For Your Information, Volume 4 Number 2, January 1951 |
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ACADEMY OF MOTION PICTURE ARTS AND SCIENCES'
Vol 4; No.2 9038 MELROSE AVENUE • HOLLYWOOD 46, CALIF. January, 1951
Dear Academy Member:
This issue of "For Your Information" has informative value only if you will .do a little
homework. We are enclosing herewith a copy of the Master Book of Rules for Balloting in all
branches of the Academy, and our pamphlet, '''Academy Awards", which gives a complete
record of Academy winners in all categories since the first Awards in 1929.
We urge you to study the rules, because we believe many of our members have only a hazy
idea of how the nominations given to them on the final ballot are chosen.
The intelligent selection of nominations is our earliest concern at Academy Award time,
and we think you should be familiar with the procedures involved. Only if you are aware of
them can you understand why Academy Awards, approached with this kind of scrupulous care,
maintain over the years an importance which other awards and citations never achieve.
You will find our second enclosure useful in settling arguments about who won what and
when (desperate calls for such information come to our office constantly), but our principal
reasoo for mailing it to you is our great pride in the over-all voting record of Academy members.
Compulsory reading of this list is suggested to anyone who tries to hint that a studio
employing a large number of our members has a better chance at an Award than an independent
unit. To cite a few outstanding evidences: David Selznick as an independent won the
Best Picture Award for REBECCA and many other Academy honors including the Thalberg
Award, as did Sam Goldwyn who also won the Best Picture Award for THE BEST YEARS OF
OUR LIVES. Alexander Korda, Robert Rossen, and Walter Wanger are other independent producers
whose pictures have been honored by the Academy without benefit of studio backing.
J. Arthur Rank, a Britisher, with no United States production unit, sent us HAMLET to win
as Best Production of the Year, and also for Best Performance by an Actor. It becomes
pretty clear that our members vote for what's up there on the screen, and not for the product
of their bosses.
This objectivity has proven to be a constant in our Academy voting. For it to be fully
effective, it is necessary for our members to see all the pictures nominated for achievements.
They will be screened afternoons and evenings in our own theatre Fe.bruary 18th through
March 11th and we urge you to see the pictures you have not seen, and refresh your memory
of those on which your recollection is not clear.
Continued on page 4
Object Description
| Title | For Your Information, Volume 4 Number 2, January 1951 |
| Description | Pages 1-4. Member newsletter. |
| Subject |
Academy of Motion Picture Arts and Sciences--Periodicals [lcsh] Motion picture industry--Periodicals [lcsh] |
| Format | periodical |
| Catalog Record | http://catalog.oscars.org/vwebv/holdingsInfo?bibId=52835 |
| Publisher | Academy of Motion Picture Arts and Sciences |
| Date | January 1951 |
| Source | AMPAS Reference collection |
| Repository | Margaret Herrick Library, Academy of Motion Picture Arts and Sciences |
| Rights | Copyright Academy of Motion Picture Arts and Sciences. For research or educational use only. |
| Local Topic | Member newsletters |
Description
| Title | For Your Information, Volume 4 Number 2, January 1951 |
| Description | Page 1 |
| Subject |
Academy of Motion Picture Arts and Sciences--Periodicals [lcsh] Motion picture industry--Periodicals [lcsh] |
| Format | periodical |
| Date | January 1951 |
| Full text | ACADEMY OF MOTION PICTURE ARTS AND SCIENCES' Vol 4; No.2 9038 MELROSE AVENUE • HOLLYWOOD 46, CALIF. January, 1951 Dear Academy Member: This issue of "For Your Information" has informative value only if you will .do a little homework. We are enclosing herewith a copy of the Master Book of Rules for Balloting in all branches of the Academy, and our pamphlet, '''Academy Awards", which gives a complete record of Academy winners in all categories since the first Awards in 1929. We urge you to study the rules, because we believe many of our members have only a hazy idea of how the nominations given to them on the final ballot are chosen. The intelligent selection of nominations is our earliest concern at Academy Award time, and we think you should be familiar with the procedures involved. Only if you are aware of them can you understand why Academy Awards, approached with this kind of scrupulous care, maintain over the years an importance which other awards and citations never achieve. You will find our second enclosure useful in settling arguments about who won what and when (desperate calls for such information come to our office constantly), but our principal reasoo for mailing it to you is our great pride in the over-all voting record of Academy members. Compulsory reading of this list is suggested to anyone who tries to hint that a studio employing a large number of our members has a better chance at an Award than an independent unit. To cite a few outstanding evidences: David Selznick as an independent won the Best Picture Award for REBECCA and many other Academy honors including the Thalberg Award, as did Sam Goldwyn who also won the Best Picture Award for THE BEST YEARS OF OUR LIVES. Alexander Korda, Robert Rossen, and Walter Wanger are other independent producers whose pictures have been honored by the Academy without benefit of studio backing. J. Arthur Rank, a Britisher, with no United States production unit, sent us HAMLET to win as Best Production of the Year, and also for Best Performance by an Actor. It becomes pretty clear that our members vote for what's up there on the screen, and not for the product of their bosses. This objectivity has proven to be a constant in our Academy voting. For it to be fully effective, it is necessary for our members to see all the pictures nominated for achievements. They will be screened afternoons and evenings in our own theatre Fe.bruary 18th through March 11th and we urge you to see the pictures you have not seen, and refresh your memory of those on which your recollection is not clear. Continued on page 4 |
