Reason Why Horror Movies Aren't Win any Oscars
In 2018 birthed one of the greatest horror pieces put to screen, boasting an unforgettable performance from Toni Colette.
Hereditary was as oscar eligible as you could get with raw, unadulterated horror. Ari Aster’s theatrical debut was a certified masterpiece and the spotlight was on Colette.
If you’ve never heard what a mothers cry would sound like after her daughter died a young, brutal death — Colette offers the closest depiction to one.
A Best Picture nomination was hoped but the main performance was set to him big. She had taken home many independent film awards and the Oscars were next to conquer
But neither the film or Toni Colette walked home with even a nomination.
And neither did Lupita Nyong'o for her dual, mentally broken characters in Jordan Peele’s Us
The same goes for Florence Pugh’s howling, insane performance in Ari Aster’s second feature, Midsommar.
Well it’s easy to blame this on the basis of “Horror” — a particularly hard genre to adapt for awards as the balance between scaring audiences and presenting artistic credibility to critics is incredibly difficult.
Audiences loved Sinister’s provocative jump scares rather than the slow creeping disturbance of Hereditary with many going far as to call it boring.
But this wouldn’t explain the blatant snubbing of A Quiet Place or Hereditary and Midsommar over Bohemian Rhapsody and Greenbook.
Or even going further back to renowned masterpieces like The Shining, Psycho or Rosemary’s Baby who each all received similar treatment.
No, this problem with horror in the Oscars is much more of a deep cemented problem than one would think.
In 91 years, the Oscars have nominated 546 movies.
Out of them, just 6 were horror.
The Exorcist, Jaws, The Silence of the Lambs, The Sixth Sense, Black Swan and Get Out.
Even out of these 6, only Jaws and The Exorcist are truly horror, the rest are a more Oscar friendly “psychological thriller”.
Black Swan has a grand total of 3 scenes with a surprise and the rest is a psychological ballet drama.
The same goes for Get Out and The Silence of the Lambs, each screenwriter never even intended for their movie to be classified as horror.
Making a thriller is one of the only ways the academy will recognise a “horror” film.
“Real” Horror was never intended to be a critics genre, it was a one for the audiences and so it became a stigma in the industry — eventually, the bias against became widespread throughout the academy and horror blossomed into a genre that the oscars recognise.
It took 44 years for the first horror to be nominated, turning many others’ way in the process.
The strange, disturbing essence of horror turned away voters seeking something more relevant to the high art and thus deeming them undeserving of it’s recognition.
Horror is not safe art, it is different, perhaps they fear that.
While truly horror films have crossed the bridge between irrelevant scares to genuinely great movies, the Academy’s bias is still relevant to this day, thus many future classics in horror becoming largely ignored.
Despite advancing story telling medium or being an exceptional film, the bias allows academy voters to dismiss them to this day.
Why should Meryl Streep be nominated for her 21st oscars in a safe, oscar friendly drama like The Post rather than Toni Colettes brutal multilayered performance in a horror?
Ask the Academy.
To deny Horror movies is to deny great works of art.
Horror movies do not win any Oscars because the oscar voters are scared of horror.
I think it’s time the Academy overcomes this fear.
And my personal reson why I hate Oscars is why they are totally biased towards motivational and stand alone movies they hate SuperHero movies as well as Horror movie .
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