Golden Globe: awarding or restraining art?

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With the announcement of the Golden Globe winners this year, the media inevitably splashes out in stories from the most mundane repetition of the winners, to the painfully more mundane Daily Mail ‘scoop’ that ‘Jennifer Lawrence was thrashed the night before the Golden Globes’. As the awards are shared and spread, actors, producers, and those other people who get awarded during the interval for bizarre things like sound editing, rejoice in the recognition. Then the moment is gone, and they all gear up for the Oscar nominations.

Since the early post-war period, the circle of cinema-making has been dictated and defined by this period. Any film intending to be considered as a serious and self-aware creation has had to ensure it is released in the period of consideration for the Oscars, and preferably not win Best Drama at the Globes.  Because, when journalists agree too much, they go on to realise they may be wrong.

What does not seem to be questioned as thoroughly as perhaps it should be is: why have such institutions been awarded with the ubiquitous voice of cinema? In fact, it seems difficult to recall them ever winning an award in their own right – it is ironic to think they have never been acknowledged by their own system of worth-attachment.

Rather than launching into the question of whether we should, at all, try to create any omniscient measure of cinematic quality, let us turn to the organisations themselves.

The Golden Globe award is given by the Hollywood Foreign Press Association. This organisation was founded by foreign journalists, based in Los Angeles, trying to raise the profile of overseas markets for cinema amid the turmoil of the Second World War. The group was originally led by none other than the British correspondent for the Daily Mail. 

The original intention, therefore, was not at all focused on cinema, or the art of picture-making. It was an attempt to improve the marketing strategy of Hollywood films abroad via access to top-end celebrities for interviews in local papers around the world.

Today, the Hollywood Foreign Press Association annually selects up to five journalists to join their prestigious ranks, and boasts a combined readership of over 250 million. In essence, these people are influential enough to have ensured these films are given a certain level of praise before they even reach the stage of award-giving. The fact these journalists are influential enough, however, seems somewhat counter intuative to the process of award giving. Namely, the worth of an award stands quite aside from a local newspaper review offering praise in the Telegraph. Yet, given the structure of the organisaiton, as nothing more than a conglomerate of those very same people behind the Telegraph, Le Figaro and Vogue reviews, the Golden Globes acknowledge nothing more than the fact several important people may have enjoyed the film.

Rather than necessarily encouraging film quality, and the death of the contrived rom-com (probably featuring Jennifer Aniston), the Golden Globes is a celebration of influence. The award ceremony is a ploy, initiated by journalists, to demonstrate the weight of their own opinion that will (in an ironically metaphysical twist) then be discussed even further in the media. It is media-led influence driving influencing media.

The films themselves are perhaps excellent, at times dire, but all in all perfectly acceptable. What they are certainly not is the life changing experiences suggested by the titles Golden Globe and Oscar.

Diane Keaton, for instance, accepted Woody Allan’s award for a lifetime achievement in writing, producing, and directing films, by noting that “Woody Allan films have changed the way we think about life.” Yes, somewhere between solving global warming and offering a military strategy for the colonisation of Antartica, Woody Allen films have also had me completely reconsider my epistemological conceptions of the world. So shaken was I, at the sight of Midnight in Paris, that I began to think of life not as the historically chronological and ordered thing that it is, but as the magically lyrical paradigm where people and events occur for my cinematic convenience. It’s done me wonders, really.

The more Golden Globes we hand out, the more we restrain cinema-makers to this seemingly inescapable globe of golden showbiz and loud noise. In fact, the best reaction a filmmaker could ever provoke is a simple, still, heavy, and thoughtful silence.

FEATURED PHOTO/ jdeeringdavis