'Brokeback Mountain' and 'Jurassic Park' are in the Library of Congress Now
Why Argo Might Win the Oscar for Best Picture (for All the Wrong Reasons)
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"disqusTitle": "'Brokeback Mountain' and 'Jurassic Park' are in the Library of Congress Now",
"title": "'Brokeback Mountain' and 'Jurassic Park' are in the Library of Congress Now",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Each year the Library of Congress adds 25 films to the National Film Registry, a list of motion pictures that it deems \"culturally, historically or aesthetically significant\" and thus recommended for preservation. The 2018 additions were announced Wednesday morning.\u003c/p>\n\u003cp>Among those added this year are Disney's \u003cem>Cinderella \u003c/em>(1950), Steven Spielberg's \u003cem>Jurassic Park \u003c/em>(1993), Ang Lee's\u003cem> Brokeback Mountain \u003c/em>(2005) and \u003cem>Hud \u003c/em>(1963), starring Paul Newman and Patricia Neal.\u003c/p>\n\u003cp>These movies, and the 21 other 2018 inductees, join \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\">the 725 already on the registry\u003c/a>. But before the inevitable arguments erupt, it is important to note that the Library of Congress does not intend for the collection to be read as a list of the best films in cinematic history. The movies chosen are instead meant to reflect American culture as compositions of consequence.\u003c/p>\n\u003cp>\"These cinematic treasures must be protected because they document our history, culture, hopes and dreams,\" Librarian of Congress Carla Hayden said.\u003c/p>\n\u003cp>While it is she who makes the ultimate selections on what gets added to the registry, the public is encouraged to make nominations and \u003ca href=\"https://www.research.net/r/national-film-registry-2017\">can do so online\u003c/a>. The films can be of any length, genre or style; the only requirement is that they be at least 10 years old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The contribution of the public likely helps the list achieve its mission of reflecting \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/frequently-asked-questions/\">\"who we are as a people and as a nation.\"\u003c/a>\u003c/p>\n\u003cp>Last year's selections seemed to follow an arc of nostalgia tailored to Generation X, who grew up with \u003cem>The\u003c/em> \u003cem>Goonies \u003c/em>(1985), enjoyed \u003cem>Die Hard\u003c/em> (1988) in the audaciousness of early adulthood, and was ready for some non-traditional storytelling and reflection with 2000's \u003cem>Momento. \u003c/em>\u003c/p>\n\u003cp>This year's selections seem to reflect a generation featuring an evolving and more diverse cast of characters.\u003c/p>\n\u003cp>A cinematic story with a motif of oral storytelling, the 2018 inductee \u003ca href=\"https://www.imdb.com/title/tt0120321/\">\u003cem>Smoke Signals \u003c/em>\u003c/a>(1998) is thought to be the first movie written, directed, co-produced and acted by Native Americans.\u003c/p>\n\u003cp>The portrayal of Native American life in the film is far from static and does not exist in a space separate from the broader pop culture narratives of Americana. This is perhaps best represented by \u003ca href=\"https://www.youtube.com/watch?v=xPnV2392Tck\">the iconic song improvised from the back of a bus\u003c/a> by the film's protagonists about John Wayne's mysterious teeth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xPnV2392Tck\u003c/p>\n\u003cp>The lighthearted take on more modern Native American life is contrasted by \"a masterpiece of modern horror\"—a film with a subliminal message \u003ca href=\"https://www.youtube.com/watch?v=FLjixsUEj5E\">written to an audience looking in the mirror\u003c/a> at the atrocities of their colonialist past.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FLjixsUEj5E\u003c/p>\n\u003cp>Stanley Kubrick's \u003ca href=\"https://www.imdb.com/title/tt0081505/\">\u003cem>The Shining\u003c/em>\u003c/a> (1980) joins a few of the director's other classics on the registry such as \u003cem>2001: A Space Odyssey \u003c/em>(1968)\u003cem>, Dr. Strangelove \u003c/em>(1964) and \u003cem>Spartacus \u003c/em>(1960)\u003cem>.\u003c/em>\u003c/p>\n\u003cp>The horror movie's terrifying representation of the ghosts of western racism and imperialism \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/style/1987/07/12/kubricks-shining-secret/a7e3433d-e92e-4171-b46f-77817f1743f0/?utm_term=.a2faaf4c2c3e\">has been widely commented on\u003c/a>.\u003c/p>\n\u003cp>It is set in a hotel supposedly located on \"an Indian burial ground,\" ends with an eerie photo of Jack Torrance (Jack Nicholson) dated July 4, and includes only one actual murder, which is of the hotel's head cook—the only African American character.\u003c/p>\n\u003cp>Four years after the premiere of \u003cem>The Shining\u003c/em>, filmmaker Ayoka Chenzira made \u003cem>Hair Piece: A Film for Nappy-Headed People\u003c/em> in 1984.\u003c/p>\n\u003cp>She was inspired after observing African American people in \u003ca href=\"https://vimeo.com/259319228\">\"banks, in grocery stores, in the supermarket\" \u003c/a>with shower caps on.\u003c/p>\n\u003cp>\"The Jheri curl was a very popular hairstyle in the '80s. It was this perm, this relaxer, that was said to take hair that was woolly, wild, kinky and beautifully nappy and change the texture of it so that it would be more manageable,\" she said. \"You were supposed to sleep in this shower cap in order for the full activation process to happen.\"\u003c/p>\n\u003cp>The visuals in the animated short are created with mixed media, using a combination of collage and hand drawn images to illustrate the story.\u003c/p>\n\u003cp>\"I intentionally made the film as animation because I wasn't interested in finger pointing. I wasn't interested in telling people you should wear your hair like this or you should not wear your hair like this,\" Chenzira said. \"But I thought it was a wonderful opportunity to talk about the differences between the ritual of adornment because you already think something is very beautiful versus fixing something because someone else has told you that it's not beautiful.\"\u003c/p>\n\u003cp>Speaking of something beautiful, \u003cem>Something Good—Negro Kiss \u003c/em>is the oldest film of this year's inductees. \"Shot in 1898, it is the earliest known footage of black intimacy on screen,\" according to the Library of Congress.\u003c/p>\n\u003cp>The film is 29 seconds and was discovered and publicized by the University of Southern California's Dino Everett and University of Chicago's Allyson Nadia Field.\u003c/p>\n\u003cp>\"What makes this film so remarkable is the non-caricatured representation and naturalistic performance of the couple,\" Field said, adding the actors' playful and repeated kissing constitutes \"a significant counter to the racist portrayal of African Americans otherwise seen in the cinema of its time. This film stands as a moving and powerful image of genuine affection, and is a landmark of early film history.\"\u003c/p>\n\u003cp>Jumping from the 19th century to the 21st but remaining with non-caricatured representations, \u003ca href=\"https://www.imdb.com/title/tt0388795/\">\u003cem>Brokeback Mountain\u003c/em>\u003c/a>, selected this year, is the most modern of the entire registry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2KF7DAlM4E\u003c/p>\n\u003cp>The winner of the three Academy Awards in 2006, including best directing and best adapted screenplay, the film depicts a tragic gay love affair between two ranch hands. Roger Ebert said that it has been described as \u003ca href=\"https://www.rogerebert.com/reviews/brokeback-mountain-2005\">\"a gay cowboy movie,\"\u003c/a> which the late critic then criticizes as \"a cruel simplification.\"\u003c/p>\n\u003cp>Starring Jake Gyllenhaal and Heath Ledger as the cowboys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5046849\">NPR's Bob Mondello\u003c/a> said at the time that while the characters are unique in their sexual identities, their development fits the genre.\u003c/p>\n\u003cp>\"Rugged individuals stoically facing longing, and loss,\" the film critic said. \"It also describes a lot of westerns, if you make allowances for the kind of longing.\"\u003c/p>\n\u003cp>Mondello agreed with Ebert that the film is much more than a gay cowboy flick, and he added that it even advances the western genre beyond its mainstays of brave protagonists and arresting landscapes.\u003c/p>\n\u003cp>\"With iconic heroes, silhouetted against spectacular scenery, pondering questions movie cowboys seldom ask,\" he said, \u003cem>Brokeback Mountain \u003c/em>is a \"sad story, terrific movie.\"\u003c/p>\n\u003cp>Here's the full list of the 2018 additions:\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Bad Day at Black Rock\u003c/em> (1955)\u003c/li>\n\u003cli>\u003cem>Broadcast News \u003c/em>(1987)\u003c/li>\n\u003cli>\u003cem>Brokeback Mountain\u003c/em> (2005)\u003c/li>\n\u003cli>\u003cem>Cinderella \u003c/em>(1950)\u003c/li>\n\u003cli>\u003cem>Days of Wine and Roses\u003c/em> (1962)\u003c/li>\n\u003cli>\u003cem>Dixon-Wanamaker Expedition to Crow Agency \u003c/em>(1908)\u003c/li>\n\u003cli>\u003cem>Eve's Bayou \u003c/em>(1997)\u003c/li>\n\u003cli>\u003cem>The Girl Without a Soul\u003c/em> (1917)\u003c/li>\n\u003cli>\u003cem>Hair Piece: A Film for Nappy-Headed People\u003c/em> (1984)\u003c/li>\n\u003cli>\u003cem>Hearts and Minds\u003c/em> (1974)\u003c/li>\n\u003cli>\u003cem>Hud \u003c/em>(1963)\u003c/li>\n\u003cli>\u003cem>The Informer\u003c/em> (1935)\u003c/li>\n\u003cli>\u003cem>Jurassic Park\u003c/em> (1993)\u003c/li>\n\u003cli>\u003cem>The Lady From Shanghai\u003c/em> (1947)\u003c/li>\n\u003cli>\u003cem>Leave Her to Heaven\u003c/em> (1945)\u003c/li>\n\u003cli>\u003cem>Monterey Pop\u003c/em> (1968)\u003c/li>\n\u003cli>\u003cem>My Fair Lady\u003c/em> (1964)\u003c/li>\n\u003cli>\u003cem>The Navigator\u003c/em> (1924)\u003c/li>\n\u003cli>\u003cem>On the Town \u003c/em>(1949)\u003c/li>\n\u003cli>\u003cem>One-Eyed Jacks\u003c/em> (1961)\u003c/li>\n\u003cli>\u003cem>Pickup on South Street\u003c/em> (1953)\u003c/li>\n\u003cli>\u003cem>Rebecca\u003c/em> (1940)\u003c/li>\n\u003cli>\u003cem>The Shining\u003c/em> (1980)\u003c/li>\n\u003cli>\u003cem>Smoke Signals\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>Something Good – Negro Kiss\u003c/em> (1898)\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On Wednesday, December 12th at 8 p.m. Turner Classic Movies (TCM) will air selection of films named to the registry this year; select titles from the entire National Film Registry are \u003ca href=\"https://www.loc.gov/collections/selections-from-the-national-film-registry/?sp=1\">available online\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jurassic+Park%2C%27+%27The+Shining%2C%27+And+23+Other+Movies+Added+To+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year the Library of Congress adds 25 films to the National Film Registry, a list of motion pictures that it deems \"culturally, historically or aesthetically significant\" and thus recommended for preservation. The 2018 additions were announced Wednesday morning.\u003c/p>\n\u003cp>Among those added this year are Disney's \u003cem>Cinderella \u003c/em>(1950), Steven Spielberg's \u003cem>Jurassic Park \u003c/em>(1993), Ang Lee's\u003cem> Brokeback Mountain \u003c/em>(2005) and \u003cem>Hud \u003c/em>(1963), starring Paul Newman and Patricia Neal.\u003c/p>\n\u003cp>These movies, and the 21 other 2018 inductees, join \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\">the 725 already on the registry\u003c/a>. But before the inevitable arguments erupt, it is important to note that the Library of Congress does not intend for the collection to be read as a list of the best films in cinematic history. The movies chosen are instead meant to reflect American culture as compositions of consequence.\u003c/p>\n\u003cp>\"These cinematic treasures must be protected because they document our history, culture, hopes and dreams,\" Librarian of Congress Carla Hayden said.\u003c/p>\n\u003cp>While it is she who makes the ultimate selections on what gets added to the registry, the public is encouraged to make nominations and \u003ca href=\"https://www.research.net/r/national-film-registry-2017\">can do so online\u003c/a>. The films can be of any length, genre or style; the only requirement is that they be at least 10 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The contribution of the public likely helps the list achieve its mission of reflecting \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/frequently-asked-questions/\">\"who we are as a people and as a nation.\"\u003c/a>\u003c/p>\n\u003cp>Last year's selections seemed to follow an arc of nostalgia tailored to Generation X, who grew up with \u003cem>The\u003c/em> \u003cem>Goonies \u003c/em>(1985), enjoyed \u003cem>Die Hard\u003c/em> (1988) in the audaciousness of early adulthood, and was ready for some non-traditional storytelling and reflection with 2000's \u003cem>Momento. \u003c/em>\u003c/p>\n\u003cp>This year's selections seem to reflect a generation featuring an evolving and more diverse cast of characters.\u003c/p>\n\u003cp>A cinematic story with a motif of oral storytelling, the 2018 inductee \u003ca href=\"https://www.imdb.com/title/tt0120321/\">\u003cem>Smoke Signals \u003c/em>\u003c/a>(1998) is thought to be the first movie written, directed, co-produced and acted by Native Americans.\u003c/p>\n\u003cp>The portrayal of Native American life in the film is far from static and does not exist in a space separate from the broader pop culture narratives of Americana. This is perhaps best represented by \u003ca href=\"https://www.youtube.com/watch?v=xPnV2392Tck\">the iconic song improvised from the back of a bus\u003c/a> by the film's protagonists about John Wayne's mysterious teeth.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xPnV2392Tck'\n title='//www.youtube.com/embed/xPnV2392Tck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lighthearted take on more modern Native American life is contrasted by \"a masterpiece of modern horror\"—a film with a subliminal message \u003ca href=\"https://www.youtube.com/watch?v=FLjixsUEj5E\">written to an audience looking in the mirror\u003c/a> at the atrocities of their colonialist past.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FLjixsUEj5E'\n title='//www.youtube.com/embed/FLjixsUEj5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stanley Kubrick's \u003ca href=\"https://www.imdb.com/title/tt0081505/\">\u003cem>The Shining\u003c/em>\u003c/a> (1980) joins a few of the director's other classics on the registry such as \u003cem>2001: A Space Odyssey \u003c/em>(1968)\u003cem>, Dr. Strangelove \u003c/em>(1964) and \u003cem>Spartacus \u003c/em>(1960)\u003cem>.\u003c/em>\u003c/p>\n\u003cp>The horror movie's terrifying representation of the ghosts of western racism and imperialism \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/style/1987/07/12/kubricks-shining-secret/a7e3433d-e92e-4171-b46f-77817f1743f0/?utm_term=.a2faaf4c2c3e\">has been widely commented on\u003c/a>.\u003c/p>\n\u003cp>It is set in a hotel supposedly located on \"an Indian burial ground,\" ends with an eerie photo of Jack Torrance (Jack Nicholson) dated July 4, and includes only one actual murder, which is of the hotel's head cook—the only African American character.\u003c/p>\n\u003cp>Four years after the premiere of \u003cem>The Shining\u003c/em>, filmmaker Ayoka Chenzira made \u003cem>Hair Piece: A Film for Nappy-Headed People\u003c/em> in 1984.\u003c/p>\n\u003cp>She was inspired after observing African American people in \u003ca href=\"https://vimeo.com/259319228\">\"banks, in grocery stores, in the supermarket\" \u003c/a>with shower caps on.\u003c/p>\n\u003cp>\"The Jheri curl was a very popular hairstyle in the '80s. It was this perm, this relaxer, that was said to take hair that was woolly, wild, kinky and beautifully nappy and change the texture of it so that it would be more manageable,\" she said. \"You were supposed to sleep in this shower cap in order for the full activation process to happen.\"\u003c/p>\n\u003cp>The visuals in the animated short are created with mixed media, using a combination of collage and hand drawn images to illustrate the story.\u003c/p>\n\u003cp>\"I intentionally made the film as animation because I wasn't interested in finger pointing. I wasn't interested in telling people you should wear your hair like this or you should not wear your hair like this,\" Chenzira said. \"But I thought it was a wonderful opportunity to talk about the differences between the ritual of adornment because you already think something is very beautiful versus fixing something because someone else has told you that it's not beautiful.\"\u003c/p>\n\u003cp>Speaking of something beautiful, \u003cem>Something Good—Negro Kiss \u003c/em>is the oldest film of this year's inductees. \"Shot in 1898, it is the earliest known footage of black intimacy on screen,\" according to the Library of Congress.\u003c/p>\n\u003cp>The film is 29 seconds and was discovered and publicized by the University of Southern California's Dino Everett and University of Chicago's Allyson Nadia Field.\u003c/p>\n\u003cp>\"What makes this film so remarkable is the non-caricatured representation and naturalistic performance of the couple,\" Field said, adding the actors' playful and repeated kissing constitutes \"a significant counter to the racist portrayal of African Americans otherwise seen in the cinema of its time. This film stands as a moving and powerful image of genuine affection, and is a landmark of early film history.\"\u003c/p>\n\u003cp>Jumping from the 19th century to the 21st but remaining with non-caricatured representations, \u003ca href=\"https://www.imdb.com/title/tt0388795/\">\u003cem>Brokeback Mountain\u003c/em>\u003c/a>, selected this year, is the most modern of the entire registry.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g2KF7DAlM4E'\n title='//www.youtube.com/embed/g2KF7DAlM4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The winner of the three Academy Awards in 2006, including best directing and best adapted screenplay, the film depicts a tragic gay love affair between two ranch hands. Roger Ebert said that it has been described as \u003ca href=\"https://www.rogerebert.com/reviews/brokeback-mountain-2005\">\"a gay cowboy movie,\"\u003c/a> which the late critic then criticizes as \"a cruel simplification.\"\u003c/p>\n\u003cp>Starring Jake Gyllenhaal and Heath Ledger as the cowboys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5046849\">NPR's Bob Mondello\u003c/a> said at the time that while the characters are unique in their sexual identities, their development fits the genre.\u003c/p>\n\u003cp>\"Rugged individuals stoically facing longing, and loss,\" the film critic said. \"It also describes a lot of westerns, if you make allowances for the kind of longing.\"\u003c/p>\n\u003cp>Mondello agreed with Ebert that the film is much more than a gay cowboy flick, and he added that it even advances the western genre beyond its mainstays of brave protagonists and arresting landscapes.\u003c/p>\n\u003cp>\"With iconic heroes, silhouetted against spectacular scenery, pondering questions movie cowboys seldom ask,\" he said, \u003cem>Brokeback Mountain \u003c/em>is a \"sad story, terrific movie.\"\u003c/p>\n\u003cp>Here's the full list of the 2018 additions:\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Bad Day at Black Rock\u003c/em> (1955)\u003c/li>\n\u003cli>\u003cem>Broadcast News \u003c/em>(1987)\u003c/li>\n\u003cli>\u003cem>Brokeback Mountain\u003c/em> (2005)\u003c/li>\n\u003cli>\u003cem>Cinderella \u003c/em>(1950)\u003c/li>\n\u003cli>\u003cem>Days of Wine and Roses\u003c/em> (1962)\u003c/li>\n\u003cli>\u003cem>Dixon-Wanamaker Expedition to Crow Agency \u003c/em>(1908)\u003c/li>\n\u003cli>\u003cem>Eve's Bayou \u003c/em>(1997)\u003c/li>\n\u003cli>\u003cem>The Girl Without a Soul\u003c/em> (1917)\u003c/li>\n\u003cli>\u003cem>Hair Piece: A Film for Nappy-Headed People\u003c/em> (1984)\u003c/li>\n\u003cli>\u003cem>Hearts and Minds\u003c/em> (1974)\u003c/li>\n\u003cli>\u003cem>Hud \u003c/em>(1963)\u003c/li>\n\u003cli>\u003cem>The Informer\u003c/em> (1935)\u003c/li>\n\u003cli>\u003cem>Jurassic Park\u003c/em> (1993)\u003c/li>\n\u003cli>\u003cem>The Lady From Shanghai\u003c/em> (1947)\u003c/li>\n\u003cli>\u003cem>Leave Her to Heaven\u003c/em> (1945)\u003c/li>\n\u003cli>\u003cem>Monterey Pop\u003c/em> (1968)\u003c/li>\n\u003cli>\u003cem>My Fair Lady\u003c/em> (1964)\u003c/li>\n\u003cli>\u003cem>The Navigator\u003c/em> (1924)\u003c/li>\n\u003cli>\u003cem>On the Town \u003c/em>(1949)\u003c/li>\n\u003cli>\u003cem>One-Eyed Jacks\u003c/em> (1961)\u003c/li>\n\u003cli>\u003cem>Pickup on South Street\u003c/em> (1953)\u003c/li>\n\u003cli>\u003cem>Rebecca\u003c/em> (1940)\u003c/li>\n\u003cli>\u003cem>The Shining\u003c/em> (1980)\u003c/li>\n\u003cli>\u003cem>Smoke Signals\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>Something Good – Negro Kiss\u003c/em> (1898)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Wednesday, December 12th at 8 p.m. Turner Classic Movies (TCM) will air selection of films named to the registry this year; select titles from the entire National Film Registry are \u003ca href=\"https://www.loc.gov/collections/selections-from-the-national-film-registry/?sp=1\">available online\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jurassic+Park%2C%27+%27The+Shining%2C%27+And+23+Other+Movies+Added+To+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Argo Might Win the Oscar for Best Picture (for All the Wrong Reasons)",
"title": "Why Argo Might Win the Oscar for Best Picture (for All the Wrong Reasons)",
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"content": "\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-title-real/\" rel=\"attachment wp-att-1608\">\u003cimg class=\"aligncenter size-full wp-image-1608\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-title-real.jpeg\" alt=\"argo title real\" width=\"642\" height=\"398\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real.jpeg 642w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real-400x247.jpeg 400w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003c/a>Well fellow cinephiles, this could be 2006 all over again. Has it been seven years since (that \u003ca href=\"http://www.youtube.com/watch?v=tfQs7WbVse8\">train wreck\u003c/a> of a movie) \u003cem>Crash\u003c/em> beat out the elegant favorite \u003cem>Brokeback Mountain\u003c/em>? Each week up until about mid-January the Oscar race for Best Picture flip-flopped from movie to movie. Before \u003cem>Les Miserables\u003c/em> even hit the screen, it was hailed as the movie to beat and then everyone went to see it on Christmas and walked out of the theatre confused and pretty sure they could \u003ca href=\"http://www.cinemablend.com/new/Your-Consideration-Les-Miserables-Lost-Best-Picture-Moment-Russell-Crowe-Opened-His-Mouth-35824.html\">sing better\u003c/a> than Russell Crowe. Now \u003cem>Argo\u003c/em>, the Ben Affleck-director-political-suspense-thriller-based-on-a-true story is the front-runner that’s here to stay. In a race where the other eight nominated films have the honest qualities of a true winner, it could all end up in the hands of \u003cem>Argo\u003c/em>. Here are a few potential reasons why \u003cem>Argo\u003c/em> might end up taking home that little golden dude:\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-1-edit/\" rel=\"attachment wp-att-1597\">\u003cimg class=\"aligncenter size-full wp-image-1597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-1-edit.jpeg\" alt=\"argo 1 edit\" width=\"600\" height=\"366\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit-400x244.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>1. Because it’s a bro’s bro.\u003c/strong>\u003cbr>\n“So, have you seen \u003cem>Argo\u003c/em> yet?” the frat dude says as he leans into her at the bar, his breath smelling of Red Bull and disdain. As if! \u003cem>Zero Dark Thirty\u003c/em> has quite the package: suspense, action, foreign intrigue, even torture, but what it’s lacking is, of course, a strong male lead like Ben Affleck. It’s a shame the strength and competence of \u003ca href=\"http://25.media.tumblr.com/tumblr_lxvwq8cKaT1qz9xvjo1_r4_500.gif\">Jessica Chastain\u003c/a>’s character Maya cannot compete with Affleck’s Tony Mendez, otherwise \u003cem>ZDT\u003c/em> would be a shoe-in for the boys of \u003ca href=\"http://1.bp.blogspot.com/_vY8I5HvOvk8/SZCgRYVhgvI/AAAAAAAACfQ/LaijRaIYR54/s320/revenge-of-the-nerds.jpg\">Alpha Beta\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-2/\" rel=\"attachment wp-att-1598\">\u003cimg class=\"aligncenter size-full wp-image-1598\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-2.jpeg\" alt=\"argo 2\" width=\"702\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2.jpeg 702w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2-400x247.jpeg 400w\" sizes=\"(max-width: 702px) 100vw, 702px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. Because it’s like \u003cem>The DaVinci Code\u003c/em> the book version.\u003c/strong>\u003cbr>\nDisclaimer: I have never read \u003cem>The DaVinci Code\u003c/em> nor have I seen the movie. However, I have paged through the book and what I do know is that it is compiled of very short, easy-to-read chapters that leave the reader wanting more. It is unlikely a film like \u003cem>Amour\u003c/em> can hold a candle. In \u003cem>Amour,\u003c/em> we glide through Georges and Anne’s home listlessly unearthing layers of wood and light: lives lived and love had. \u003cem>Argo\u003c/em> is the pleasure principle in its finest form, like a great pop song or the Kardashians (I still think \u003ca href=\"http://25.media.tumblr.com/tumblr_lv2zigvVNX1qzb62zo1_500.gif\">Kourtney\u003c/a> and Khloe have yet to really \u003cem>take\u003c/em> Miami); you want bubblegum and it delivers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-3-2/\" rel=\"attachment wp-att-1600\">\u003cimg class=\"aligncenter size-full wp-image-1600\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-31.jpeg\" alt=\"argo 3\" width=\"600\" height=\"348\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31-400x232.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>3. Because it’s Hollywood talking about Hollywood.\u003c/strong>\u003cbr>\n\u003cem>The Artist \u003c/em>took the award last year and deservedly so. The Academy might be on a streak. In \u003cem>Argo, \u003c/em>Affleck has made a movie within a movie. It’s all very meta but done in a very conventional manner. Instead of showing us what Hollywood can do, we are given \u003cem>Argo\u003c/em>, a movie showing us what Hollywood already does. \u003cem>Life of Pi\u003c/em> would be the perfect example of what it’s like to take cinema to an ultra-cinematic level. The shots are breathtaking: aerial views that \u003ca href=\"http://cdn1.screenrant.com/wp-content/uploads/Life-of-Pi-Ending-Explained.jpg\">isolate the ship \u003c/a>from our main character and a horizon where it is impossible to distinguish where the sky ends and the water begins. \u003cem>Life of Pi\u003c/em> is a truly lavish cinematic experience. The closest we get in \u003cem>Argo\u003c/em> is when scenes from the movie are set side-by-side with actual archival footage as though Affleck is saying: Look at how perfectly I recreated this, not a hair out of place!\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/django-real/\" rel=\"attachment wp-att-1609\">\u003cimg class=\"aligncenter size-full wp-image-1609\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/django-real.jpeg\" alt=\"django real\" width=\"650\" height=\"437\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real-400x268.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>4. Because it’s already nabbed the Golden Globe and the BAFTA.\u003c/strong>\u003cbr>\nThe past four years the \u003ca href=\"https://www.youtube.com/watch?v=nf8uDTUVx3Y\">BAFTA\u003c/a> has predicted the winner but the past four years there have been arguably clear winners. The Golden Globes are notorious for surprises and lucky for last year’s \u003cem>The Descendants\u003c/em>, the Globes split their best films into comedy and drama categories. But let’s jump back to another one of the \u003ca href=\"http://www.youtube.com/watch?v=3VKK2mskvtg\">biggest snubs\u003c/a> of Oscar history, \u003cem>Forrest Gump\u003c/em> winning over \u003cem>Pulp Fiction\u003c/em>. Tom Hanks and Ben Affleck are basically \u003ca href=\"http://25.media.tumblr.com/tumblr_lfan3psl611qb6180o1_500.jpg\">the same person\u003c/a>, handsome and likeable. Quentin did not win with \u003cem>Pulp Fiction\u003c/em> and will not win for \u003cem>Django Unchained\u003c/em>: too much witty dialogue, too much violence, too much outstanding acting.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-5/\" rel=\"attachment wp-att-1602\">\u003cimg class=\"aligncenter size-full wp-image-1602\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-5.jpeg\" alt=\"argo 5\" width=\"600\" height=\"401\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5-400x267.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. Because Ben Affleck somehow turned into The Little Engine That Could.\u003c/strong>\u003cbr>\nWe all remember when he and Matt Damon jumped on the stage way back in 1997 and thanked Southie or whatever. It was cute and we were happy and they were Hollywood nobodies that became \u003ca href=\"http://www.youtube.com/watch?v=d8RIS5GJqAg\">Hollywood somebodies\u003c/a> at that very moment. But that was like thirteen years ago and now Affleck has been denied a Best Director nomination and the world is in mourning. (I will not mention Kathryn Bigelow here.) Turn to \u003cem>Beasts of the Southern Wild\u003c/em>, note the modest budget, the non-actor actors, the no-name filmmakers, the huge courage.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-6/\" rel=\"attachment wp-att-1603\">\u003cimg class=\"aligncenter size-full wp-image-1603\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-6.jpeg\" alt=\"argo 6\" width=\"620\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6-400x258.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>6. Because it tackles a declassified government secret and that’s exciting.\u003c/strong>\u003cbr>\nWhat a caper! One of the most exciting things about \u003cem>Argo\u003c/em> is that while you’re watching it, you feel like you’re privy to this huge secret that the rest of world (in the movie) doesn’t know about. It was a secret and now it’s \u003ca href=\"http://www.slate.com/blogs/browbeat/2012/10/12/argo_true_story_the_facts_and_fiction_behind_the_ben_affleck_movie.html\">talked about\u003c/a> but only after government permission. That’s not going to bode well for \u003cem>Silver Linings Playbook\u003c/em> where they deal with the still very taboo topic of mental illness in a charming and funny way. And not since \u003ca href=\"http://www.youtube.com/watch?v=OpIYz8tfGjY\">\u003cem>Annie Hall\u003c/em>\u003c/a> has a true and nervous comedy won Best Picture and it has since become epic, in a subtle and graceful way. Perhaps they are hoping the same for \u003cem>Argo\u003c/em>, but like epic in more of a humdrum sort of way.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-7/\" rel=\"attachment wp-att-1604\">\u003cimg class=\"aligncenter size-full wp-image-1604\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-7.jpeg\" alt=\"argo 7\" width=\"743\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7.jpeg 743w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7-400x208.jpeg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>7. Because it makes you proud to be an American.\u003c/strong>\u003cbr>\n“This is the best bad idea we have, sir,” Tony Mendez tells his superior in \u003cem>Argo. \u003c/em>To disguise the hostages as filmmakers scouting locations for an upcoming sci-fi flick might just be crazy enough to work. It’s an out-of-the-box scheme that leaves you feeling happy you live in a country whose government allows for such creativity. The past two years have been somewhat Euro-centric with \u003cem>The King’s Speech\u003c/em> and \u003cem>The Artist \u003c/em>taking home the top prize, it’s about time the Academy picks a good-ole-fashioned stars-and-stripes-waving \u003ca href=\"http://a57.foxnews.com/global.fncstatic.com/static/managed/img/Entertainment/0/371/Armageddon.JPG\">piece of our history\u003c/a>. But what about \u003cem>Lincoln\u003c/em> you ask? Perhaps it is too well known a story or perhaps the plan is to dole out awards to Daniel Day Lewis, Stephen Spielberg, and Tony Kushner, leaving room for \u003cem>Argo\u003c/em>, cozy American \u003cem>Argo\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-8/\" rel=\"attachment wp-att-1605\">\u003cimg class=\"aligncenter size-full wp-image-1605\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-8.jpeg\" alt=\"argo 8\" width=\"650\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8-400x276.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>8. Because its flame is still burning hot.\u003c/strong>\u003cbr>\nThere’s no denying \u003cem>Argo’s\u003c/em> momentum. \u003cem>Les Miserables \u003c/em>was just as hot to trot (they’re singing live! \u003ca href=\"http://www.youtube.com/watch?feature=player_embedded&v=y4yxsRRnvkE\">Anne Hathaway\u003c/a> is brilliant!) in December but fizzled out by January. It’s a classic case of backlash and then backlash to the backlash and so on and so forth. Meanwhile \u003cem>Argo\u003c/em> quietly held its ground. No one has had very many issues with the actual content of the film, where movies like \u003cem>ZDT\u003c/em> and \u003cem>Django\u003c/em> made the news on a daily basis. Perhaps controversy will get you attention but won’t win you awards.\u003c/p>\n\u003cp>*\u003c/p>\n\u003cp>Look, \u003cem>Argo\u003c/em> is the huge favorite and I’ve accepted that. I’m not saying I will denounce the Oscars or award shows if \u003cem>Argo\u003c/em> wins. I mean, I’ll probably throw my hands in the air and give a big eye roll while shoving hummus into my mouth. But I suppose what’s oddly great about the Oscars is that no one was expecting \u003cem>Crash \u003c/em>to win in 2006, and it did.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In a race where the other eight nominated films have the honest qualities of a true winner, the Academy Award for Best Picture will probably go to Argo.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-title-real/\" rel=\"attachment wp-att-1608\">\u003cimg class=\"aligncenter size-full wp-image-1608\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-title-real.jpeg\" alt=\"argo title real\" width=\"642\" height=\"398\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real.jpeg 642w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real-400x247.jpeg 400w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003c/a>Well fellow cinephiles, this could be 2006 all over again. Has it been seven years since (that \u003ca href=\"http://www.youtube.com/watch?v=tfQs7WbVse8\">train wreck\u003c/a> of a movie) \u003cem>Crash\u003c/em> beat out the elegant favorite \u003cem>Brokeback Mountain\u003c/em>? Each week up until about mid-January the Oscar race for Best Picture flip-flopped from movie to movie. Before \u003cem>Les Miserables\u003c/em> even hit the screen, it was hailed as the movie to beat and then everyone went to see it on Christmas and walked out of the theatre confused and pretty sure they could \u003ca href=\"http://www.cinemablend.com/new/Your-Consideration-Les-Miserables-Lost-Best-Picture-Moment-Russell-Crowe-Opened-His-Mouth-35824.html\">sing better\u003c/a> than Russell Crowe. Now \u003cem>Argo\u003c/em>, the Ben Affleck-director-political-suspense-thriller-based-on-a-true story is the front-runner that’s here to stay. In a race where the other eight nominated films have the honest qualities of a true winner, it could all end up in the hands of \u003cem>Argo\u003c/em>. Here are a few potential reasons why \u003cem>Argo\u003c/em> might end up taking home that little golden dude:\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-1-edit/\" rel=\"attachment wp-att-1597\">\u003cimg class=\"aligncenter size-full wp-image-1597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-1-edit.jpeg\" alt=\"argo 1 edit\" width=\"600\" height=\"366\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit-400x244.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>1. Because it’s a bro’s bro.\u003c/strong>\u003cbr>\n“So, have you seen \u003cem>Argo\u003c/em> yet?” the frat dude says as he leans into her at the bar, his breath smelling of Red Bull and disdain. As if! \u003cem>Zero Dark Thirty\u003c/em> has quite the package: suspense, action, foreign intrigue, even torture, but what it’s lacking is, of course, a strong male lead like Ben Affleck. It’s a shame the strength and competence of \u003ca href=\"http://25.media.tumblr.com/tumblr_lxvwq8cKaT1qz9xvjo1_r4_500.gif\">Jessica Chastain\u003c/a>’s character Maya cannot compete with Affleck’s Tony Mendez, otherwise \u003cem>ZDT\u003c/em> would be a shoe-in for the boys of \u003ca href=\"http://1.bp.blogspot.com/_vY8I5HvOvk8/SZCgRYVhgvI/AAAAAAAACfQ/LaijRaIYR54/s320/revenge-of-the-nerds.jpg\">Alpha Beta\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-2/\" rel=\"attachment wp-att-1598\">\u003cimg class=\"aligncenter size-full wp-image-1598\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-2.jpeg\" alt=\"argo 2\" width=\"702\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2.jpeg 702w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2-400x247.jpeg 400w\" sizes=\"(max-width: 702px) 100vw, 702px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. Because it’s like \u003cem>The DaVinci Code\u003c/em> the book version.\u003c/strong>\u003cbr>\nDisclaimer: I have never read \u003cem>The DaVinci Code\u003c/em> nor have I seen the movie. However, I have paged through the book and what I do know is that it is compiled of very short, easy-to-read chapters that leave the reader wanting more. It is unlikely a film like \u003cem>Amour\u003c/em> can hold a candle. In \u003cem>Amour,\u003c/em> we glide through Georges and Anne’s home listlessly unearthing layers of wood and light: lives lived and love had. \u003cem>Argo\u003c/em> is the pleasure principle in its finest form, like a great pop song or the Kardashians (I still think \u003ca href=\"http://25.media.tumblr.com/tumblr_lv2zigvVNX1qzb62zo1_500.gif\">Kourtney\u003c/a> and Khloe have yet to really \u003cem>take\u003c/em> Miami); you want bubblegum and it delivers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-3-2/\" rel=\"attachment wp-att-1600\">\u003cimg class=\"aligncenter size-full wp-image-1600\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-31.jpeg\" alt=\"argo 3\" width=\"600\" height=\"348\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31-400x232.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>3. Because it’s Hollywood talking about Hollywood.\u003c/strong>\u003cbr>\n\u003cem>The Artist \u003c/em>took the award last year and deservedly so. The Academy might be on a streak. In \u003cem>Argo, \u003c/em>Affleck has made a movie within a movie. It’s all very meta but done in a very conventional manner. Instead of showing us what Hollywood can do, we are given \u003cem>Argo\u003c/em>, a movie showing us what Hollywood already does. \u003cem>Life of Pi\u003c/em> would be the perfect example of what it’s like to take cinema to an ultra-cinematic level. The shots are breathtaking: aerial views that \u003ca href=\"http://cdn1.screenrant.com/wp-content/uploads/Life-of-Pi-Ending-Explained.jpg\">isolate the ship \u003c/a>from our main character and a horizon where it is impossible to distinguish where the sky ends and the water begins. \u003cem>Life of Pi\u003c/em> is a truly lavish cinematic experience. The closest we get in \u003cem>Argo\u003c/em> is when scenes from the movie are set side-by-side with actual archival footage as though Affleck is saying: Look at how perfectly I recreated this, not a hair out of place!\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/django-real/\" rel=\"attachment wp-att-1609\">\u003cimg class=\"aligncenter size-full wp-image-1609\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/django-real.jpeg\" alt=\"django real\" width=\"650\" height=\"437\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real-400x268.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>4. Because it’s already nabbed the Golden Globe and the BAFTA.\u003c/strong>\u003cbr>\nThe past four years the \u003ca href=\"https://www.youtube.com/watch?v=nf8uDTUVx3Y\">BAFTA\u003c/a> has predicted the winner but the past four years there have been arguably clear winners. The Golden Globes are notorious for surprises and lucky for last year’s \u003cem>The Descendants\u003c/em>, the Globes split their best films into comedy and drama categories. But let’s jump back to another one of the \u003ca href=\"http://www.youtube.com/watch?v=3VKK2mskvtg\">biggest snubs\u003c/a> of Oscar history, \u003cem>Forrest Gump\u003c/em> winning over \u003cem>Pulp Fiction\u003c/em>. Tom Hanks and Ben Affleck are basically \u003ca href=\"http://25.media.tumblr.com/tumblr_lfan3psl611qb6180o1_500.jpg\">the same person\u003c/a>, handsome and likeable. Quentin did not win with \u003cem>Pulp Fiction\u003c/em> and will not win for \u003cem>Django Unchained\u003c/em>: too much witty dialogue, too much violence, too much outstanding acting.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-5/\" rel=\"attachment wp-att-1602\">\u003cimg class=\"aligncenter size-full wp-image-1602\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-5.jpeg\" alt=\"argo 5\" width=\"600\" height=\"401\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5-400x267.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. Because Ben Affleck somehow turned into The Little Engine That Could.\u003c/strong>\u003cbr>\nWe all remember when he and Matt Damon jumped on the stage way back in 1997 and thanked Southie or whatever. It was cute and we were happy and they were Hollywood nobodies that became \u003ca href=\"http://www.youtube.com/watch?v=d8RIS5GJqAg\">Hollywood somebodies\u003c/a> at that very moment. But that was like thirteen years ago and now Affleck has been denied a Best Director nomination and the world is in mourning. (I will not mention Kathryn Bigelow here.) Turn to \u003cem>Beasts of the Southern Wild\u003c/em>, note the modest budget, the non-actor actors, the no-name filmmakers, the huge courage.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-6/\" rel=\"attachment wp-att-1603\">\u003cimg class=\"aligncenter size-full wp-image-1603\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-6.jpeg\" alt=\"argo 6\" width=\"620\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6-400x258.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>6. Because it tackles a declassified government secret and that’s exciting.\u003c/strong>\u003cbr>\nWhat a caper! One of the most exciting things about \u003cem>Argo\u003c/em> is that while you’re watching it, you feel like you’re privy to this huge secret that the rest of world (in the movie) doesn’t know about. It was a secret and now it’s \u003ca href=\"http://www.slate.com/blogs/browbeat/2012/10/12/argo_true_story_the_facts_and_fiction_behind_the_ben_affleck_movie.html\">talked about\u003c/a> but only after government permission. That’s not going to bode well for \u003cem>Silver Linings Playbook\u003c/em> where they deal with the still very taboo topic of mental illness in a charming and funny way. And not since \u003ca href=\"http://www.youtube.com/watch?v=OpIYz8tfGjY\">\u003cem>Annie Hall\u003c/em>\u003c/a> has a true and nervous comedy won Best Picture and it has since become epic, in a subtle and graceful way. Perhaps they are hoping the same for \u003cem>Argo\u003c/em>, but like epic in more of a humdrum sort of way.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-7/\" rel=\"attachment wp-att-1604\">\u003cimg class=\"aligncenter size-full wp-image-1604\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-7.jpeg\" alt=\"argo 7\" width=\"743\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7.jpeg 743w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7-400x208.jpeg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>7. Because it makes you proud to be an American.\u003c/strong>\u003cbr>\n“This is the best bad idea we have, sir,” Tony Mendez tells his superior in \u003cem>Argo. \u003c/em>To disguise the hostages as filmmakers scouting locations for an upcoming sci-fi flick might just be crazy enough to work. It’s an out-of-the-box scheme that leaves you feeling happy you live in a country whose government allows for such creativity. The past two years have been somewhat Euro-centric with \u003cem>The King’s Speech\u003c/em> and \u003cem>The Artist \u003c/em>taking home the top prize, it’s about time the Academy picks a good-ole-fashioned stars-and-stripes-waving \u003ca href=\"http://a57.foxnews.com/global.fncstatic.com/static/managed/img/Entertainment/0/371/Armageddon.JPG\">piece of our history\u003c/a>. But what about \u003cem>Lincoln\u003c/em> you ask? Perhaps it is too well known a story or perhaps the plan is to dole out awards to Daniel Day Lewis, Stephen Spielberg, and Tony Kushner, leaving room for \u003cem>Argo\u003c/em>, cozy American \u003cem>Argo\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-8/\" rel=\"attachment wp-att-1605\">\u003cimg class=\"aligncenter size-full wp-image-1605\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-8.jpeg\" alt=\"argo 8\" width=\"650\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8-400x276.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>8. Because its flame is still burning hot.\u003c/strong>\u003cbr>\nThere’s no denying \u003cem>Argo’s\u003c/em> momentum. \u003cem>Les Miserables \u003c/em>was just as hot to trot (they’re singing live! \u003ca href=\"http://www.youtube.com/watch?feature=player_embedded&v=y4yxsRRnvkE\">Anne Hathaway\u003c/a> is brilliant!) in December but fizzled out by January. It’s a classic case of backlash and then backlash to the backlash and so on and so forth. Meanwhile \u003cem>Argo\u003c/em> quietly held its ground. No one has had very many issues with the actual content of the film, where movies like \u003cem>ZDT\u003c/em> and \u003cem>Django\u003c/em> made the news on a daily basis. Perhaps controversy will get you attention but won’t win you awards.\u003c/p>\n\u003cp>*\u003c/p>\n\u003cp>Look, \u003cem>Argo\u003c/em> is the huge favorite and I’ve accepted that. I’m not saying I will denounce the Oscars or award shows if \u003cem>Argo\u003c/em> wins. I mean, I’ll probably throw my hands in the air and give a big eye roll while shoving hummus into my mouth. But I suppose what’s oddly great about the Oscars is that no one was expecting \u003cem>Crash \u003c/em>to win in 2006, and it did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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