In addition to bringing star-packed entertainment to the big screen, the films nominated for best picture awards at the upcoming 95th Academy Awards provide insight into the moods that the filmmakers aspired to capture in their projects. And this year, the nominated movies break a trend we’ve seen in five of the last six best picture winners: “Powerful” and “fun” are the dominant moods we see in the movie metadata—a pivot from “emotional” films, which have been dominant since 2017.
Out of the 10 movies up for best picture this year, The Fabelmans stands alone in being classified as “emotional,” according to 그레이스노트 비디오 설명자. Comparatively, films like All Quiet on the Western Front, Avatar-the Way of Water 그리고 Women Talking have brought the “powerful” mood back to the forefront this year, as there are six “powerful nominees in total. Last year, there were only three “powerful” films nominated for best picture (Dune, The Power of the Dog 그리고 King Richard). In total, eight of this century’s best picture winners have been classified as “powerful.”
올해의 최우수 작품상 후보작 중 단 한 작품만이 '감성적'으로 분류된 만큼, 최근의 역사에 변화가 일어날 가능성이 매우 높습니다. 올해를 넘어 더 큰 변화를 볼 수 있을지는 향후 몇 년 동안의 수상작에 따라 달라질 것입니다. 현재까지 작품상 부문에서 '감성적인' 영화는 2017년 이전까지 우세했습니다. 94년의 오스카 역사 동안 22편의 수상작이 '감성적'이었는데, 이는 23편의 수상작의 분위기였던 '강렬한'에 이어 두 번째로 많은 수상작이었습니다. 반대로 '내성적'과 '관능적'은 최우수 작품상 수상작과 연관되지 않은 유일한 두 가지 주요 무드(17개 중)입니다.
올해 최우수 작품상 후보작에 "감성적인" 영화가 없었음에도 불구하고 아카데미는 올해 분위기를 완전히 무시하지 않았습니다: 6개의 주요 연기상 후보작 중 5개가 "감성적" 분위기와 관련된 영화와 관련이 있습니다.
“Fun” is the other popular mood among this year’s best picture nominees: Everything Everywhere All At Once, The Banshees of Inisherin 그리고 Triangle of Sadness all have “fun” as their primary mood.
Despite its presence this year, “fun” isn’t a mood that has been associated with Best Picture winners in recent years. Since the turn of the century, only 2015’s Birdman and 2012’s The Artist have been categorized as “fun” movies.
Last century, the most successful period for “fun” movies at the Oscars was between 1969 and 1978, when Oliver!, The Sting, One Flew Over The Cuckoo’s Nest 그리고 Annie Hall each made off with Best Picture awards. Aside from the two this century, there have only been two “fun” winners since: Terms of Endearment (1984) and Shakespeare in Love (1999).
영화 메타데이터는 영화의 비하인드 정보를 제공합니다.
중요한 것은 비디오 디스크립터의 업무가 영화와 관련된 분위기를 설명하는 데만 국한되지 않는다는 점입니다. 메타데이터는 주제, 시나리오, 설정, 장르 등 영화의 많은 비하인드 정보를 설명하는 데 사용되며, 이는 플랫폼에서 관객의 영화 발견 여정을 돕기 위해 사용할 수 있습니다. 동영상 설명자는 영화의 배경이 되는 시간대도 알려줄 수 있습니다.
Before the mid 1950s, best picture winners most frequently featured the time periods in which they were filmed, particularly between 1939 and 1956. During this period, 13 of the 18 best picture winners were set when they were filmed. Halfway through the century, historical epics gained in prominence, with Around the World in 80 Days, The Bridge on the River Kwai, Ben-Hur 그리고 Lawrence of Arabia all took the best picture award in a span of seven years starting with the 1957 ceremony. Musicals, many of which include a historical setting, were also at their height during this period, with Gigi, West Side Story (which was contemporary), My Fair Lady, The Sound of Music and Oliver! winning the best picture award between 1959 and 1969.
Historical settings have remained popular among best picture winners in the years since, but only two of the best picture winners since 1999’s Shakespeare in Love were set before 1920 (2001’s Gladiator and 2014’s 12 Years a Slave). More recently, films with contemporary settings have come back in fashion, as the best picture winners between 2012 and 2019 were all set in the times in which they were filmed.
One time period that has never resonated with the Academy, however, is the future. And while this year’s Everything, Everywhere, All At Once includes sequences that take place in parallel settings, its primary time period is contemporary. And when it comes to fantasy themes, 2004’s The Lord of the Rings:The Return of the King stands alone as a best picture winner throughout the 94-year history of the Oscars.
In addition to looking into movie metadata to find commonalities among Academy-nominated films over time, these types of descriptors are critical in helping audiences find what they’re looking for when the titles become available to watch at home. With more than 976,000 unique video titles1 available to audiences as of January 2023, applying hyper-detailed meta descriptions, including mood, can help platforms curate more personalized video experiences for content-hungry audiences.
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- 그레이스노트 글로벌 비디오 데이터
