films eligible in the Documentary and International categories were made available in different sections of the platform. Distributors can also pay an extra fee to add video featurettes to promote their films on the platform. The in-person screenings were said to be cancelled because of the COVID-19 pandemic. Eligible films do not have to be added to the platform, but the Academy advertises them to voting members when they are. |
Academy Awards | Awards ceremonies | Awards ceremonies |
Academy Awards | Telecast | Telecast
thumb|The 31st Academy Awards, Hollywood Pantages Theatre, 1959
thumb|The 81st Academy Awards, Dolby Theatre, 2009
thumb|The 95th Academy Awards, Dolby Theatre, 2023
The major awards are presented at a live televised ceremony, commonly in late February or early March following the relevant calendar year, and six weeks after the announcement of the nominees. It is the culmination of the film awards season, which usually begins during November or December of the previous year. This is an elaborate extravaganza, with the invited guests walking up the red carpet in the creations of the most prominent fashion designers of the day. Black tie dress is the most common outfit for men. Fashion may dictate not wearing a bow tie, and musical performers are sometimes not required to adhere to this. The artists who recorded the nominees for Best Original Song quite often perform those songs live at the awards ceremony, and the fact that they are performing is often used to promote the television broadcast.
The Academy Awards is the world's longest-running awards show televised live from the United States to all time zones in North America and worldwide, and gathers billions of viewers elsewhere throughout the world. The Oscars were first televised in 1953 by NBC, which continued to broadcast the event until 1960, when ABC took over, televising the festivities, including the first color broadcast of the event in 1966, to 1970. NBC regained the rights for five years then ABC resumed broadcast duties in 1976 and its current contract with the Academy runs through 2028.
The Academy has produced condensed versions of the ceremony for broadcast in international markets, especially those outside of the Americas, in more desirable local timeslots. The ceremony was broadcast live internationally for the first time via satellite since 1970, but only two South American countries, Chile and Brazil, purchased the rights to air the broadcast. By that time, the television rights to the Academy Awards had been sold in 50 countries. In 1980, the rights were sold to 60 countries, and by 1984, the television rights to the Academy Awards were licensed in 76 countries.
In 2004, the ceremonies were moved up from late March/early April to late February, to help disrupt and shorten the intense lobbying and ad campaigns associated with Oscar season in the film industry. Another reason was because of the growing television ratings success coinciding with the NCAA division I men's basketball tournament, which would cut into the Academy Awards audience. In 1976 and 1977, ABC's regained Oscars were moved from Tuesday to Monday and went directly opposite the national championship game on NBC. The earlier date is also to the advantage of ABC, as it now usually occurs during the highly profitable and important February sweeps period.
Some years, the ceremony is moved into the first Sunday of March to avoid a clash with the Winter Olympic Games. Another reason for the move to late February and early March is to avoid the awards ceremony occurring so close to the religious holidays of Passover and Easter, which for decades had been a grievance from members and the general public. Advertising is somewhat restricted, as traditionally no film studios or competitors of official Academy Award sponsors may advertise during the telecast. As of 2020, the production of the Academy Awards telecast held the distinction of winning one the highest number of Emmys in history, with 54 wins and 280 nominations overall.
After many years of being held on Mondays at 6:00p.m. Pacific/9:00pm Eastern, since the 1999 ceremony, it was moved to Sundays at 5:30pm PT/8:30pm ET. The reasons given for the move were that more viewers would tune in on Sundays, that Los Angeles rush-hour traffic jams could be avoided, and an earlier start time would allow viewers on the East Coast to go to bed earlier. For many years the film industry opposed a Sunday broadcast because it would cut into the weekend box office.
In 2010, the Academy contemplated moving the ceremony even further back into January, citing television viewers' fatigue with the film industry's long awards season. However, such an accelerated schedule would dramatically decrease the voting period for its members, to the point where some voters would only have time to view the contending films streamed on their computers, as opposed to traditionally receiving the films and ballots in the mail. Additionally, a January ceremony on Sunday would clash with National Football League (NFL) playoff games. In 2018, the Academy announced that the ceremony would be moved from late February to mid-February beginning with the 92nd Academy Awards in 2020. In 2024, the ceremony was moved to an even earlier start time of 4:00pm PT/7:00p.m. ET, the apparent impetus being the ability for ABC to air a half-hour of primetime programming as a lead-out program at 7:30p.m. PT/10:30p.m. ET.
Originally scheduled for April 8, 1968, the 40th Academy Awards ceremony was postponed for two days, because of the assassination of Dr. Martin Luther King, Jr. On March 30, 1981, the 53rd Academy Awards was postponed for one day, after the attempted assassination of President Ronald Reagan and others in Washington, D.C.
In 1993, an In Memoriam segment was introduced, honoring those who had made a significant contribution to cinema who had died in the preceding 12 months, a selection compiled by a small committee of Academy members. This segment has drawn criticism over the years for the omission of some names. Criticism was also levied for many years regarding another aspect, with the segment having a "popularity contest" feel as the audience varied their applause to those who had died by the subject's cultural impact. The applause has since been muted during the telecast, and the audience is discouraged from clapping during the segment and giving silent reflection instead. This segment was later followed by a commercial break.
In terms of broadcast length, the ceremony generally averages three and a half hours. The first Oscars, in 1929, lasted 15minutes. At the other end of the spectrum, the 2002 ceremony lasted four hours and twenty-three minutes.Ehbar, Ned (February 28, 2014). "Did you know?" Metro. New York City. p. 18. In 2010, the organizers of the Academy Awards announced winners' acceptance speeches must not run past 45seconds. This, according to organizer Bill Mechanic, was to ensure the elimination of what he termed "the single most hated thing on the show"—overly long and embarrassing displays of emotion. In 2016, in a further effort to streamline speeches, winners' dedications were displayed on an on-screen ticker.
During the 2018 ceremony, host Jimmy Kimmel acknowledged how long the ceremony had become, by announcing that he would give a brand-new jet ski to whoever gave the shortest speech of the night, a reward won by Mark Bridges when accepting his Best Costume Design award for Phantom Thread. The Wall Street Journal analyzed the average minutes spent across the 2014–2018 telecasts as follows: 14 on song performances; 25 on the hosts' speeches; 38 on prerecorded clips; and 78 on the awards themselves, broken into 24 on the introduction and announcement, 24 on winners walking to the stage, and 30 on their acceptance speeches.
Although still dominant in ratings, the viewership of the Academy Awards has steadily dropped. The 88th Academy Awards were the lowest-rated in the past eight years (although with increases in male and 18–49 viewership), while the show itself also faced mixed reception. Following the show, Variety reported that ABC was, in negotiating an extension to its contract to broadcast the Oscars, seeking to have more creative control over the broadcast itself. Currently and nominally, AMPAS is responsible for most aspects of the telecast, including the choice of production staff and hosting, although ABC is allowed to have some input on their decisions. In August 2016, AMPAS extended its contract with ABC to 2028: the contract neither contains any notable changes nor gives ABC any further creative control over the telecast. |
Academy Awards | TV ratings | TV ratings
thumb|Academy Awards Viewership 1974–2023, in millions
Historically, the telecast's viewership is higher when box-office hits are favored to win the Best Picture award. More than 57.25million viewers tuned to the telecast for the 70th Academy Awards in 1998, the year of Titanic, which generated a box office haul during its initial 1997–98 run of in the US, a box-office record that would remain unsurpassed for years. The 76th Academy Awards ceremony, in which The Lord of the Rings: The Return of the King (pre-telecast box office earnings of ) received 11 Awards, including Best Picture, drew 43.56million viewers. The most-watched ceremony based on Nielsen ratings to date, was the 42nd Academy Awards (Best Picture Midnight Cowboy), which drew a 43.4% household rating on April 7, 1970. Hoping to reinvigorate the pre-show and ratings, the 2023 Oscars organizers hired members of the Met Gala creative team.
By contrast, ceremonies honoring films that have not performed well at the box office tend to show weaker ratings, despite how much critical acclaim those films have received. The 78th Academy Awards, which awarded a low-budget independent film (Crash with a pre-Oscar gross of ) generated an audience of 38.64million with a household rating of 22.91%. In 2008, the 80th Academy Awards telecast was watched by 31.76million viewers on average with an 18.66% household rating, the lowest-rated and least-watched ceremony at the time, in spite of celebrating 80 years of the Academy Awards. The Best Picture winner of that particular ceremony was another independent film (this time, the Coen brothers's No Country for Old Men).
Whereas the 92nd Academy Awards drew an average of 23.6million viewers, the 93rd Academy Awards drew an even lower viewership of 10.4million, the lowest viewership recorded by Nielsen since it started recording audience totals in 1974. The 94th and 95th editions drew 16.6 and 18.7million viewers, respectively, still below the audience of the 92nd edition. |
Academy Awards | Archive | Archive
The Academy Film Archive holds copies of every Academy Awards ceremony since the 1949 Oscars, as well as material on many prior ceremonies, along with ancillary material related to more recent shows. Copies are held in a variety of film, video and digital formats. |
Academy Awards | Venues | Venues
In 1929, the first Academy Awards were presented at a banquet dinner at the Hollywood Roosevelt Hotel. From 1930 to 1943, the ceremony alternated between two venues: the Ambassador Hotel on Wilshire Boulevard and the Biltmore Hotel in downtown Los Angeles.
Grauman's Chinese Theatre in Hollywood then hosted the awards from 1944 to 1946, followed by the Shrine Auditorium in Los Angeles from 1947 to 1948. The 21st Academy Awards in 1949 were held at the Academy Award Theatre at what had been the Academy's headquarters on Melrose Avenue in Hollywood.
From 1950 to 1960, the awards were presented at Hollywood's Pantages Theatre. With the advent of television, the awards from 1953 to 1957 took place simultaneously in Hollywood and New York, first at the NBC International Theatre (1953) and then at the NBC Century Theatre, after which the ceremony took place solely in Los Angeles. In 1961, the Oscars moved to the Santa Monica Civic Auditorium in Santa Monica, California. In 1969, the Academy moved the ceremonies back to Downtown Los Angeles, to the Dorothy Chandler Pavilion at the Los Angeles County Music Center. In the late 1990s and early 2000s, the ceremony returned to the Shrine Auditorium.
In 2002, Hollywood's Dolby Theatre, previously known as the Kodak Theatre, became the presentation's current venue. |
Academy Awards | Categories | Categories |
Academy Awards | Current categories | Current categories
+ List of current Awards of Merit categories by year introduced, sortable by category Year introduced Category 1927/28 Best Picture 1927/28 Best Director 1927/28 Best Actor 1927/28 Best Actress 1927/28 Best Cinematography 1927/28 Best Production Design 1927/28 Best Adapted Screenplay 1929/30 Best Sound 1931/32 Best Animated Short Film 1931/32 Best Live Action Short Film 1934 Best Film Editing 1934 Best Original Score 1934 Best Original Song 1936 Best Supporting Actor 1936 Best Supporting Actress 1939 Best Visual Effects 1940 Best Original Screenplay 1941 Best Documentary Short Film 1943 Best Documentary Feature Film 1947 Best International Feature Film 1948 Best Costume Design 1981 Best Makeup and Hairstyling 2001 Best Animated Feature Film
In the first year of the awards, the Best Directing award was split into two categories, Drama and Comedy. At times, the Best Original Score award has also been split into separate categories, Drama and Comedy/Musical. From the 1930s to the 1960s, the Art Direction (now Production Design), Cinematography, and Costume Design awards were split into two categories (black-and-white films and color films). Prior to 2012, the Production Design award was called Art Direction, while the Makeup and Hairstyling award was called Makeup. Prior to 2020, the International Feature Film award was called Foreign Language Film.
In August 2018, the Academy announced that several categories would not be televised live, but recorded during commercial breaks and aired later in the ceremony.
Following dissent from Academy members, they announced that they would air all 24 categories live. This followed several proposals, among them, the introduction of a Popular Film category, that the Academy had announced but did not implement. |
Academy Awards | Upcoming categories | Upcoming categories
+ List of upcoming Awards of Merit categories Year introduced (planned) Category 2026 Best Casting2028 Best Stunt Design
In February 2024, the Academy announced it would introduce an award for Achievement in Casting from the 98th ceremony in 2026, having rejected the category in 1999. In April 2025, it announced that Best Stunt Design would be introduced from the 100th ceremony in 2028, having rejected the proposal for a Best Stunt Coordination award every year from 1991 to 2012. |
Academy Awards | Discontinued categories | Discontinued categories
+ List of discontinued Awards of Merit categories by year introduced, sortable by category Year introduced Year discontinued Category 1927/28 1927/28 Best Director, Comedy Picture 1927/28 1927/28 Best Director, Dramatic Picture 1927/28 1927/28 Best Engineering Effects 1927/28 1927/28 Best Title Writing 1927/28 1927/28 Best Unique and Artistic Production 1927/28 1956 Best Original Story 1931/32 1935 Best Short Subject – Comedy 1931/32 1935 Best Short Subject – Novelty 1932/33 1937 Best Assistant Director 1935 1937 Best Dance Direction 1936 1956 Best Short Subject – 1 Reel 1936 1956 Best Short Subject – 2 Reel 1936 1937 Best Short Subject – Color 1963 2019 Best Sound Editing 1995 1998 Best Original Musical or Comedy Score |
Academy Awards | Proposed categories | Proposed categories
The Board of Governors meets each year and considers new award categories, including:
Best Popular Film: proposed in 2018 for presentation at the 2019 ceremony; postponed and yet to be implemented
Best Title Design: rejected in 1999 |
Academy Awards | Special categories | Special categories
The Special Academy Awards are voted on by special committees, rather than by the Academy membership as a whole. They are not always presented on an annual basis. |
Academy Awards | Current special categories | Current special categories
Academy Honorary Award: since 1929
Academy Scientific and Technical Award (three different awards): since 1931
Gordon E. Sawyer Award: since 1981
Jean Hersholt Humanitarian Award: since 1957
Irving G. Thalberg Memorial Award: since 1938 |
Academy Awards | Discontinued special categories | Discontinued special categories
Academy Juvenile Award: 1934 to 1960
Academy Special Achievement Award: from 1972 to 1995, and again for 2017 |
Academy Awards | Criticism and controversies | Criticism and controversies |
Academy Awards | Accusations of commercialism | Accusations of commercialism
Due to the positive exposure and prestige of the Academy Awards, many studios spend around 25 million dollars and hire publicists specifically to promote their films during what is typically called the "Oscar season". This has generated accusations of the Academy Awards being influenced more by marketing and lobbying than by quality. William Friedkin, an Academy Award-winning film director and former producer of the ceremony, expressed this sentiment at a conference in New York in 2009, describing it as "the greatest promotion scheme that any industry ever devised for itself".
Tim Dirks, editor of AMC's Filmsite, has written of the Academy Awards:
A recent technique that has been claimed to be used during the Oscar season is the whisper campaign. These campaigns are intended to spread negative perceptions of other films nominated and are believed to be perpetrated by those who were involved in creating the film. Examples of whisper campaigns include the allegations against Zero Dark Thirty suggesting that it justifies torture and the claim that Lincoln distorts history. |
Academy Awards | Accusations of bias | Accusations of bias
Typical criticism of the Academy Awards for Best Picture is that among the winners and nominees there is an over-representation of romantic historical epics, biographical dramas, romantic dramedies and family melodramas, most of which are released in the U.S. in the last three months of the calendar year. The Oscars have been infamously known for selecting specific genres of films to be awarded. The term "Oscar bait" was coined to describe such films. This has led, at times, to more specific criticisms that the Academy is disconnected from the audience, e.g., by favoring "Oscar bait" over audience favorites or favoring historical melodramas over critically acclaimed films that depict current life issues.
Despite the success of The Dark Knight, the film did not receive a Best Picture nomination at the 81st Academy Awards. This decision received substantial criticism and was described as a "snub" by many publications. The backlash to the decision was such that, for the 82nd Academy Awards awards in 2010, the Academy increased the limit for Best Picture nominees from five to ten, a change known as "The Dark Knight Rule". |
Academy Awards | Lack of diversity | Lack of diversity
The Academy Awards have long received criticism over its lack of diversity among the nominees. This criticism is based on the statistics from every Academy Awards since 1929, which show that only 6.4% of Academy Award nominees have been non-white and since 1991, 11.2% of nominees have been non-white, with the rate of winners being even more polarizing. For a variety of reasons, including marketability and historical bans on interracial couples, a number of high-profile Oscars have been given to yellowface portrayals, as well as performances of Asian characters rewritten for white characters. It took until 2023 for an Asian woman to win an Academy Award for Best Actress, when Michelle Yeoh received the award for her performance in Everything Everywhere All at Once. The 88th awards ceremony became the target of a boycott, popularized on social media with the hashtag #OscarsSoWhite, based on activists' perception that its all-white acting nominee list reflected bias. In response, the Academy initiated "historic" changes in membership by 2020. Some media critics claim the Academy's efforts to address its purported racial, gender and national biases are merely distractions. By contrast, the Golden Globe Awards already have multiple winners of Asian descent in leading actress categories. Some question whether the Academy's definition of "merit" is just or empowering for non-Americans.
The Academy's Representation and Inclusion Standards have been criticized for excluding Jews as a distinct underrepresented class. |
Academy Awards | Miscategorization of actors | Miscategorization of actors
The Academy has no rules for how to categorize whether a performance is leading or supporting, and it is up to the discretion of the studios whether a given performance is submitted for either Best Actor/Actress or Best Supporting Actor/Actress. This has led to situations where a film has two or more co-leads, and one of these is submitted in a supporting category to avoid the two leads competing against each other, and to increase the film's chances of winning. This practice has been derisively called "category fraud".
For example, Rooney Mara was nominated for Best Supporting Actress for Carol (2015), despite her having a comparable amount of screentime to Cate Blanchett, who was nominated for Best Actress. Another example is Once Upon a Time in Hollywood (2019), where Brad Pitt was nominated for and won Best Supporting Actor, even though he played an equally important role to Best Actor nominee Leonardo DiCaprio. In both these cases, critics argued that the studios behind the films had placed someone who was actually a leading actor or actress into the supporting categories to avoid them competing against their co-lead. |
Academy Awards | Symbolism or sentimentalization | Symbolism or sentimentalization
Acting prizes in certain years have been criticized for not recognizing superior performances so much as being awarded for personal popularity, to make up for a "snub" for a work that proved in time to be more popular or renowned than the one awarded (a 'make-up Oscar'), or as a "career honor" to recognize a distinguished nominee's entire body of work (a "legacy Oscar"). |
Academy Awards | Recognition of streaming media film | Recognition of streaming media film
Following the 91st Academy Awards in February 2019 in which the Netflix-broadcast film Roma had been nominated for ten awards including the Best Picture category, Steven Spielberg and other members of the Academy discussed changing the requirements through the Board of Governors for films as to exclude those from Netflix and other media streaming services. Spielberg had been concerned that Netflix as a film production and distribution studio could spend much more than for typical Oscar-winning films and have much wider and earlier distribution than for other Best Picture-nominated films, while still being able to meet the minimal theatrical-run status to qualify for an Oscar.
The United States Department of Justice, having heard of this potential rule change, wrote a letter to the Academy in March 2019, cautioning them that placing additional restrictions on films that originate from streaming media services without proper justification could raise anti-trust concerns against the Academy. Following its April 2019 board meeting, the Academy Board of Governors agreed to retain the current rules that allow for streaming media films to be eligible for Oscars as long as they enjoy limited theatrical runs. |
Academy Awards | 2022 Chris Rock and Will Smith slapping incident | 2022 Chris Rock and Will Smith slapping incident
During the 94th Academy Awards on March 27, 2022, Chris Rock joked about Jada Pinkett Smith's shaved head with a G.I. Jane reference. Will Smith walked onstage and slapped Rock across the face, then returned to his seat and told Rock, twice, to "Keep my wife's name out [of] your fucking mouth!" While later accepting the Best Actor award for King Richard, Smith apologized to the Academy and the other nominees, but not to Rock. Rock decided not to press charges against Smith.
On April 8, 2022, the Academy made an announcement via a letter sent by president David Rubin and CEO Dawn Hudson informing the public that Will Smith had received a ten-year ban from attending the Oscars as a result of the incident. |
Academy Awards | Refusals of the award | Refusals of the award
Some winners critical of the Academy Awards have boycotted the ceremonies and refused to accept their Oscars. The first to do so was screenwriter Dudley Nichols (Best Writing in 1935 for The Informer). Nichols boycotted the 8th Academy Awards ceremony because of conflicts between the Academy and the Writers' Guild. Nichols eventually accepted the 1935 award three years later, at the 1938 ceremony. Nichols was nominated for three further Academy Awards during his career.
George C. Scott became the second person to refuse his award (Best Actor in 1970 for Patton) at the 43rd Academy Awards ceremony. Scott described it as a "meat parade", saying, "I don't want any part of it".
The third person to refuse the award was Marlon Brando, who refused his award (Best Actor for 1972's The Godfather), citing the film industry's discrimination against and mistreatment of Native Americans. At the 45th Academy Awards ceremony, Brando asked actress and civil rights activist Sacheen Littlefeather to read a 15-page speech in his place, detailing his criticisms, for which there was booing and cheering by the audience. In 2022, Littlefeather was accused by her sisters of misrepresenting her ancestry as Native American. |
Academy Awards | Disqualifications | Disqualifications
Seven films have had nominations revoked before the official award ceremony:
The Circus (1928) – The film was voluntarily removed by the Academy from competitive categories, to award Charlie Chaplin a special award.
Hondo (1953) – Removed from the Best Story ballot after letters from the producer and nominee questioned its inclusion in the category.
High Society (1955) – Withdrawn from screenwriting ballot after being mistaken for the 1956 film of the same title.
The Godfather (1972) – Initially nominated for eleven awards, its nomination for Best Original Score was revoked after it was discovered that its main theme was very similar to music that the score's composer had written for an earlier film. None of its other nominations were revoked, and it received three Oscars, including Best Picture.
A Place in the World (1992) – Removed from the Best Foreign Language Film ballot after it was discovered that the country which submitted the film exercised insufficient artistic control.
Alone Yet Not Alone (2014) – The film's title song, "Alone Yet Not Alone", was removed from the Best Original Song ballot after Bruce Broughton was found to have improperly contacted other members of the Academy's musical branch; this was the first time that a film was removed from a ballot for ethical reasons.
13 Hours: The Secret Soldiers of Benghazi (2017) – Sound mixer Greg P. Russell's nomination was rescinded one day before the Awards when it was discovered he had improperly contacted voters by telephone. In this case, the nominations for the other three nominated sound mixers, Gary Summers, Jeffrey J. Haboush and Mac Ruth, were allowed to stand.
One film was disqualified after winning the award, and had the winner return the Oscar:
Young Americans (1969) – Initially won the award for Best Documentary Feature, but was later revoked after it was revealed that it had opened theatrically prior to the eligibility period.
One film had its nomination revoked after the award ceremony when it had not won the Oscar:
Tuba Atlantic (2011) – Its nomination for Best Live Action Short Film was revoked when it was discovered that the film had aired on television in 2010, before its theatrical release. |
Academy Awards | Remarks about animated films as children's genre | Remarks about animated films as children's genre
At the 94th Academy Awards in 2022, the award for the Best Animated Feature was presented by three actresses who portrayed Disney princess characters in live-action remakes of their respective animated films: Lily James (Cinderella), Naomi Scott (Aladdin), and Halle Bailey (The Little Mermaid. While introducing the category, Bailey stated that animated films are "formative experiences as kids who watch them," as James put it, "So many kids watch these movies over and over, over and over again." Scott added: "I see some parents who know exactly what we're talking about." The remarks were heavily criticized by animation enthusiasts and those working in the industry as infantilizing the medium and perpetuating the stigma that animated works are strictly for children, especially since the industry was credited with sustaining the flow of Hollywood content and revenue during the height of the COVID-19 pandemic. Phil Lord, co-producer of one of the nominated films, The Mitchells vs. the Machines, tweeted that it was "super cool to position animation as something that kids watch and adults have to endure." The film's official social media accounts responded to the joke with an image reading: "Animation is cinema." A week later, Lord and his producing partner Christopher Miller wrote a guest column in Variety criticizing the Academy for the joke and how Hollywood has treated animation, writing that "no one set out to diminish animated films, but it's high time we set out to elevate them." They also suggested to the Academy that the category should be presented by a filmmaker who respects the art of animation as cinema.
Adding to the controversy was that the award for Best Animated Short Film (the nominees for which were mostly made up of shorts not aimed at children) was one of the eight categories that were not presented during the live broadcast. The winner for the Best Animated Short award was The Windshield Wiper, a multilingual Spanish-American film which is adult animated, while another nominee in three categories: Best Animated Feature, Best Documentary Feature Film, and Best International Feature Film, was Flee, a PG-13 rated animated documentary about an Afghan refugee. Alberto Mielgo, director of The Windshield Wiper, later gave an acceptance speech for the Oscar: "Animation is an art that includes every single art that you can imagine. Animation for adults is a fact. It's happening. Let's call it cinema. I'm very honored because this is just the beginning of what we can do with animation." Some speculations suggested that the speech played a role in the decision not to broadcast the award.
Another factor is that numerous animated films have been made for mature audiences or with ranges of PG-13 or more, with a few of them—The Triplets of Belleville, Persepolis, Chico and Rita, The Wind Rises, Anomalisa, My Life as a Courgette, The Breadwinner, Loving Vincent, Isle of Dogs, I Lost My Body, Flee, and Memoir of a Snail—having been nominated in this category, with The Boy and the Heron being the first adult animated film (in this case, PG-13-rated) to win in the 96th Academy Awards.
These comments came as #NewDeal4Animation, a movement of animation workers demanding equal pay, treatment and recognition alongside their contemporaries working in live-action, was picking up momentum during negotiations for a new contract between The Animation Guild, IATSE Local 839/SAG-AFTRA and the Alliance of Motion Picture and Television Producers, and the presentation is being used to rally the movement.
During the 96th Academy Awards in 2024, host Jimmy Kimmel said: "Please raise your hand if you let your kid fill out this part of the ballot." These remarks would again prompt backlash, with Christopher Miller, producer of that year's nominated Spider-Man: Across the Spider-Verse, tweeting out that the joke was "tired and lazy". The PG-13-rated The Boy and the Heron would subsequently win the award. |
Academy Awards | Associated events | Associated events
The following events are closely associated with the annual Academy Awards:
Governors Awards, which includes the presentation of the Academy Honorary Award, the Jean Hersholt Humanitarian Award, and the Irving G. Thalberg Memorial Award
The 25th Independent Spirit Awards (2010), usually held in Santa Monica, California the Saturday before the Oscars, marked the first time it was moved to a Friday and a change of venue to L.A. Live
The annual "Night Before", traditionally held at the Beverly Hills Hotel, begun in 2002 and generally known as the party of the season, benefits the Motion Picture & Television Fund, which operates a retirement home for SAG actors in the San Fernando Valley
Elton John AIDS Foundation Academy Award Party airs the awards live at the nearby Pacific Design Center
The Governors Ball is the Academy's official after-party, including dinner (until 2011), and is adjacent to the awards-presentation venueLos Angeles Times article, 2024
The Vanity Fair after-party, historically at the former Morton's restaurant, has been at the Sunset Tower since 2009Gary Baum (November 13, 2013), "Vanity Fair Oscar Party Exits Sunset Tower; Will It Land in Parking Lot? (Exclusive)", The Hollywood Reporter. . |
Academy Awards | Presenter and performer gifts | Presenter and performer gifts
It has become a tradition to give out gift bags to the presenters and performers at the Oscars. In recent years, these gifts have been extended to award nominees and winners. The value of each of these gift bags can reach into the tens of thousands of dollars. In 2014, the value was reported to be as high as . The value has risen to the point where the U.S. Internal Revenue Service issued a statement regarding the gifts and their taxable status.
Oscar gift bags have included vacation packages to Hawaii and Mexico and Japan, a private dinner party for the recipient and friends at a restaurant, videophones, a four-night stay at a hotel, watches, bracelets, spa treatments, bottles of vodka, maple salad dressing, weight-loss gummie candy and up to worth of cosmetic treatments and rejuvenation procedures such as lip fillers and chemical peels from New York City facial plastic surgeon Konstantin Vasyukevich. Some of the gifts have even had a "risque" element to them; in 2014, the adult products retailer Adam & Eve had a "Secret Room Gifting Suite". Celebrities visiting the gifting suite included Judith Hoag, Carolyn Hennesy, Kate Linder, Chris Mulkey, Jim O'Heir and John Salley. |
Academy Awards | Television ratings and advertisement prices | Television ratings and advertisement prices
From 2006 onwards, results are Live+SD; all previous years are live viewing.
Year Viewers,millions Ad price,USD, millions Adjusted price,USD, millions Network 2025 19.69 1.7-2.3 Not available ABC 2024 19.49 1.7-2.2 Not available 2023 18.7 2.1 Not available 2022 16.6 1.71 Not available 2021 10.4 2 Not available 2020 23.6 2.2 Not available 2019 29.6 2-3 Not available 2018 26.5 2-2.6 Not available 2017 32.9 2.1 Not available 2016 34.4 2 Not available 2015 37.260 1.95 2014 43.740 1.8 – 1.9 – 2013 40.376 1.65 – 1.8 – 2012 39.460 1.610 2011 37.919 1.3684 2010 41.699 1.1267 2009 36.310 1.3 2008 32.006 1.82 2007 40.172 1.6658 2006 38.939 1.6468 2005 42.139 1.503 2004 43.531 1.5031 2003 33.043 1.3458 2002 41.782 1.29 2001 42.944 1.45 2000 46.333 1.305 1999 45.615 1 199857.249 0.95 1997 40.075 0.85 1996 44.867 0.795 1995 48.279 0.7 1994 45.083 0.6435 1993 45.735 0.6078 1992 44.406 Not available Not available 1991 42.727 Not available Not available 1990 40.375 0.45 1989 42.619 0.375 1988 42.227 0.36 1987 37.190 0.335 1986 37.757 0.32 1985 38.855 0.315 1984 42.051 0.275 1983 53.235 0.245 1982 46.245 Not available Not available 1981 39.919 Not available Not available 1980 48.978 Not available Not available 1979 46.301 Not available Not available 1978 48.501 Not available Not available 1977 39.719 Not available Not available 1976 46.751 Not available Not available 1975 48.127 Not available Not available NBC 1974 44.712 Not available Not available |
Academy Awards | Notable highest wins and nominees | Notable highest wins and nominees |
Academy Awards | By films | By films
The following nominees received at least 10 nominations:
Nominations Title 14 All About Eve Titanic La La Land 13 Gone with the Wind From Here to Eternity Mary Poppins Who's Afraid of Virginia Woolf? Forrest Gump Shakespeare in Love The Lord of the Rings: The Fellowship of the Ring Chicago The Curious Case of Benjamin Button The Shape of Water Oppenheimer Emilia Pérez 12 Ben-Hur Mrs. Miniver The Song of Bernadette Johnny Belinda A Streetcar Named Desire On the Waterfront My Fair Lady Becket Oliver! Reds Dances With Wolves Schindler's List The English Patient Gladiator The King's Speech Lincoln The Revenant The Power of the Dog 11 Mr. Smith Goes to Washington Rebecca Sergeant York The Pride of the Yankees Sunset Boulevard West Side Story Judgment at Nuremberg The Godfather Part II Chinatown The Turning Point Out of Africa The Color Purple Julia Gandhi Terms of Endearment Amadeus A Passage to India Saving Private Ryan The Lord of the Rings: The Return of the King The Aviator Hugo Life of Pi Joker Everything Everywhere All at Once Poor Things 10 The Life of Emile Zola How Green Was My Valley Going My Way Wilson Roman Holiday Giant Sayonara The Apartment Lawrence of Arabia Tom Jones The Sound of Music Doctor Zhivago Bonnie and Clyde Guess Who's Coming to Dinner Anne of the Thousand Days Patton Airport The Godfather Cabaret The Sting The Exorcist Rocky Network Star Wars On Golden Pond Tootsie Bugsy Braveheart Crouching Tiger, Hidden Dragon Gangs of New York Master and Commander: The Far Side of the World Slumdog Millionaire True Grit The Artist American Hustle Gravity Mad Max: Fury Road The Favourite Roma The Irishman 1917 Once Upon a Time in Hollywood Mank Dune Killers of the Flower Moon The Brutalist Wicked
The following winners received at least 5 awards (including non-competitive):
Awards Title 11 Ben-Hur Titanic The Lord of the Rings: The Return of the King 10 West Side Story 9 Gigi The Last Emperor The English Patient 8 Gone with the Wind From Here to Eternity On the Waterfront My Fair Lady Cabaret Gandhi Amadeus Slumdog Millionaire 7 Going My Way The Best Years of Our Lives The Bridge on the River Kwai Lawrence of Arabia Patton The Sting Star Wars Out of Africa Dances With Wolves Schindler's List Shakespeare in Love Gravity Everything Everywhere All at Once Oppenheimer 6 Mrs. Miniver All About Eve An American in Paris A Place in the Sun A Man for All Seasons Oliver! The Godfather Part II Forrest Gump Chicago The Hurt Locker Mad Max: Fury Road La La Land Dune 5 It Happened One Night How Green Was My Valley Wilson The Bad and the Beautiful Around the World in 80 Days The King and I The Apartment Mary Poppins The Sound of Music Doctor Zhivago Who's Afraid of Virginia Woolf? In the Heat of the Night The French Connection One Flew Over the Cuckoo's Nest The Deer Hunter Kramer vs. Kramer Raiders of the Lost Ark Terms of Endearment The Silence of the Lambs Braveheart Saving Private Ryan American Beauty Gladiator The Aviator Hugo The Artist Anora |
Academy Awards | By franchises | By franchises
The following nominees received at least 5 nominations:
Nominations Title No. of films 38 Star Wars 11 37 Middle-earth (consists of The Lord of the Rings and The Hobbit) 6 29 Batman 7 28 The Godfather 3 27 Marvel Cinematic Universe 15 19 James Bond 11 16 Looney Tunes 16 16 Star Trek 7 15 Dune 2 15 Indiana Jones 5 14 Wizarding World 9 13 Avatar 2 13 Gladiator 2 13 Tom and Jerry 13 12 Rocky 3 11 Pirates of the Caribbean 3 11 The Sting 2 10 Top Gun 2 10 Alien 3 10 Mickey Mouse 10 8 Wallace & Gromit 8 8 Spider-Man 5 7 Blade Runner 2 7 Transformers 3 6 Planet of the Apes 4 6 Shrek 4 5 Back to the Future 2 5 The Incredibles 2 5 The Thin Man 2
The following winners received at least 2 awards:
Awards Title No. of films 17 The Lord of the Rings 3 10 Star Wars 3 9 The Godfather 2 8 Dune 2 7 Looney Tunes 16 Tom and Jerry 7 Indiana Jones 3 6 James Bond 5 Mad Max 5 5 Batman 3 4 Toy Story 3 Avatar 2 Marvel Cinematic Universe 2 3 Wallace & Gromit 3 Alien 2 Pinocchio 2 Rocky 1 |
Academy Awards | By people | By people
The following nominees received at least 5 nominations:
Nominations Title Role 59 Walt Disney Producer, animator, and voice actor 54 John Williams Composer 45 Alfred Newman Composer 39 Cedric Gibbons Production designer 35 Edith Head Costume designer 32 Edwin B. Willis Production designer 29 Lyle R. Wheeler Art director 26 Sammy Cahn Songwriter 25 Andy Nelson Sound engineer Max Steiner Composer 24 Woody Allen Filmmaker 23 Hans Dreier Art director Hal Pereira Art director and production designer Steven Spielberg Filmmaker 22 Samuel M. Comer Art director Randy Newman Composer and songwriter Dimitri Tiomkin Composer Victor Young Composer 21 Kevin O'Connell Sound mixer Meryl Streep Actress Billy Wilder Filmmaker 20 Gary Rydstrom Sound designer and film director 19 Alan Menken Composer and songwriter 18 Henry Mancini Composer and songwriter 17 Gordon Hollingshead Producer Fred Quimby Animator 16 Roger Deakins Cinematographer Charles LeMaire Costume designer Greg P. Russell Sound engineer Martin Scorsese Filmmaker Irene Sharaff Costume designer and art director Diane Warren Songwriter 15 Warren Beatty Actor and filmmaker Christopher Boyes Sound engineer Thomas Newman Composer Alex North Composer Sandy Powell Costume designer William Wyler Filmmaker 14 Ethan and Joel Coen Filmmakers Francis Ford Coppola Filmmaker Jean Louis Costume designer 13 Richard Day Art director Stanley Kubrick Filmmaker 12 Colleen Atwood Costume designer Bradley Cooper Actor, filmmaker, and producer Federico Fellini Filmmaker Katharine Hepburn Actress Dorothy Jeakins Costume designer Jack Nicholson Actor Hans Zimmer Composer 11 Paul Thomas Anderson Filmmaker Rick Baker Special make-up effects artist Alfonso Cuarón Filmmaker Alexandre Desplat Composer Clint Eastwood Actor and filmmaker Joe Letteri Visual effects artist Laurence Olivier Actor and filmmaker George Stevens Filmmaker 10 Anna Behlmer Sound mixer Bette Davis Actress Dante Ferretti Art director, production designer and costume designer Walter Plunkett Costume designer Helen Rose Costume designer Bill Thomas Costume designer Denzel Washington Actor and filmmaker 9 Ingmar Bergman Filmmaker Milena Canonero Costume designer Pete Docter Filmmaker, animator and voice actor Jacqueline Durran Costume designer Nancy Haigh Set decorator Alejandro González Iñárritu Filmmaker Peter Jackson Filmmaker Stanley Kramer Filmmaker Catherine Martin Costume designer, production designer and producer Scott Millan Sound mixer Scott Rudin Producer Thelma Schoonmaker Film editor Sherman Brothers Composers and songwriters 8 Wes Anderson Filmmaker Cate Blanchett Actress Kenneth Branagh Actor and filmmaker Marlon Brando Actor James L. Brooks Filmmaker George Clooney Actor and filmmaker Glenn Close Actress Judi Dench Actress Dede Gardner Producer Michael Kahn Film editor Kathleen Kennedy Producer Jack Lemmon Actor Francesca Lo Schiavo Set decorator Emmanuel Lubezki Cinematographer Frances McDormand Actress and producer Christopher Nolan Filmmaker Peter O'Toole Actor Ken Ralston Visual effects supervisor 7 Howard Ashman Lyricist Ingrid Bergman Actress Dennis Gassner Production designer Jeff Bridges Actor Richard Burton Actor James Cameron Filmmaker Leonardo DiCaprio Actor and producer Jane Fonda Actress Jeremy Kleiner Producer Martin McDonagh Filmmaker Brad Pitt Actor and producer Sydney Pollack Filmmaker Mary Wills Costume designer Kate Winslet Actress Albert Wolsky Costume designer 6 Amy Adams Actress John Bright Costume designer Alexandra Byrne Costume designer Ellen Burstyn Actress Daniel Day-Lewis Actor Guillermo del Toro Filmmaker Eric Fellner Producer Margaret Furse Costume designer Tom Hanks Actor Yorgos Lanthimos Filmmaker Nick Park Animator Ennio Morricone Composer Patricia Norris Costume designer Howard Shoup Costume designer Maggie Smith Actress Andrew Stanton Animator and filmmaker Gile Steele Costume designer Richard Taylor Costume designer, special make-up effects artist and visual effects artist 5 Tim Bevan Producer Brad Bird Animator and filmmaker Danilo Donati Costume designer and production designer Todd Field Filmmaker Alfred Hitchcock Filmmaker Nicole Kidman Actress Frank Marshall Producer Vittorio Nino Novarese Costume designer Gregory Peck Actor Sean Penn Actor Renié Costume designer Ann Roth Costume designer David O. Russell Filmmaker Susan Sarandon Actress Emma Stone Actress and producer Barbra Streisand Actress, songwriter and producer Piero Tosi Costume designer Jacqueline West Costume designer Michelle Williams Actress
The following winners received at least 3 awards (including non-competitive):
Awards Title Role 26 Walt Disney Producer, animator, and voice actor 14 Douglas Shearer Sound engineer, visual effect supervisor 11 Cedric Gibbons Production designer 10 Farciot Edouart Special effects artist and innovator 9 Dennis Muren Special effects artist and supervisor Alfred Newman Composer 8 Edith Head Costume designer Alan Menken Composer and songwriter Edwin B. Willis Production designer 7 Rick Baker Special make-up effects artist Richard Day Art director Fred Quimby Animator Gary Rydstrom Sound designer, editor, and mixer Billy Wilder Director, producer, and writer 6 John Ford Director and producer Gordon Hollingshead Producer 5 John Barry Composer and songwriter Francis Ford Coppola Director, producer, and writer Clint Eastwood Actor, director, and producer Johnny Green Composer, music supervisor, and producer Alejandro González Iñárritu Director, producer, and writer Fred Hynes Sound engineer Gordon Jennings Special effects supervisor Joe Letteri Visual effects artist Thomas T. Moulton Sound engineer Ken Ralston Visual effects supervisor Irene Sharaff Costume designer Richard Taylor Costume designer, special makeup artist, and visual effects supervisor Lyle R. Wheeler Art director John Williams Composer 4 Woody Allen Filmmaker Colleen Atwood Costume designer Sean Baker Filmmaker Mark Berger Sound engineer John Box Production designer and art director Christopher Boyes Sound engineer Ben Burtt Sound designer, editor, and mixer Sammy Cahn Songwriter Milena Canonero Costume designer Ethan and Joel Coen Filmmakers Samuel M. Comer Art director Alfonso Cuarón Filmmaker Katharine Hepburn Actress Richard King Sound designer and editor Henry Mancini Composer and songwriter Catherine Martin Costume designer and production designer Frances McDormand Actress and producer Johnny Mercer Songwriter Scott Millan Sound mixer Laurence Olivier Actor and filmmaker Nick Park Animator André Previn Composer and music supervisor Dimitri Tiomkin Composer Jimmy Van Heusen Songwriter Robert Wise Director and producer William Wyler Director and producer 3 James Acheson Costume designer Cecil Beaton Costume designer and production designer Jenny Beavan Costume designer Alan and Marilyn Bergman Songwriters Ingrid Bergman Actress Bong Joon Ho Filmmaker Stephen Bosustow Producer Walter Brennan Actor James L. Brooks Filmmaker James Cameron Filmmaker Saul Chaplin Composer and music supervisor Daniels Directors, producers, and writers Daniel Day-Lewis Actor Adolph Deutsch Composer and music supervisor Pete Docter Director, writer, animator, and voice actor Ken Darby Composer and music supervisor Ralph Dawson Film editor Guillermo del Toro Director, producer, and writer Hans Dreier Art director Roger Edens Composer and music supervisor John Hubley Director and animator Marvin Hamlisch Composer and songwriter Peter Jackson Filmmaker Maurice Jarre Composer Dorothy Jeakins Costume designer Michael Kahn Film editor Paul Lambert Visual effects supervisor Michel Legrand Composer and songwriter Charles LeMaire Costume designer Emmanuel Lubezki Cinematographer Daniel Mandell Film editor Jack Nicholson Actor Orry-Kelly Costume designer Anthony Powell Costume designer Sandy Powell Costume designer Thelma Schoonmaker Film editor Stephen Schwartz Songwriter Steven Spielberg Filmmaker Max Steiner Composer Meryl Streep Actress Fran Walsh Producer, writer and songwriter Ned Washington Songwriter Paul Francis Webster Songwriter Richard Williams Director and animator |
Academy Awards | See also | See also
List of film awards
List of Academy Award-nominated films
List of actors with Academy Award nominations
List of superlative Academy Award winners and nominees |
Academy Awards | Footnotes | Footnotes |
Academy Awards | References | References |
Academy Awards | Further reading | Further reading
German-language book review of the book.
|
Academy Awards | External links | External links
Category:1929 establishments in California
Category:1953 American television series debuts
Category:American annual television specials
Category:American film awards
Category:American live television shows
Category:Annual events in Los Angeles County, California
Category:Awards established in 1929
Category:Cinema of Southern California
Category:Culture of Hollywood, Los Angeles
Category:Events in Los Angeles
Category:Performing arts trophies |
Academy Awards | Table of Content | Short description, History, Milestones, Oscar statuette, Overview, Naming, Engraving, Ownership of Oscar statuettes, Other awards presented by the Academy, Nomination, Voters, Rules, Academy Screening Room, Awards ceremonies, Telecast, TV ratings, Archive, Venues, Categories, Current categories, Upcoming categories, Discontinued categories, Proposed categories, Special categories, Current special categories, Discontinued special categories, Criticism and controversies, Accusations of commercialism, Accusations of bias, Lack of diversity, Miscategorization of actors, Symbolism or sentimentalization, Recognition of streaming media film, 2022 Chris Rock and Will Smith slapping incident, Refusals of the award, Disqualifications, Remarks about animated films as children's genre, Associated events, Presenter and performer gifts, Television ratings and advertisement prices, Notable highest wins and nominees, By films, By franchises, By people, See also, Footnotes, References, Further reading, External links |
Actrius | Use dmy dates | Actresses (Catalan: Actrius) is a 1997 Catalan language Spanish drama film produced and directed by Ventura Pons and based on the award-winning stage play E.R. by Josep Maria Benet i Jornet. The film has no male actors, with all roles played by females. The film was produced in 1996. |
Actrius | Synopsis | Synopsis
In order to prepare herself to play a role commemorating the life of legendary actress Empar Ribera, young actress (Mercè Pons) interviews three established actresses who had been the Ribera's pupils: the international diva Glòria Marc (Núria Espert), the television star Assumpta Roca (Rosa Maria Sardà), and dubbing director Maria Caminal (Anna Lizaran). |
Actrius | Cast | Cast
Núria Espert as Glòria Marc
Rosa Maria Sardà as Assumpta Roca
Anna Lizaran as Maria Caminal
Mercè Pons as Estudiant |
Actrius | Recognition | Recognition |
Actrius | Screenings | Screenings
Actrius screened in 2001 at the Grauman's Egyptian Theatre in an American Cinematheque retrospective of the works of its director. The film had first screened at the same location in 1998. It was also shown at the 1997 Stockholm International Film Festival. |
Actrius | Reception | Reception
In Movie - Film - Review, Christopher Tookey wrote that though the actresses were "competent in roles that may have some reference to their own careers", the film "is visually unimaginative, never escapes its stage origins, and is almost totally lacking in revelation or surprising incident". Noting that there were "occasional, refreshing moments of intergenerational bitchiness", they did not "justify comparisons to All About Eve", and were "insufficiently different to deserve critical parallels with Rashomon". He also wrote that The Guardian called the film a "slow, stuffy chamber-piece", and that The Evening Standard stated the film's "best moments exhibit the bitchy tantrums seething beneath the threesome's composed veneers". MRQE wrote "This cinematic adaptation of a theatrical work is true to the original, but does not stray far from a theatrical rendering of the story." |
Actrius | Awards and nominations | Awards and nominations
1997, won 'Best Catalan Film' at Butaca Awards for Ventura Pons
1997, won 'Best Catalan Film Actress' at Butaca Awards, shared by Núria Espert, Rosa Maria Sardà, Anna Lizaran, and Mercè Pons
1998, nominated for 'Best Screenplay' at Goya Awards, shared by Josep Maria Benet i Jornet and Ventura Pons |
Actrius | References | References |
Actrius | External links | External links
as archived 17 February 2009 (Spanish)
Category:1997 films
Category:1997 drama films
Category:Catalan-language films
Category:Films set in Barcelona
Category:Films directed by Ventura Pons
Category:Spanish drama films
Category:1990s Spanish films |
Actrius | Table of Content | Use dmy dates, Synopsis, Cast, Recognition, Screenings, Reception, Awards and nominations, References, External links |
Animalia (book) | Short description | Animalia is an illustrated children's book by Graeme Base. It was originally published in 1986, followed by a tenth anniversary edition in 1996, and a 25th anniversary edition in 2012. Over four million copies have been sold worldwide. A special numbered and signed anniversary edition was also published in 1996, with an embossed gold jacket. |
Animalia (book) | Synopsis | Synopsis
Animalia is an alliterative alphabet book and contains twenty-six illustrations, one for each letter of the alphabet. Each illustration features an animal from the animal kingdom (A is for alligator and armadillo, B is for butterfly, C is for cat, etc.) along with a tongue-twister utilizing the letter of the page for many of the words. The illustrations contain many other objects beginning with that letter that the reader can try to identify (e.g. the "D" entry features, besides a pair of dragons, the dinosaur Diplodocus and the pelycosaur Dimetrodon; however, there are not necessarily "a thousand things, or maybe more", contrary to what the author states; for instance, the "A" entry features an alarm clock, as does the "C" entry; also, a tennis racket appears in the "T" entry as well as in the "R" entry). As an additional challenge, the author has hidden a picture of himself as a child in every picture. |
Animalia (book) | Related products | Related products
Julia MacRae Books published an Animalia colouring book in 2008. H. N. Abrams also published a wall calendar colouring book version for children the same year.
H. N. Abrams published The Animalia Wall Frieze, a fold-out over 26 feet in length, in which the author created new riddles for each letter.
The Great American Puzzle Factory created a 300-piece jigsaw puzzle based on the book's cover. |
Animalia (book) | Adaptations | Adaptations
A television series was also created, based on the book, which airs in Canada. The Australian Children's Television Foundation released a teaching resource DVD-ROM in 2011 to accompany the TV series with teaching aids for classroom use.
In 2010, The Base Factory and AppBooks released Animalia as an application for iPad and iPhone/iPod Touch. |
Animalia (book) | Awards | Awards
Animalia won the Young Australian's Best Book Award in 1987 for Best Picture Story Book.
The Children's Book Council of Australia designated Animalia a 1987 Picture Book of the Year: Honour Book.
Kid's Own Australian Literature Awards named Animalia the 1988 Picture Book Winner. |
Animalia (book) | References | References |
Animalia (book) | External links | External links
Graeme Base's official website
A Learning Time activity guide for Animalia created by The Little Big Book Club
Category:1986 children's books
Category:Alphabet books
Category:Australian children's books
Category:Children's books about animals
Category:Picture books by Graeme Base
Category:Puffin Books books
Category:Puzzle books |
Animalia (book) | Table of Content | Short description, Synopsis, Related products, Adaptations, Awards, References, External links |
International Atomic Time | Short description | International Atomic Time (abbreviated TAI, from its French name Temps atomique 1975) is a high-precision atomic coordinate time standard based on the notional passage of proper time on Earth's geoid. TAI is a weighted average of the time kept by over 450 atomic clocks in over 80 national laboratories worldwide. It is a continuous scale of time, without leap seconds, and it is the principal realisation of Terrestrial Time (with a fixed offset of epoch). It is the basis for Coordinated Universal Time (UTC), which is used for civil timekeeping all over the Earth's surface and which has leap seconds.
UTC deviates from TAI by a number of whole seconds. , immediately after the most recent leap second was put into effect, UTC has been exactly 37 seconds behind TAI. The 37 seconds result from the initial difference of 10 seconds at the start of 1972, plus 27 leap seconds in UTC since 1972. In 2022, the General Conference on Weights and Measures decided to abandon the leap second by or before 2035, at which point the difference between TAI and UTC will remain fixed.
TAI may be reported using traditional means of specifying days, carried over from non-uniform time standards based on the rotation of the Earth. Specifically, both Julian days and the Gregorian calendar are used. TAI in this form was synchronised with Universal Time at the beginning of 1958, and the two have drifted apart ever since, due primarily to the slowing rotation of the Earth. |
International Atomic Time | Operation | Operation
TAI is a weighted average of the time kept by over 450 atomic clocks in over 80 national laboratories worldwide. The majority of the clocks involved are caesium clocks; the International System of Units (SI) definition of the second is based on caesium. The clocks are compared using GPS signals and two-way satellite time and frequency transfer. Due to the signal averaging TAI is an order of magnitude more stable than its best constituent clock.
The participating institutions each broadcast, in real time, a frequency signal with timecodes, which is their estimate of TAI. Time codes are usually published in the form of UTC, which differs from TAI by a well-known integer number of seconds. These time scales are denoted in the form UTC(NPL) in the UTC form, where NPL here identifies the National Physical Laboratory, UK. The TAI form may be denoted TAI(NPL). The latter is not to be confused with TA(NPL), which denotes an independent atomic time scale, not synchronised to TAI or to anything else.
The clocks at different institutions are regularly compared against each other. The International Bureau of Weights and Measures (BIPM, France), combines these measurements to retrospectively calculate the weighted average that forms the most stable time scale possible. This combined time scale is published monthly in "Circular T", and is the canonical TAI. This time scale is expressed in the form of tables of differences UTC − UTC(k) (equal to TAI − TAI(k)) for each participating institution k. The same circular also gives tables of TAI − TA(k), for the various unsynchronised atomic time scales.
Errors in publication may be corrected by issuing a revision of the faulty Circular T or by errata in a subsequent Circular T. Aside from this, once published in Circular T, the TAI scale is not revised. In hindsight, it is possible to discover errors in TAI and to make better estimates of the true proper time scale. Since the published circulars are definitive, better estimates do not create another version of TAI; it is instead considered to be creating a better realisation of Terrestrial Time (TT). |
International Atomic Time | History | History
Early atomic time scales consisted of quartz clocks with frequencies calibrated by a single atomic clock; the atomic clocks were not operated continuously. Atomic timekeeping services started experimentally in 1955, using the first caesium atomic clock at the National Physical Laboratory, UK (NPL). It was used as a basis for calibrating the quartz clocks at the Royal Greenwich Observatory and to establish a time scale, called Greenwich Atomic (GA). The United States Naval Observatory began the A.1 scale on 13 September 1956, using an Atomichron commercial atomic clock, followed by the NBS-A scale at the National Bureau of Standards, Boulder, Colorado on 9 October 1957.
The International Time Bureau (BIH) began a time scale, Tm or AM, in July 1955, using both local caesium clocks and comparisons to distant clocks using the phase of VLF radio signals. The BIH scale, A.1, and NBS-A were defined by an epoch at the beginning of 1958 The procedures used by the BIH evolved, and the name for the time scale changed: A3 in 1964 and TA(BIH) in 1969.
The SI second was defined in terms of the caesium atom in 1967. From 1971 to 1975 the General Conference on Weights and Measures and the International Committee for Weights and Measures made a series of decisions that designated the BIPM time scale International Atomic Time (TAI).
In the 1970s, it became clear that the clocks participating in TAI were ticking at different rates due to gravitational time dilation, and the combined TAI scale, therefore, corresponded to an average of the altitudes of the various clocks. Starting from the Julian Date 2443144.5 (1 January 1977 00:00:00 TAI), corrections were applied to the output of all participating clocks, so that TAI would correspond to proper time at the geoid (mean sea level). Because the clocks were, on average, well above sea level, this meant that TAI slowed by about one part in a trillion. The former uncorrected time scale continues to be published under the name EAL (Échelle Atomique Libre, meaning Free Atomic Scale).
The instant that the gravitational correction started to be applied serves as the epoch for Barycentric Coordinate Time (TCB), Geocentric Coordinate Time (TCG), and Terrestrial Time (TT), which represent three fundamental time scales in the Solar System. All three of these time scales were defined to read JD 2443144.5003725 (1 January 1977 00:00:32.184) exactly at that instant. TAI was henceforth a realisation of TT, with the equation TT(TAI) = TAI + 32.184 s.
The continued existence of TAI was questioned in a 2007 letter from the BIPM to the ITU-R which stated, "In the case of a redefinition of UTC without leap seconds, the CCTF would consider discussing the possibility of suppressing TAI, as it would remain parallel to the continuous UTC." |
International Atomic Time | Relation to UTC | Relation to UTC
Contrary to TAI, UTC is a discontinuous time scale. It is occasionally adjusted by leap seconds. Between these adjustments, it is composed of segments that are mapped to atomic time by a constant offset. From its beginning in 1961 through December 1971, the adjustments were made regularly in fractional leap seconds so that UTC approximated UT2. Afterwards, these adjustments were made only in whole seconds to approximate UT1. This was a compromise arrangement in order to enable a publicly broadcast time scale. The less frequent whole-second adjustments meant that the time scale would be more stable and easier to synchronize internationally. The fact that it continues to approximate UT1 means that tasks such as navigation which require a source of Universal Time continue to be well served by the public broadcast of UTC. |
International Atomic Time | See also | See also
Clock synchronization
Time and frequency transfer |
International Atomic Time | Notes | Notes |
International Atomic Time | References | References
|
International Atomic Time | Footnotes | Footnotes |
International Atomic Time | Bibliography | Bibliography
|
International Atomic Time | External links | External links
BIPM technical services: Time Metrology
Time and Frequency Section - National Physical Laboratory, UK
IERS website
NIST Web Clock FAQs
History of time scales
NIST-F1 Cesium Fountain Atomic Clock
Japan Standard Time Project, NICT, Japan
Standard of time definition: UTC, GPS, LORAN and TAI
Category:Time scales |
International Atomic Time | Table of Content | Short description, Operation, History, Relation to UTC, See also, Notes, References, Footnotes, Bibliography, External links |
Altruism | Short description | thumb|Giving alms to the poor is often considered an altruistic action.
Altruism is the concern for the well-being of others, independently of personal benefit or reciprocity.
The word altruism was popularised (and possibly coined) by the French philosopher Auguste Comte in French, as , for an antonym of egoism. He derived it from the Italian , which in turn was derived from Latin , meaning "other people" or "somebody else". Altruism may be considered a synonym of selflessness, the opposite of self-centeredness.
Altruism is an important moral value in many cultures and religions. It can expand beyond care for humans to include other sentient beings and future generations.
Altruism, as observed in populations of organisms, is when an individual performs an action at a cost to itself (in terms of e.g. pleasure and quality of life, time, probability of survival or reproduction) that benefits, directly or indirectly, another individual, without the expectation of reciprocity or compensation for that action.
The theory of psychological egoism suggests that no act of sharing, helping, or sacrificing can be "truly" altruistic, as the actor may receive an intrinsic reward in the form of personal gratification. The validity of this argument depends on whether such intrinsic rewards qualify as "benefits".
The term altruism can also refer to an ethical doctrine that claims that individuals are morally obliged to benefit others. Used in this sense, it is usually contrasted with egoism, which claims individuals are morally obligated to serve themselves first.
Effective altruism is the use of evidence and reason to determine the most effective ways to benefit others. |
Altruism | The notion of altruism | The notion of altruism
The concept of altruism has a history in philosophical and ethical thought. The term was coined in the 19th century by the founding sociologist and philosopher of science Auguste Comte, and has become a major topic for psychologists (especially evolutionary psychology researchers), evolutionary biologists, and ethologists. Whilst ideas about altruism from one field can affect the other fields, the different methods and focuses of these fields always lead to different perspectives on altruism. In simple terms, altruism is caring about the welfare of other people and acting to help them, above oneself. |
Altruism | Cross-cultural perspectives on altruism | Cross-cultural perspectives on altruism
Cross-cultural perspectives on altruism show that how we view and experience helping others depends heavily on where we come from. In individualistic cultures, like many Western countries, acts of altruism often bring personal joy and satisfaction, as they align with values that emphasize individual achievement and self-fulfillment. On the other hand, in collectivist cultures, common in many Eastern societies, altruism is often seen as a responsibility to the group rather than a personal choice. This difference means that people in collectivist cultures might not feel the same personal happiness from helping others, as the act is more about fulfilling social obligations. Ultimately, these variations highlight how deeply cultural norms shape the way we approach and experience altruism. |
Altruism | Scientific viewpoints<!--linked from 'Evolution of morality'--> | Scientific viewpoints |
Altruism | Anthropology | Anthropology
Marcel Mauss's essay The Gift contains a passage called "Note on alms". This note describes the evolution of the notion of alms (and by extension of altruism) from the notion of sacrifice. In it, he writes: |
Altruism | Evolutionary explanations | Evolutionary explanations
thumb|upright|Giving alms to beggar children
In ethology (the scientific study of animal behaviour), and more generally in the study of social evolution, altruism refers to behavior by an individual that increases the fitness of another individual while decreasing the fitness of the actor. In evolutionary psychology this term may be applied to a wide range of human behaviors such as charity, emergency aid, help to coalition partners, tipping, courtship gifts, production of public goods, and environmentalism.
The need for an explanation of altruistic behavior that is compatible with evolutionary origins has driven the development of new theories. Two related strands of research on altruism have emerged from traditional evolutionary analyses and evolutionary game theory: a mathematical model and analysis of behavioral strategies.
Some of the proposed mechanisms are:
Kin selection. That animals and humans are more altruistic towards close kin than to distant kin and non-kin has been confirmed in numerous studies across many different cultures. Even subtle cues indicating kinship may unconsciously increase altruistic behavior. One kinship cue is facial resemblance. One study found that slightly altering photographs to resemble the faces of study participants more closely increased the trust the participants expressed regarding depicted persons. Another cue is having the same family name, especially if rare, which has been found to increase helpful behavior. Another study found more cooperative behavior, the greater the number of perceived kin in a group. Using kinship terms in political speeches increased audience agreement with the speaker in one study. This effect was powerful for firstborns, who are typically close to their families.
Vested interests. People are likely to suffer if their friends, allies and those from similar social ingroups suffer or disappear. Helping such group members may, therefore, also benefit the altruist. Making ingroup membership more noticeable increases cooperativeness. Extreme self-sacrifice towards the ingroup may be adaptive if a hostile outgroup threatens the entire ingroup.
Reciprocal altruism. See also Reciprocity (evolution).
Direct reciprocity. Research shows that it can be beneficial to help others if there is a chance that they will reciprocate the help. The effective tit for tat strategy is one game theoretic example. Many people seem to be following a similar strategy by cooperating if and only if others cooperate in return.
One consequence is that people are more cooperative with one another if they are more likely to interact again in the future. People tend to be less cooperative if they perceive that the frequency of helpers in the population is lower. They tend to help less if they see non-cooperativeness by others, and this effect tends to be stronger than the opposite effect of seeing cooperative behaviors. Simply changing the cooperative framing of a proposal may increase cooperativeness, such as calling it a "Community Game" instead of a "Wall Street Game".
A tendency towards reciprocity implies that people feel obligated to respond if someone helps them. This has been used by charities that give small gifts to potential donors hoping to induce reciprocity. Another method is to announce publicly that someone has given a large donation. The tendency to reciprocate can even generalize, so people become more helpful toward others after being helped. On the other hand, people will avoid or even retaliate against those perceived not to be cooperating. People sometimes mistakenly fail to help when they intended to, or their helping may not be noticed, which may cause unintended conflicts. As such, it may be an optimal strategy to be slightly forgiving of and have a slightly generous interpretation of non-cooperation.
People are more likely to cooperate on a task if they can communicate with one another first. This may be due to better cooperativeness assessments or promises exchange. They are more cooperative if they can gradually build trust instead of being asked to give extensive help immediately. Direct reciprocity and cooperation in a group can be increased by changing the focus and incentives from intra-group competition to larger-scale competitions, such as between groups or against the general population. Thus, giving grades and promotions based only on an individual's performance relative to a small local group, as is common, may reduce cooperative behaviors in the group.
Indirect reciprocity. Because people avoid poor reciprocators and cheaters, a person's reputation is important. A person esteemed for their reciprocity is more likely to receive assistance, even from individuals they have not directly interacted with before.
Strong reciprocity. This form of reciprocity is expressed by people who invest more resources in cooperation and punishment than what is deemed optimal based on established theories of altruism.
Pseudo-reciprocity. An organism behaves altruistically and the recipient does not reciprocate but has an increased chance of acting in a way that is selfish but also as a byproduct benefits the altruist.
Costly signaling and the handicap principle. Altruism, by diverting resources from the altruist, can act as an "honest signal" of available resources and the skills to acquire them. This may signal to others that the altruist is a valuable potential partner. It may also signal interactive and cooperative intentions, since someone who does not expect to interact further in the future gains nothing from such costly signaling. While it's uncertain if costly signaling can predict long-term cooperative traits, people tend to trust helpers more. Costly signaling loses its value when everyone shares identical traits, resources, and cooperative intentions, but it gains significance as population variability in these aspects increases.
Hunters who share meat display a costly signal of ability. The research found that good hunters have higher reproductive success and more adulterous relations even if they receive no more of the hunted meat than anyone else. Similarly, holding large feasts and giving large donations are ways of demonstrating one's resources. Heroic risk-taking has also been interpreted as a costly signal of ability.
thumb|Volunteers assist Hurricane victims at the Houston Astrodome, following Hurricane Katrina.
Both indirect reciprocity and costly signaling depend on reputation value and tend to make similar predictions. One is that people will be more helpful when they know that their helping behavior will be communicated to people they will interact with later, publicly announced, discussed, or observed by someone else. This has been documented in many studies. The effect is sensitive to subtle cues, such as people being more helpful when there were stylized eyespots instead of a logo on a computer screen. Weak reputational cues such as eyespots may become unimportant if there are stronger cues present and may lose their effect with continued exposure unless reinforced with real reputational effects. Public displays such as public weeping for dead celebrities and participation in demonstrations may be influenced by a desire to be seen as generous. People who know that they are publicly monitored sometimes even wastefully donate the money they know is not needed by the recipient because of reputational concerns.
Typically, women find altruistic men to be attractive partners. When women look for a long-term partner, altruism may be a trait they prefer as it may indicate that the prospective partner is also willing to share resources with her and her children. Men perform charitable acts in the early stages of a romantic relationship or simply when in the presence of an attractive woman. While both sexes state that kindness is the most preferable trait in a partner, there is some evidence that men place less value on this than women and that women may not be more altruistic in the presence of an attractive man. Men may even avoid altruistic women in short-term relationships, which may be because they expect less success.
People may compete for the social benefit of a burnished reputation, which may cause competitive altruism. On the other hand, in some experiments, a proportion of people do not seem to care about reputation and do not help more, even if this is conspicuous. This may be due to reasons such as psychopathy or that they are so attractive that they need not be seen as altruistic. The reputational benefits of altruism occur in the future compared to the immediate costs of altruism. While humans and other organisms generally place less value on future costs/benefits as compared to those in the present, some have shorter time horizons than others, and these people tend to be less cooperative.
Explicit extrinsic rewards and punishments have sometimes been found to have a counterintuitively inverse effect on behaviors when compared to intrinsic rewards. This may be because such extrinsic incentives may replace (partially or in whole) intrinsic and reputational incentives, motivating the person to focus on obtaining the extrinsic rewards, which may make the thus-incentivized behaviors less desirable. People prefer altruism in others when it appears to be due to a personality characteristic rather than overt reputational concerns; simply pointing out that there are reputational benefits of action may reduce them. This may be used as a derogatory tactic against altruists ("you're just virtue signalling"), especially by those who are non-cooperators. A counterargument is that doing good due to reputational concerns is better than doing no good.
Group selection. It has controversially been argued by some evolutionary scientists such as David Sloan Wilson that natural selection can act at the level of non-kin groups to produce adaptations that benefit a non-kin group, even if these adaptations are detrimental at the individual level. Thus, while altruistic persons may under some circumstances be outcompeted by less altruistic persons at the individual level, according to group selection theory, the opposite may occur at the group level where groups consisting of the more altruistic persons may outcompete groups consisting of the less altruistic persons. Such altruism may only extend to ingroup members while directing prejudice and antagonism against outgroup members (see also in-group favoritism). Many other evolutionary scientists have criticized group selection theory.
right|thumb|Helping the homeless in New York City
Such explanations do not imply that humans consciously calculate how to increase their inclusive fitness when doing altruistic acts. Instead, evolution has shaped psychological mechanisms, such as emotions, that promote certain altruistic behaviors.
The benefits for the altruist may be increased, and the costs reduced by being more altruistic towards certain groups. Research has found that people are more altruistic to kin than to no-kin, to friends than strangers, to those attractive than to those unattractive, to non-competitors than competitors, and to members in-groups than to members of out-groups.
The study of altruism was the initial impetus behind George R. Price's development of the Price equation, a mathematical equation used to study genetic evolution. An interesting example of altruism is found in the cellular slime moulds, such as Dictyostelium mucoroides. These protists live as individual amoebae until starved, at which point they aggregate and form a multicellular fruiting body in which some cells sacrifice themselves to promote the survival of other cells in the fruiting body.
Selective investment theory proposes that close social bonds, and associated emotional, cognitive, and neurohormonal mechanisms, evolved to facilitate long-term, high-cost altruism between those closely depending on one another for survival and reproductive success.
Such cooperative behaviors have sometimes been seen as arguments for left-wing politics, for example, by the Russian zoologist and anarchist Peter Kropotkin in his 1902 book Mutual Aid: A Factor of Evolution and moral philosopher Peter Singer in his book A Darwinian Left. |
Altruism | Neurobiology | Neurobiology
Jorge Moll and Jordan Grafman, neuroscientists at the National Institutes of Health and LABS-D'Or Hospital Network, provided the first evidence for the neural bases of altruistic giving in normal healthy volunteers, using functional magnetic resonance imaging. In their research, they showed that both pure monetary rewards and charitable donations activated the mesolimbic reward pathway, a primitive part of the brain that usually responds to food and sex. However, when volunteers generously placed the interests of others before their own by making charitable donations, another brain circuit was also selectively activated: the subgenual cortex/septal region. These structures are related to social attachment and bonding in other species. The experiment suggested that altruism is not a higher moral faculty overpowering innate selfish desires, but a fundamental, ingrained, and enjoyable trait in the brain. One brain region, the subgenual anterior cingulate cortex/basal forebrain, contributes to learning altruistic behavior, especially in people with a propensity for empathy.
Bill Harbaugh, a University of Oregon economist, in an fMRI scanner test conducted with his psychologist colleague Dr. Ulrich Mayr, reached the same conclusions as Jorge Moll and Jordan Grafman about giving to charity, although they were able to divide the study group into two groups: "egoists" and "altruists". One of their discoveries was that, though rarely, even some of the considered "egoists" sometimes gave more than expected because that would help others, leading to the conclusion that there are other factors in charity, such as a person's environment and values.
A recent meta-analysis of fMRI studies conducted by Shawn Rhoads, Jo Cutler, and Abigail Marsh analyzed the results of prior studies of generosity in which participants could freely choose to give or not give resources to someone else. The results of this study confirmed that altruism is supported by distinct mechanisms from giving motivated by reciprocity or by fairness. This study also confirmed that the right ventral striatum is recruited during altruistic giving, as well as the ventromedial prefrontal cortex, bilateral anterior cingulate cortex, and bilateral anterior insula, which are regions previously implicated in empathy.
Abigail Marsh has conducted studies of real-world altruists that have also identified an important role for the amygdala in human altruism. In real-world altruists, such as people who have donated kidneys to strangers, the amygdala is larger than in typical adults. Altruists' amygdalas are also more responsive than those of typical adults to the sight of others' distress, which is thought to reflect an empathic response to distress. This structure may also be involved in altruistic choices due to its role in encoding the value of outcomes for others. This is consistent with the findings of research in non-human animals, which has identified neurons within the amygdala that specifically encode the value of others' outcomes, activity in which appears to drive altruistic choices in monkeys. |
Altruism | Psychology | Psychology
The International Encyclopedia of the Social Sciences defines psychological altruism as "a motivational state to increase another's welfare". Psychological altruism is contrasted with psychological egoism, which refers to the motivation to increase one's welfare. In keeping with this, research in real-world altruists, including altruistic kidney donors, bone marrow donors, humanitarian aid workers, and heroic rescuers findings that these altruists are primarily distinguished from other adults by unselfish traits and decision-making patterns. This suggests that human altruism reflects genuinely high valuation of others' outcomes.
There has been some debate on whether humans are capable of psychological altruism. Some definitions specify a self-sacrificial nature to altruism and a lack of external rewards for altruistic behaviors. However, because altruism ultimately benefits the self in many cases, the selflessness of altruistic acts is difficult to prove. The social exchange theory postulates that altruism only exists when the benefits outweigh the costs to the self.
Daniel Batson, a psychologist, examined this question and argued against the social exchange theory. He identified four significant motives: to ultimately benefit the self (egoism), to ultimately benefit the other person (altruism), to benefit a group (collectivism), or to uphold a moral principle (principlism). Altruism that ultimately serves selfish gains is thus differentiated from selfless altruism, but the general conclusion has been that empathy-induced altruism can be genuinely selfless. The empathy-altruism hypothesis states that psychological altruism exists and is evoked by the empathic desire to help someone suffering. Feelings of empathic concern are contrasted with personal distress, which compels people to reduce their unpleasant emotions and increase their positive ones by helping someone in need. Empathy is thus not selfless since altruism works either as a way to avoid those negative, unpleasant feelings and have positive, pleasant feelings when triggered by others' need for help or as a way to gain social reward or avoid social punishment by helping. People with empathic concern help others in distress even when exposure to the situation could be easily avoided, whereas those lacking in empathic concern avoid allowing it unless it is difficult or impossible to avoid exposure to another's suffering.
Helping behavior is seen in humans from about two years old when a toddler can understand subtle emotional cues.
thumb|Peace Corps trainees swearing in as volunteers in Cambodia, 4 April 2007
In psychological research on altruism, studies often observe altruism as demonstrated through prosocial behaviors such as helping, comforting, sharing, cooperation, philanthropy, and community service. People are most likely to help if they recognize that a person is in need and feel personal responsibility for reducing the person's distress. The number of bystanders witnessing pain or suffering affects the likelihood of helping (the Bystander effect). More significant numbers of bystanders decrease individual feelings of responsibility. However, a witness with a high level of empathic concern is likely to assume personal responsibility entirely regardless of the number of bystanders.
Many studies have observed the effects of volunteerism (as a form of altruism) on happiness and health and have consistently found that those who exhibit volunteerism also have better current and future health and well-being. In a study of older adults, those who volunteered had higher life satisfaction and will to live, and less depression, anxiety, and somatization. Volunteerism and helping behavior have not only been shown to improve mental health but physical health and longevity as well, attributable to the activity and social integration it encourages. One study examined the physical health of mothers who volunteered over 30 years and found that 52% of those who did not belong to a volunteer organization experienced a major illness while only 36% of those who did volunteer experienced one. A study on adults aged 55 and older found that during the four-year study period, people who volunteered for two or more organizations had a 63% lower likelihood of dying. After controlling for prior health status, it was determined that volunteerism accounted for a 44% reduction in mortality. Merely being aware of kindness in oneself and others is also associated with greater well-being. A study that asked participants to count each act of kindness they performed for one week significantly enhanced their subjective happiness. Happier people are kinder and more grateful, kinder people are happier and more grateful and more grateful people are happier and kinder, the study suggests.
While research supports the idea that altruistic acts bring about happiness, it has also been found to work in the opposite direction—that happier people are also kinder. The relationship between altruistic behavior and happiness is bidirectional. Studies found that generosity increases linearly from sad to happy affective states.
Feeling over-taxed by the needs of others has negative effects on health and happiness. For example, one study on volunteerism found that feeling overwhelmed by others' demands had an even stronger negative effect on mental health than helping had a positive one (although positive effects were still significant).
Older humans were found to have higher altruism. |
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