Is the Oscars category for "Best Original Score" fit for purpose (Term Paper Sample)

Oscar’s category for "Best Original Score"
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Abstract
This discussion embarks on an in depth comparative analysis of three film music two of which won the BOS and one disqualified on controversial grounds. It is argued that BOScriteria for awarding film musicians does not reflect contemporary compositional procedures. When judgments are based on the unexplained concept of originality alone, it becomes difficult to acknowledge the creative genius of film music practice.
Keywords: Oscars, Best, Original, Film, Music, Award, Scor.
Introduction
The motion pictures academy present awards for different categories, which collectively are a measure of entertainment success in the US and the rest of the world. Although the Oscars are predominantly predicated on motion pictures and film, music is also a significant aspect of making movies, and thus must also be recognised. However, the acknowledgment of music distinctly in award shows such as the Grammys is different from that in Oscars. The objective of this study is to explore whether the Oscars’ category for the best original score is fit for its purpose. Specifically, the research will evaluate whether the best original score (for the sake of this study, referred to as BOS) award reflect the realities of the contemporary movie industry. The research will analyse three critical films nominated in the category and compare how the chosen songs reflect, or fails to relate to the reality of working relationships between composer and directors.
Background
Since the 1970s an era characterized by innovation and creativity in the film music industry, Hollywood has turned into a complex and a sophisticated site of cinematic art (19). Greater combinations of sound exhibiting a wider spectrum of volume, tone, and texture can be heard at the movies more than it has ever happened, while behind the scene, the combination of professionals working on these pieces has increased a great deal. The result has been a proliferation of different professional and artistic approaches to sound and motion (19). However, this paper argues that these scoring practices of creativity and innovation that characterize contemporary music are what the criteria of original scores at the Oscar academy has failed to recognize. The academy awards are based on "originality" a word that represents a complex territory in which disputednotions of originality in film score operate. This paper argues that the ontology of screen music has not been engaged with and adequately until the source of originality in film music will be understood. While it can be argued that originality is highly subjective, it can also be perceivedthat it is characterized by cultural disputes regarding what should be musically original within varied contexts.If originality is the only aspect with which to measure creativity, then
we risk not acknowledging innovation in film music when and where it is due.
Taking the film La-la Land (2016) which won the Best original score in (2016) andthe Animation Up (2009) which also won the BOS in 2010as examples juxtaposed against Birdman (2014)which was disqualified for the BOSawards for controversial reasons, the discussion will draw on a range of accounts to justify that even though Academyawards have been perceived as indicating the creative genius that underlies outstanding films, it is worth questioning whether such honors are a representation of the reality thatlie beneath the cinematic contributions. Questioning this is important more so when the creative and innovative force in the present-day score practices is only based on the subjective notion of “originality”.
To be able to support the thesis that BOS does not reflect contemporary film score practices, this discussion will explore creativity within the two primary musical disciplines that comprise cinematic scores: music (23). As asserted by Franklin (12). Music theory examines the mechanics behind the music itself (23). How is the music organized, why and how does it affect us the way it does? Scholars have examined a wide range of aspects within the body of music theory which includes: tonal, motivic, and transformational tools of analysis (1) ,( 11).
In this research, however, there is no specific aspect within the body of music theory with which to dwell and stress on in analyzing the three cases. Instead of choosing a direction that seeks to pick specific aspects in music theory for analyzing creativity and originality across the three musical cases, this study treats the concept of film music analysis as a sophisticated multifaceted whole thereby making it possible to incorporatea wide range of factors of music theory to explore the creative and innovative force that characterize film music practice.
History of Best Original Score Category
The Academy of Motion Picture Arts and Sciences (AMPAS) presents the award for best original score annually to recognise an essential genre of music that was written and "performed specifically for a film" to underscore a dramatic undertone (AMPAS,2019). Although the definition above is the acceptable description of BOS, AMPAS (2019) notes that the rules of eligibility for score consideration in the category may vary depending on the developments in the industry. According to Lochner (15), the category of recognition for the role of music in films at the Oscars started in 1935 with the original name of "best scoring." The criteria for eligibility at the time was rudimentary since winners and nominees involved a mixture of preexisting musical material and innovative creations. In contrast, the definition of BOS for the 86th AMPAS (2019) awards included three factors, “an original score, song or musical.”