THE PROBLEM 'SPOTLIGHT': NOMINATED FILMS IN JOURNALISM BE BEST FILM. WHY NOT WIN?

In the 49th Academy Awards, two iconic representations instant journalism in the film and one fictional, the other stranger than fiction-competed for top prizes.

It was 1977. Red, the portrait always quotable a "mad prophet" television presenter whose decomposition in the air leads to ratings soaring, almost she swept the categories that act: Peter Finch (in a posthumous victory) won Best Actor for his Howard Beale interpretation; Faye Dunaway took home the best actress; and Beatriz won Best straight despite spending a record short five minute display. All the President's Men, expansion, stepping outcome of the Watergate investigation that inspired a generation of journalists, garnered eight nominations and four wins, including Best Supporting Actor (Jason Robards).

And in the category of best film, for which they were appointed two films, the award was for wells, he went to Rocky.

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Movies on the media receive nominations for Best Picture. They just do not seem to win. The pattern is an old one. Citizen Kane, the story of a tycoon loosely based on William Randolph Hearst newspaper, got a nomination in 1942 but lost to John Ford's How Green Was My Valley. Last year, Alfred Hitchcock's Foreign Correspondent Joel McCrea -starring as an American reporter tracking enemy spies-lost a very different movie Hitchcock, Rebecca. Broadcast News lost the last emperor in the 1988 awards, several years after the massacre lost Amadeus. More insultingly, Good Night, and Good Luck, reflective representation of George Clooney McCarthy era Edward R. Murrow, lost to a movie sometimes considered the worst winner for best film in Oscar history: 2005 Crash .

It has been almost 70 years since a film won best picture journalism. The worthy Gentleman's Agreement (1947) has Gregory Peck as a reporter assigned to write an article on anti-Semitism, which is passed by a Jew to experience first hand injury.

Now we in the foreground, beautifully detailed aspect of Tom McCarthy in the form of a Boston Globe investigative team exposed the Catholic Church sexual abuse scandal in Boston. It is not just a film, the film won journalism on journalists for their accurate description of a newsroom, to the reporter scruffy clothes-but a great movie, full point. Mark Ruffalo and Rachel McAdams are deeply convincing as tireless Globe reporters chasing the story of abuse to their painful limits while Liev Schreiber helps complete the set with a complex performance as the publisher newly appointed whose state Boston-outsider helps institutional injustice see others do.

He has a shot at Best Picture, given the recognition was kneaded and some great victories in the Independent Spirit Awards on Saturday night. But not a big one. Predict many predictions that The Revenant will emerge victorious from his horse carcass pain and suffering. The Revenant has already won top honors from the Golden Globes and the Directors Guild of America, (if not guaranteed) solid predictors of the best film will revolve. And while it is not a better film Spotlight, film Alejandro Inarritu survival is certainly a striking one with Leonardo DiCaprio confrontation with a grizzly bear getting the most talk.

So why movies about journalism, even large, have problems locking the highest honor? An easy answer is that movies like Spotlight naturally a call to journalists and writers a little more than the general public (or, yes, Oscar voters). Critical recognition helps drive these films to a nomination, where they are surpassed by most striking rate.

In addition, Americans tend to dislike and distrust journalists. Spotlight is an example of a film "Superhero journalist" and is quite closely related to All the President's Men in this category. It's no wonder that journalists love. This demonstrates the power of (research, well-funded, print) journalism to expose corruption and acting in the public interest, and is more concerned about the real work to report that almost all major Hollywood film from simple drive Woodward and Bernstein.

That's hard to do. "Print journalism is exponentially more difficult to translate from page A1 to 16 millimeters," Nandini Balial seen in literary Hub this week. "The writers should take a series of articles and the work that was to publish, capture the mood and effort, risks and battles of the newsroom, and make public, including those who do not read the newspaper, you want to buy a ticket. "Offices newspapers are not very attractive, and much of what constitutes the reporting is carried out in a cubicle with a telephone and (in this era) a connection. Wi-Fi Spotlight inspires and entertains despite monotone discrete adjustments and direction. Ex Globo himself (played by Schreiber) editor Marty Baron admits he did not expect the film was made at all, for fairly obvious reasons: the risk of offending Catholics, the lack of action and special effects, the difficulty of representing child sexual abuse.

In addition, reporters are widely hated, which helps explain why they are represented in the context of the scandal (Shattered Glass) and liaisons sex with sources (Top Five, Trainwreck) or crawls as implacable (Nightcrawler) and hunting dogs shameless gossip (Rita Skeeter in Harry Potter). No sex abuse -only Spotlight.

Spotlight manages the seemingly impossible task of wooing journalists authentically-Baron called "incredibly accurate in the way it portrays the practice of journalism" -while continues to raise reporters hero status, while fighting a formidable corrupt institution and rightly determination. Robert Redford and Carl Bernstein portrayed like Bob Woodward and Carl Bernstein in 1976 (then-competitor of the film, the network is much more about the imperatives sleazy business of media reporting itself ). And in the foreground, like its counterpart Washington Post provokes nostalgia among journalists for a time when regional newspapers carried more power and prestige. (Spotlight takes place in 2001 and early 2002, when digital media was in its infancy. In this industry, a gap of 14 to 15 years feels like a century.)

If and when it loses the Best Picture (if not for The Revenant, perhaps for The Big Short), Spotlight is for a lot of other awards that could NAB, including Best Director and Best Actress (McAdams). And it has managed to attract a larger audience, a rare feat for movies journalism. What could have been a small-scale film is already inspiring a generation of aspiring journalists who were not born when Woodward and Bernstein won the Pulitzer Prize. That's bigger than an attack by a bear.

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