AMERICAN HEGEMONY REVEALED FROM THE BEST PICTURES OF OSCAR: TAKING THE BEST PICTURES IN 21ST CENTURY AS EXAMPLES
By
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Dissertation submitted for the degree of XXXX
XXXX-XXXX year

Abstract

The hegemony of the American culture establishes itself as a principal factor that cements American values. Scholars and non-scholars alike view it as dominative and these results in the popularity of these values across the world. Oscar best pictures not only reflect American movies, but also act as a kind of methods for conveying the values underpinned in the American culture. Efforts by the United States continue to point at achieving its cultural hegemony through art in the movies' sector.

This dissertation mainly discusses the ideologies drawn from seven Oscar-winning films since these awards play an important role in the American film industry. This research study places significant emphasis on the impact of these ideologies on the World. In addition, the study will evaluate how to deal with the impact of these ideologies in light of globalisation and cultural diversity in the twenty-first century. Keywords: American culture, Culture, Hegemony, Oscar best picture, Oscar Awards, Ideology, Film, Movie

Acknowledgement

I would like to express my deepest gratitude to all whose kindness and advice helped make this work possible. Special gratitude goes to my supervisor Dr. Natasha Whiteman, who gave me invaluable instructions and effective advice that helped me spearhead the dissertation in the right direction.

Table of Contents

Abstract.....................................................................................................................................iv

Acknowledgement......................................................................................................................v

Chapter 1. Introduction...............................................................................................................1

1.1.1. Oscar Awards....................................................................................................................3

1.1.2. The History behind the Oscar Awards................................................................................3

Research Objective.....................................................................................................................5

Research Question......................................................................................................................5

Chapter 2. Literature Review.......................................................................................................6

3.1. What Is Hegemony...............................................................................................................6

3.2. American Hegemony............................................................................................................8

3.2.1. What is American Hegemony.......................................................................................................8

3.2.2. American Hegemony in the Post-Cold War Period......................................................................9

3.2.3. American Cultural Hegemony......................................................................................................12

3.3. American Cultural Representation in Oscar Best Films........................................................13

3.3.1. Cultural Imperialism as represented in the Oscars...................................................................13

3.3.2. American Ideology......................................................................................................................16

3.3.3. American Cultural Hegemony through the Oscars...................................................................17

Chapter 3. Methodology............................................................................................................19

4.1. Defining Textual Analysis...................................................................................................19

4.2. Research Method Critique..................................................................................................20

4.3. Textual Analysis on American Cultural Hegemony in Oscars' Best Pictures.........................22

Chapter 4. Discussion................................................................................................................26

5.1.1. The Ideology in Oscar Winning Films: a Focus on Crash..........................................................26

5.1.2. The American Construction of the World..................................................................................28

5.1.3. American Ideology: "A Beautiful Mind", "Crash" and "The Lord of the Rings"..........................29

5.1.4. Globalisation and the American Ideology..................................................................................31

5.2. American Dream and Heroism in Hollywood Film Production..............................................32

5.2.1. American Heroism in the Films: The Million Dollar Baby...........................................................33

5.2.2. The New American Dream as Presented in the Oscars.............................................................34

5.2.3. Orientalism in Slumdog Millionaire.............................................................................................35

5.2.4. Womanhood and Hinduism in Slumdog Millionaire..................................................................38

5.3. Consumerism in daily lifestyle............................................................................................41

5.3.1. A consumerism society as depicted in American Beauty.........................................................42

5.3.2. The Loss of Spiritual Home in American Beauty........................................................................44

Chapter 5. Conclusion................................................................................................................47

Impact of study..........................................................................................................................47

Recommendations for Future Studies........................................................................................47

Limitations of Study..................................................................................................................47

References.................................................................................................................................50

Chapter 1. Introduction

The twenty-first century is an era that continues to witness rapid globalisation and intense cultural diversity. The most developed countries from the West led by the USA are striving to expand their global reach in diverse ways such as politics, economy, military and culture. However, concerning the present day economic globalisation and political multi-polarisation, the traditional methods for expanding influence such as military involvement, political repression and economic exploitation could easily qualify as hegemonic or violations of human rights.

The value of the American culture tends to spill continually into the rest of the world through means almost natural and plays a key role in the international competition. As Connor (2001, p.285) insinuates, the American influence does not qualify as imperialistic. Seemingly, America emphasises on pursuing strategies that warrant the maximisation of the country's interests in recent years (Wallerstein, 2002, pp.360-61). The exportation of the American culture to other countries seemingly ensures America's pursuance of cultural hegemony aimed at overturning the cultural and political systems of non-Western countries (Aylwin, 2010 pp.28-31).

According to Marxist theorists, the economic base determines the superstructure (Tedman, 2010). Meanwhile, culture is a reflection of the politics and economics of a given society (Nye, 2008, p.22). Contentions claiming that the future of the world is no longer the confrontation between capitalism and socialism, but the confrontation between American Laissez-faire culture and the American culture persist. Seemingly, the American expression and influence in quest for cultural hegemony is perhaps the most prominent in the Western countries (Aylwin, 2010 pp.28-31). In the information game, cultural hegemony most likely supports the neo-colonial culture. Nonetheless, the effects of cultural hegemony seem to be less visible and more rapid.

Following the pursuit of optimisation of the political and economic interests after the cold war, America began striving to enlarge its cultural influence around the world. In other words, America is taking a more covert strategy, which is considered a "soft war" (Nye, 2008, pp.91-93). Morley (2011, p.235) suggests that cultural imperialism is the most ingenious scheme. In the event that cultural imperialism on its own proves successful, it will most likely be the most successful Imperialist policy (Nye, 2008, pp.102). Morley (2011, pp.240-42) insinuates that the aim of cultural imperialism is not to conquer land, but to influence the thought and conquer the heart. In short, the American cultural imperialism seemingly aims at spreading the American values all over the world and the use of mass communications comes in handy.

Furthermore, mass communications are principal tools in furthering expansion of the American culture abroad (Morley, 2011, p.251). Thus, film becomes an indispensable part of America's cultural popularity. Consequently, America pays great attention to its cultural popularity using unique audio-visual language, gripping narrative and attractive film stars according to Martin (2011, p.207-211). Through this widespread communications technology, America faces accusations of indicating that it pursues a strategy of cultural hegemony to sell its social and political philosophy, ideology and lifestyle (Nye, 2008, p.104). Consequently, the American culture exerts a subtle influence on the people from developing countries. This exertion especially affects young people through lifestyle, the way of thinking and cultural consumption (Martin, 2011, p.207-211).

In addition, the Oscar Awards of America rank highly as popular film awards in the world. Every year, the best film voted in the Oscar Awards tends to gain a popularity edge or enjoy global attention (Aylwin, 2010 pp.28-31). Additionally, such American films promote the influence of the American culture to cultures that watch them across the world. Mainly, this is through showcasing of the American spirit and the American dream with the integration of exciting filming and vast scenery (Gemser, Leenders and Wijnberg, 2008, pp.27-30).

1.1.1. Oscar Awards

In the various movie awards in the United States, the Oscar Awards receive the most attention among the viewers all over the world (Barthel-Bouchier, 2011, p.36). The best movie of every year's Oscar awards usually tends to gain reputation and attention from the public within and without American boundaries according to Gemser, Leenders and Wijnberg (2008, pp.27-30). These movies tend to mix the American spirit and the American dream in their breathtaking stories and marvellous scenes before selling them to the whole world without any effort (Hoberman, 2011, pp.881-82).

The question that arises is how the Oscar awards can become this attractive in the face of numerous awards in the world, some of which also possess long history. In order to answer this question effectively, we need to briefly review the history behind the Oscar Awards.

1.1.2. The History behind the Oscar Awards

Born in the US On May 11, 1927 under the full name of Award of the Academy of Motion Picture Arts and Science, the awarding of the Oscars takes place at the Academy Awards ceremony (Rossman, Esparza and Bonacich, 2010, p.33). For the purpose of awarding excellent professional work in film industry, the Oscars focus on finding the best practitioners including directors, actors and writers. The awarding ceremony of the Oscars is one of the most influential film award ceremonies in the world (Rossman, Esparza and Bonacich, 2010, p.31). As a prominent ceremony, it attracts celebrities from all over the world and enjoys live telecast in more than two hundred countries. Moreover, the awarding of the Oscars under the Academy Awards was the first award ceremony in media history and has been around for over eighty years (Rossman, Esparza and Bonacich, 2010, p.31).

The awarding ceremony of the first Oscars took place on May 16, 1929 at the Hotel Roosevelt in Hollywood. The idea behind the ceremony was to celebrate and award the excellent accomplishment of film industry of 1927/1928 film season (Gail and Piazza, 2002). Until the year 2010, there had been eighty three Oscar honouring of excellent films and the best movies according to Rossman, Esparza and Bonacich (2010, p.32). It normally takes more than four months every year to go through all the steps that culminate into the awarding of Oscars (Hoberman, 2011, pp.881-82). These steps include registration, evaluation and revelation of the Oscar awards' nominees. Although it takes long, during this period every nation's entertainment industry usually keeps constant attention to this event (Rossman, Esparza and Bonacich (2010, p.35).

Thus, the Oscars are undoubtedly the world's most valuable and influencing awards in the motion picture industry according to Gail and Piazza (2002) and Hoberman (2011, pp.881-82). Their authority and exposure surpasses all other awards in the entertainment industry. Not only do the Oscars play a critical role in American popular culture, they are also the dream targets of worldwide film workers (Gail and Piazza, 2002). Though there are hundreds of awards about films, none of them could shake up the position of the Oscars with its only challenge being The National Board of Review of Motion Pictures (Hoberman, 2011, pp.881-82). Nonetheless, the latter falls short of realising popularity equal to that of the Oscars' magnitude. The Oscar awards presume the American film barometer role with their results concluding the previous year's films and predicting the industry's direction in the forthcoming year (Gail and Piazza, 2002). Meanwhile, the Oscars could reveal the evolution of American films under the influence of social thought trend and public interest, in terms of acting, branches and technology.

This dissertation mainly discusses the ideologies contained in seven of the best picture films in the Oscars, which to a great extent represents the American cultural and lifestyle aspects i.e. Slumdog millionaire, Crash, Forest Gump, A Beautiful Mind, The Lord of the Rings and Fighting Club. Simultaneously, this study will incorporate discussions on how to deal with the impact of the ideologies depicted in films that receive Oscar awards. Precisely, this discussion will emphasise on dealing with the impact of these ideologies in the face of globalisation and cultural diversity in the twenty-first century.

The introductory chapter presents the basic overview of the Americanised ideology and cultural hegemony. The literature review critically establishes the growing literature on American culture and hegemony. The third chapter presents and critiques textual analysis as the methodology employed in this research, as well as the reasons behind the selection of the method. Consequently, the discussion part will examine the different concepts as presented in the seven films to unearth the ideologies contained in them.

Research Objective

The objective of this study is to investigate the role that Oscar awards' best pictures play in the promotion of American hegemony. Additionally, this study also assesses the modalities through which these Oscars' best pictures convey and transmit America's cultural imperialism and Orientalism. This research narrows down on Slumdog millionaire, Crash, Forest Gump, A Beautiful Mind, Fighting Club, American Beauty and The Lord of the Rings.

Research Question

How and why are the best pictures of Oscar awards considered the best way for the United States to carry out the development of its cultural hegemony?

Chapter 2. Literature Review

3.1. What Is Hegemony

There are several arguments about the definition of hegemony. According to Evans and Newnham (1998, p.221), the concept behind hegemony is the attainment of the top position in order to exercise control over others. Additionally, these researchers state that a hegemonic force refers to entities with specific ability to build a unique system that can influence not only politics and economics, but also impact on the global culture. The most significant aspect of this definition is the fact that hegemonic forces can use their ability to stabilise the whole system and force other countries to follow the rules they made for the system. Besides, Hassing (1994, p.23) highlights that if deeply considered, the meaning of hegemony is more like an indirect way employed by a hegemonic force to rule its subordinate states without direct military use to command attention. Ikenberry (1989, p.377) supports Evans and Newnham's standpoint, that the most significant requirement for the stability of hegemony is the necessity to build and protect a peaceful and fair international order in both politics and economics under the support of a huge power.

Additionally, Pax Americana or Pax Britannica apply in representing eras that are difficult to forget, since both of them used their dominant positions to enhance an open international system. Similarly, Gilpin (1981, p.145) made a theory about global leadership, which emphasises that a hegemonic state has an active role in building and holding the economic and political order all over the world. Moreover, Gilpin (1981, p.145) argues that the problem concerning who can rule this system alongside what ideas and values to apply to solve this problem is meaningful.

In addition, a hegemonic power has the capability to impose its mindset on others and lure them into familiarising with their rules (Wallerstein, 2002, p.24). In the end, they can create new orders successfully. Digressing from Wallerstein's opinion, Rupert (1995, p.29) argues that the hegemonic ruling class wants to use more common and new social opinions instead of the old views held by other countries. Consequently, they influence their followers into abandoning their traditional rules. In the end, those followers lose their ability to make their own social values and opinions.

Taylor (1999, p.5) claims that it is not possible that the concept of hegemony only includes dominance and something related to military, but political and economic dominance as well. In this point of view, other states are not forced to follow the order but they try their best to emulate and learn from the hegemonic power. In other words, the hegemonic country seemingly sets a good example for other countries. Additionally, Wallerstein (2002 p.25) suggests that Taylor's (1999, p.4) argument about the hegemonic cycle insinuates getting a higher position in order to progress. Taylor (1999, p.6) observed that the American hegemonic eras began in the late nineteenth century and ended in the late of twentieth century. During this period, Nye (2008, p.79) contends that the main result of hegemony was consumer modernity. These scholarly contentions most likely imply America is not already hegemonic, but plays a principal role in hegemony (Omar, 2011, p.131).

Hegemony widely establishes itself as a kind of leadership that a country, through its powerful economics, politics and military force, uses to influence the world (Wallerstein, 2002, p.133). A number of scholars are of the opinion that hegemony may limit development in other countries and regions (Nye, 2008, p.77; Omar, 2011, p.133). Nonetheless, others take different fronts, for example Keohane (2002, p.32), who defines hegemony as "preponderance of material resources". Keohane (2002, p.23) explains that in light of the global politics and economy, a hegemonic power enjoys the advantage of commanding the global contest for raw materials, market and capital. Contrastingly, hegemony earns consideration as a way of making and forcing the order of the global political and economic aspects (Omar, 2011, p.130).

However, the content of hegemony in the modern world is changing. Nye (2008, p.86) insists that hegemonic countries in the future must possess strong cultural power and influence. Thus, hegemonic powers most likely possess rich cultural heritages, sturdy military and political-economic powers. Watson (2002, p.23) totally agrees with this point of view by stating that people pay full attention to cultural politics and highly uphold cultural wealth for example in academics and politics.

In the next subsection, this study incisively dissects American hegemony for the sake of linking the best films as revealed in the Oscar awards and the hegemonic influence those films possibly carry themselves with. Additionally, this study will assess whether films recognised in the Oscars ferry American hegemony.

3.2. American Hegemony

3.2.1. What is American Hegemony

American hegemony began in the latter years of the nineteenth century as earlier discussed. Additionally, the highest American hegemonic prevalence occurred from 1945 to 1971 when America's economic power was at its peak. McGrew (2007, p.47) claims that the pre-eminence of America's position following the end of World War II offered the context and structure through which the global economy began established itself and began flourishing. This power revealed itself via political, military and economic stardom. In addition, Watson (2002, p.24) also points out that there are three eminent steps revealed as American hegemony enters its proliferation phases.

The first step constitutes America's establishment as the global economic leader in the late nineteenth century. The second step entails the replacement of London as the world's financial centre before World War II by New York after World War II. The final step entails the founding of many international institutions after World War II under the American influence. Such institutions include the United Nations, World Bank, IMF. More importantly, was the recognition of the US dollar as the universal currency in addition to connecting the price of gold with the US dollar.

Besides, Hoberman (2011, p.882) suggests that the acceleration of the preponderance strategy was via the Cold War with the main forces of the Cold War being the Soviet Union and the West. During the Western Europe post-war period, Germany and Japan became a network supported by America. Consequently, they built security for the U.S. as a dominant force exercising economic control. Additionally, West Europe decided to forget their historical disparities temporarily and work together to achieve economic safety and become economically integrated. On the other hand, the economic relations between the United States and Europe are totally independent. America successfully suppressed the Soviet Union as the last major obstacle on the way to its realisation of hegemony (Hoberman, 2011, p.882). When the Cold War ended, the United States remained as the only superpower in the world.

3.2.2. American Hegemony in the Post-Cold War Period

With the rapid development of the global society, the traditional content of hegemony fails to satisfy the demand for the social development (Frank, 2008). With the exception of economic and military force, cultural power plays a significant part in the influences of hegemony. In the modern world, it seems more appropriate to have influence on other people by influencing their perceptions and concepts (Askeland and Payne, 2006, pp.733-41). America and other western countries continually try to bolster their global influence according to Frank (2008). Nonetheless, with the diversification of the politicians and global economies nowadays, the traditional ways of military, political and economical interventions constitute abuse of human rights and are classifiable as hegemonic (Flint, 2001, pp.763-67). Thus, the big issue for America is how to prevail over competition in the future in a less aggressive way and expand the impact of the American culture (Askeland and Payne, 2006, pp.733-41).

Apparently, America tries to pursue cultural invasion as a strategy to destroy ideologies by other countries without the need for shedding blood. Marens (2010, p.750) contends that the peak of the typical American dream that compelled the earlier generation to explore a new place created by continental-scale power is the American plan for globalisation. Therefore, the United States has great power in the world because of its economic strength and military force. In this case, people from different countries extensively accept the American culture. According to Slater and Taylor (1999), the American hegemony dates back to the early American history where America expressed a strong desire for expansion. In 1776, the United States won the Independence War giving it a great territorial expansion from its original thirteen colonies to the world's largest country in terms of geographical size (Marens, 2010, p.745).

The American expansion demonstrates its dominance in terms of military, economic and political capabilities increasing as hard power in the United States (Nye, 2008, p.97). On the contrary, the American culture and values rose as the soft power (Nye, 2008, p.97). In other words, the unique American cultural values combined with the American economic and military strengths remain the driving force of American hegemony (Flint, 2001, p.771). Thus, the reasons behind this expansion shape from different areas with racial supremacy as the first one (Frank, 2008). Additionally, the American colonists formed a political and economic strength that helped this country gain cultural dominance.

At the core of the American supremacy lies the silent belief that God created different races, but the Americans are fairly intelligent (Frank, 2008). On the basis of this sort of supremacy, America established the Western culture and set it as the example of modern civilisation. At the same time, the supremacy also insinuates that white people created the Western culture that represents the modern civilisation (Underhilla, 2009, p.349). On the other hand, Manifest Destiny is a common term used to express that the United States has the capability to expand beyond democracy, freedom and belief. According to the so-called Manifest Destiny, God gave America the power to spread democracy around world (Underhilla, 2009, p.352). In addition, this kind of mission is strong enough to overshadow any concerns. In other words, the foreign expansion of America is a mission instead of an occupation. Nye (2008, pp. 98-99) earlier on offered an opinion that deviates from the accusations of white supremacy as a factor worth consideration in the hegemonic debates citing that the prevalence of white supremacy was long gone before the modern hegemonic quests.

On the other hand, the United States has a kind of moral sense that it is its responsibility to save the world. In the American culture, individualism is the most important values (Bowman, Kitayama and Nisbett, 2009, p.885). For example, Abraham Lincoln, the sixteenth President of America, was a farm boy and he has been a great example in demonstrating how individuals can change their fate. This kind of value has a profound influence in the U.S. and emphasises on the individual spirit and strife usable to change the destiny. However, the application of this value on politics could be problematic as it may lead to the neglect of other nations' interests (Bowman, Kitayama and Nisbett, 2009, p.886-87).

In addition, after the Cold War, the world experienced great change where peace advocacy became the prime theme of the present day periods (Nye, 2008, p.101). Consequently, the significance of culture and other soft power arises in the international relations. In the contemporary global society, the United States has a dominant role in most of the areas (Nye, 2008, p.108). America's strong economic, scientific and technological strength contributes to the American cultural hegemony and helps to establish a new world order economically (Underhilla, 2009, p.350). This sort of new order provides a solid base for the American values.

Arguably, economic prowess forms the societal foundation while the cultural establishment relies on the prevailing political structure of the society (Flint, 2001, p.769). According to Underhilla (2009, p.351) in many western countries, the United States is trying its best to increase its impact on the culture of the world. As a result, cultural hegemony becomes another way, which reflects neo-colonialism in a more discreet yet rapid way. After the cold war, the Americans not only tried to pursue the maximum benefits in economic and political fronts, but also in the cultural benefits. Additionally, people regarded this strategy as the application of a soft war as argued by Nye (2008, p.353). Culture invasion, which is one of the most successful strategies, is arguably more ingenious. In its totality, culture invasion in this context entails forcing the people in other countries to adjust themselves to the American's culture (Flint, 2001, p.769).

3.2.2. American Hegemony in the Post-Cold War Period

3.2.3. American Cultural Hegemony

Omar (2009, p.117) highlighted that America holds the biggest industry of cultural promotion, which includes the communications, information, propaganda, publicity, entertainment and even the latest means i.e. cinema, television and the internet. Specifically, it seems like the main reason America can achieve cultural hegemony is because their media is strong and powerful (Marens, 2010, pp.748-53). Actually in the 1930s, the US government realised that as an important way to convey the culture of majority, films' significance could not continue to limit itself to economical context (Omar, 2009, p.118). In fact, its influence was extendable to other aspects such as the propagation of the US' political belief and culture in addition to enlarging economic impact among other aspects (Marens, 2010, pp.748-53).

Consequently, the best movies in Oscar awards and other forms represent the American movie culture with its symbolic meaning. This not only shocks the film industry and makes remarkable profit for America, but also results in the change of lifestyle, behaviour, perceptions about life and values of movie viewers (Holbrook and Addis, 2007, p.93). Resultantly, Hollywood movies continue to be more attractive due to their outstanding storylines and charming movie characters especially in the global film facade.

Besides, Nye (2008, pp.103-105) argues that the popular culture of America enjoys global reach regardless of our actions. Additionally, he argues that there is no escape from influence caused by CNN, the internet and Hollywood. Actually, Hollywood movies assume media roles in transporting the American ideology to other countries. Additionally, the American ideology has become the guideline for young people's way of living, way of thinking, and way of consumption (Omar, 2009, p.120). In addition, Boime (1988) suggested that the regulators of our social memory and social norm have a great impact on the domination of a nation's history.

3.3. American Cultural Representation in Oscar Best Films

At this juncture this study reviews the literature behind the Oscar Awards. In addition, this study evaluates how and why the Oscar awards rank as the best way for America to achieve its cultural hegemony. Some scholars (for example Barthel-Bouchier, 2011, p.36) consider Oscars' Best Film winners a principal medium of cultural imperialism and the reflection of the Americanised concept in the films. At this point, this paper discusses the cultural imperialism in Oscar winning films from the perspectives of construction of American ideology, American lifestyle and consumerism. At the same time, it will also analyse the way that Americanised ideology and lifestyles influence their audience.

3.3. American Cultural Representation in Oscar Best Films

3.3.1. Cultural Imperialism as represented in the Oscars

When reviewing the best movies of the past eighty three Oscars, it is possible to draw out the history of American movies as well as the trajectory of the development of the US society and its major spirit (Marens, 2010, pp.751). Meanwhile, most of the best pictures of the Oscars each year attract the attention of very many viewers with the eighty third awards attracting an estimated at 37.63 million viewers (Hoberman, 2011, pp.881-82). To a certain extent, the Oscars could additionally be benchmark setters for the fashion movie industry according to Rossman, Esparza and Bonacich (2010, p.32). These best Oscar pictures usually spread to the entire world rapidly, but what is worthy noticing is that superstructure is the reflection of economic foundation (Brown, 2010).

The motivation that pushes the Americans to spending handsomely on producing films that target winning Oscars not only comes from making more money, but also the disclosure of the American ideology (Omar, 2011, p.118). In the book Understanding Movies, Giannettti (2007) reminds the readers that everything contains some ideology. Giannettti (2007) clearly indicates that the same disclosure applies in the movie world. Although characters rarely disclose their political beliefs directly, it is still possible to reorganise their standpoint based on their opinions on such issues (Giannettti, 2007). Due to their absolute advantages in communication, Oscar best pictures become the "implicit weapons" for some strategists (Brown, 2010). To support this point of view, Nelson, Donihue, Waldman and Wheaton (2001, pp.1-6) point out that there exists different attention ratings in the films from different groups of audiences. These views characterise and influence what movies receive nominations to the Oscar awards (Nelson et al, 2001, pp.1-3).

Firstly, the nominated film must meet the capacity to provide better box office. Data collected shows that in the first week of the nomination, films that receive nominations average at $55,726 per screen with the films that do not secure nominations averaging at $21,312 (Nelson et al, 2001, pp.1-6). Secondly, the films that secure Oscar nominations seem stay in the cinema halls longer than the films that fail to secure nominations. The films that secure Oscar nominations start with roughly 8.25% showcase of all screens in the first week and later to about 3.76% from the sixth to the eighth weeks. At the end of the twenty-fifth week, the percentage gradually declines to around 1.81% of the market share (Nelson et al, 2001, pp.1-6). On the other hand, the non-nominated films reveal a market share of around 2.24% in the first week and dramatically decrease to 3.67% in the five weeks that follow. At the end of week 25, only 0.69% of all market share screens still show them (Nelson et al, 2001, pp.1-6).

In the history of the Oscar film awards, they claim independence from political force despite allegations of political influence (Roussel, 2010, pp.137-140). Nonetheless, in the 45th Oscar Awards ceremony, Marlon Brando, the best actor in that year refused to show up in the ceremony in protest against the discrimination of American Indians in Hollywood (Yin, 2010, p.12). On the other hand, ethnic minorities and homosexual groups also held various kinds of protests outside Oscar Annual Academy Awards ceremony (Yin, 2010, p.12). Therefore, behind the curtains of the Oscars, winning films do not only represent the achievement of American film production, but also work as an essential means of expressing the American ideology.

Interestingly, the watching of the Oscars attracts millions of viewers within and outside America with the many of the viewers classifiable as non-moviegoers if an argument by Lee (2009, p.251) is anything to go by. As such, the global dimension depicted in the viewing of the Oscars makes the awards a superlative symbol that represents achievement in the American culture. The viewers watching the Oscars get American movies', American television's, American culture's and American society's microcosm (Lee, 2009, p.253). Narain (2009) contends that this function whether in explicit or implicit means, promotes the imperialism of the American culture globally. Thus, the Oscar show and the Oscar awards act as efficient propaganda for the American way of life, American movie world and American capitalism according to Lee (2009, p.253).

Additionally, the Oscars have become an almost-obligatory ritual for both the American and non-American film diehards and taking a secular ritual function (Narain, 2009). The scheduling of the Oscars at the same time of the year beforehand is an attribute that suits other rituals. In addition, the Oscars' level of organisation is high with a stringent code or set of regulations that equate to commandments (Lee, 2009, p.255). Moreover, the Oscar awards' ceremony, just like most rituals assumes a collective view commanding large public participation both through television and live audience (Narain, 2009). Finally, the Oscar awards arguably insist on reaffirmation of the mainstream American culture's central values according to Lee (2009, p.255).

According to Lee (2009, p.255) the Oscars embody fundamental American values such as democracy, individualism, democracy, competition, occupational achievement, upward mobility, monetary prowess and hard work. Contrastingly, Lee (2009, p.256) contends that the Oscars also exhibit all the intrinsic controversies needed for achieving these values. Narain (2009) states that every value that the Oscars exemplify classifies as dichotomous aversive orientations like discrimination versus equality, collectivism versus individualism, collaboration versus competition, elitism versus democracy, sheer luck versus hard work and failure versus success. Ideological or sentimental reasons especially in main categories drive the awarding of the Oscars (Roussel, p.137, 2010). Lee (2010, p.257) states that the Oscars export a lot to the World at the exchange of nothing from the rest of the world.

3.3.2. American Ideology

As noted above, the American scholar Giannetti presents and classifies different ideologies in the film production (2007). Indeed, film is a representation of more than pure art as there are certain ideologies contained in the process of film production. Oscar winning films carried the American cultural imperialism that used art to express the ideology from the American perspective (Watson, 2002). Consequently, exercising the American value has become one of the missions of film production.

According to Watson (2002), the definition of ideology varies. The most widely accepted concept of ideology is that ideology is a kind of systematic belief constructed on the basis of social economy. Additionally, ideology represents the interests of a certain social group or class while it works as the guide of this group or class (Watson, 2002). The disappearance of ideology may never be, in spite of indications concerning its persistent change. In the discussion of American ideology, many scholars attempt to make in-depth analyses.

To some extent, Americans as a whole emphasise a lot on ideology yet they usually ignore their ideology at individual levels (Bowman, Kitayama and Nisbett, 2009, pp.883-84). This is mainly because there seems to be an agreement on the same ideology and because their ideologies have a high level of similarity. Levine (2004) claims that American ideology closely associates with its cultural value and integrates the combination of supremacy, lifestyle and promotion of the American system. The core of the American ideology claims that they have the best political system and they have to save other countries in the world (Bowman, Kitayama and Nisbett, 2009, p.885). In the Oscar winning films, this kind of ideology prominently features very often.

3.3.3. American Cultural Hegemony through the Oscars

In general, there are several ways for the Oscar awards to foster the cultural hegemony of the United States. In the first place, the awards have something in common with the global culture and their features act as the starting point to gaining audience. Eventually, it applies the American personality into the film to promote American values. Additionally, according to Holden (1993), the best pictures use advanced technology to create incredible scenes in order to attract global audience and consequently sell the American dream. Moreover, Scott (2000) claims that Hollywood's production of movies for Oscar awards actively participates in the intrinsic debates concerning the political life in America. Hollywood's quest for recognition at the Oscars puts up more diversity in film production with the development of the Hollywood film industry. Despite the multicultural factors in film production, the Hollywood film industry still upholds a deep mark of "Americanisation".

Compared to the European Art Cinema, for example, the Oscars enjoy larger and unique popularity. Particularly, when the European Art Cinema exports films to other regions of the world, there is usually cultural discount i.e. less popularity due to the cultural differences and languages, history as well as tradition (Lee, 2009, p.241). On the contrary, Hollywood films through the Oscars enjoy great popularity both in America and other countries (Hoberman, 2011, pp.881-882). Some suggestions claim that Hollywood film productions that make it to the Oscar nominations greatly represent the commonality of the global audiences. In due course after gaining the attention of the audiences, the Oscar nominees start to promote the American values through film (Roussel, 2010, pp.137-140).

Apparently, it is very difficult to change one's political view, but films work as an artistic force capable of influencing people's views and attitudes on a vast array of issues (Martin, 2011, p.219). Conclusively, many of the Oscar nominee films gain popularity in the global cinema houses and receive massive attention in many countries. Nonetheless, the literature reviewed in this study brings out the important concern on whether Oscars' best pictures promote the American hegemony and cultural imperialism.

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