Founder of Keyrestina Publishing | Writing Narratives for the Underrepresented in STEM
Excellent repost by Brendan Walker at MediaLink about the decline of the “Oscar Bump” film! The original article was written by Scott Mendelson of Puck News. This conversation begs a deeper exploration, particularly concerning the opportunities and implications for Black creatives in an era where the conventional mechanisms of movie production and the monopolistic grip of narrative control by the industry’s elite are increasingly challenged. For Black creatives, who have long been marginalized by an industry that favors narratives that are often disconnected, oversimplified, or outright dismissive of the richness and complexity of Black experiences, this shift represents a beacon of hope. The decline of the “Oscar Bump” film signals a crack in the once-impenetrable facade of an industry that has historically prioritized a narrow range of stories, perspectives, and storytellers. The unexpected success of films like “Barbie” and “Oppenheimer” underscores a pivotal turning point: the audience’s power to redefine success in cinema, beyond the narrow confines of studio endorsements or celebrity-driven narratives. “Barbie,” in particular, serves as a testament to the transformative potential of film, challenging preconceived notions and sparking meaningful conversations among viewers, young and old alike. It exemplifies how movies, at their core, are about humanity, dialogue, and the diverse tapestry of human experiences, rather than the corporate or elitist agendas that have long dominated the industry. For Black creatives, this evolution opens up new avenues for storytelling that were previously deemed unviable or unmarketable by mainstream studios. The democratization of content creation, fueled by advancements in technology such as AI for short-form video production and scriptwriting, presents an unprecedented opportunity for Black voices to be heard, stories to be shared, and narratives to be redefined on their own terms. This is not to say that the path forward is without its challenges. However, the changing landscape of the film industry, coupled with the global market’s growing indifference to the traditional gatekeepers of cinematic acclaim, indicates that the barriers to entry for Black creatives are not as insurmountable as they once were. It calls for a collective effort to leverage these shifts, foster inclusive storytelling, and ensure that the narratives of Black creatives are no longer sidelined but are celebrated and integrated into the fabric of global cinema. In essence, the decline of the “Oscar Bump” film not only marks the end of an era but heralds the beginning of a more inclusive, diverse, and authentic cinematic world where Black creatives have the opportunity to carve out their own space, tell their own stories, and redefine the narrative on their own terms.
As we are now halfway through one of the worst months at the global box office in recent memory, I wanted to share this incredibly insightful reporting from Scott Mendelson on the death of the "Oscar Bump." Though the Academy is often criticized for awarding movies the masses don't see, Best Picture winners have historically hit high earnings marks at a consistent clip. From 2010 to 2020, 7 of the 10 Academy Awards' Best Picture winners cleared at least 100 million dollars at the worldwide box office; 5 of those 7 hit totals greater than 160 million. More often than not, the word of mouth awards prestige generated was enough to quadruple returns on production budgets. The box office decline precipitated by Covid has only accelerated a prestige market grappling with shorter theatrical windows, streamer dominated festival circuits, and carriage licensing deals between those same streamers and specialty distributors. Barbie and Oppenheimer are more likely exceptions to current market conditions, rather than the return to awards season normalcy I and other chronically online cinephiles were hoping for. If you've got a second... give Scott a read!
