Greta Gerwig's omission from best director category reinforces her film’s assertion that creative women are not celebrated as much as men, argue authors.
The Oscars have long represented a way for the American film industry to celebrate and market its achievements.
Even when there are surprising wins, like this year’s top awards sweep by South Korean film Parasite, the Oscars tell us more about the values of the industry or what it wants to say than what might objectively be called a “best” picture or achievement.
Indeed, the optics of this year’s Oscars represented liberal “inclusion” at its peak, with Janelle Monáe and Billy Porter kicking off the show. There was also a land acknowledgment by Maori Indigenous screenplay award-winner Taika Waititi, and many of the announcers were white women or people of colour—in a year of a largely white and male nominees.
Nevertheless, it was surprising that the Academy of Motion Picture Arts and Sciences snubbed Greta Gerwig in the categor...