Okpara Delivers Colourful 2023 Iwaji Akokwa

Okpara Delivers Colourful 2023 Iwaji Akokwa

- By Chief Ingram Osigwe 

It was glamour and glitz at the 2023 edition of the annual Iwaji Akokwa( Akokwa New Yam Festival). Akokwa, an Ancient kingdom that shares a boundary with the Aguata council area in Anambra state, is in the Ideato North local government area of Imo. It's noted for its rich cultural heritage.

The Akokwa annual Iwaji cultural fiesta attracts tourists from around the world.  The 2023 edition was no different.

This year's edition was chaired by Dr. (Ambassador)  Obinna Okpara( Nmirioma Akokwa), a renowned philanthropist who has impacted positively on the lives of many through scholarships and other humanitarian works.

Dr.  Okpara had, before the festival,  been appointed by the traditional ruler of Akokwa, Eze (sir) Ikenna Okoli,  KSC, (Okoli V) (Agbarakwuriibe 111) The 11th of Akokwa,  as the Ozo ji 2023 (overseer of the New Yam festival).

The Akokwa monarch had told Dr. Okpara in his appointment letter that " it pleases me greatly to inform you that the palace has found you worthy to be appointed the Ozo ji for the 2023 New Yam festival".

True to type,  Dr. Okpara gave a good account of himself in organizing, executing, and delivering a richer,  more colorful, and well-attended Iwaji Akokwa thus justifying his choice as Ozo ji.

The preparation for the 2023 Iwaji started a month before the event with a football competition among the various villages that made up the kingdom and was sponsored by Dr. Obinna.

The football competition segment of the new festival ended with a grand finale held on the 24th of August.

It was graced by the sponsor, Dr. Obinna, and Eze  Okoli who kicked off the ball to signal the commencement of the match. 

The Iwaji festival proper which was held on August 25th attracted hundreds of guests and culture enthusiasts from around the world, including friends, business associates, and well-wishers of Dr.  Okpara.  Those who could not physically make it to Akokwa sent congratulatory messages wishing Eze Okoli and his subjects( the people of Akokwa) a successful festival.

One of the highlights of the epoch event was the presentation of prizes and gifts to the winners and runners-up of various competitions.

For example,  in the football category,  the first prize was #200,000, the second prize was #150,000, and the third prize was #100,000.

For the competitors in the yam weight category, the winner went home with a brand-new motorcycle and a cash sum of #50,000, the second position won a brand new Generator and a sum of #30, 000 while the third position went home with a brand-new generator and a cash sum of #30, 000. Other competitors in other categories from the various villages went home with #50,000 each.

Dr. Okpara,  an industrialist sits atop many companies as Chairman/ Managing Director.

These include Ron Logistics and Supporting Services LIMITED,  Zuriel Gold Link Pharmaceuticals Limited, and Headstone Agro Allied Ltd among others.

Chief Ingram Osigwe, a member of Obi’s cabinet is the MD of Full page inter Comm Ltd.

Women Should Not Be Considered Because We Fill a Quota, But that We Are Capable and Deliver

PRESS RELEASE

Women Should Not Be Considered Because We Fill a Quota, But that We Are Capable and Deliver, Says Mwanyengwa Ndapewoshali Shapwanale

Mwanyengwa Ndapewoshali Shapwanale is the Director: Communications and Stakeholders Relations at ReconEnergy in Namibia

JOHANNESBURG, South Africa, August 31, 2023/ -- Following five major oil and gas discoveries made between 2022 and 2023, Namibia’s upstream market has seen a strong wave of interest by global E&P players. Companies such as ReconAfrica, a Canadian-based explorer, have amplified their exploration efforts. The company’s Director of Communication and Stakeholder Relations Mwanyengwa Ndapewoshali Shapwanale plays an integral part in driving both ReconAfrica and Namibia’s energy narrative, serving as an inspiration for those in the field. Shapwanale is featured on the African Energy Chamber’s (AEC) (http://www.EnergyChamber.org) list of 25 Under 40 Energy Women Rising Stars.

Please share a brief overview of your journey in the energy industry that led to your current role? What are some key achievements or milestones that you are particularly proud of?

My journey in the energy sector started in April 2021 when I was approached to provide multimedia consulting, specifically social media services to my current employer ReconAfrica. I immediately realized I could provide much more to the company and engaged the company representative at the time to propose my additional skills and how I could assist the company. This included media relations, corporate communication, government relations, community relations, and brand crisis management. Fast forward a few months, I was appointed as the Director of Communication and Stakeholder Relations. A major part of my role is ensuring and maintaining social license.

I am particularly proud of the work our team has done in community relations. While maintaining a social license is an ongoing and continuous exercise, I am pleased with the work we have put in as a team, and I will continue to work towards progressing this responsibility.

Another proud achievement must be our work towards providing safe and secure access to potable water to the communities in our area of operations through the drilling, installing, and handing over of community water wells in our three years of operation. Apart from the communities, especially women and children, having to walk long distances to fetch water, this is an area where human-wildlife conflict is rampant because of the communities’ dependency on the Kavango River for water. Being able to provide an alternative water source, I believe, contributes to saving lives and meeting the government halfway in their aims to alleviate and even totally eradicate the human-wildlife conflict.

Further, the Namibian nation is quite new to the oil and gas industry, as the past few years have been the most visible action we have seen in the country. For the nation and the average Joe on the street to understand, welcome, and meaningfully participate in oil and gas activities, there must be efforts to educate and inform about the industry and the energy sector at large. As part of my communication role, we have done training with the media so that they can report from an educated, understanding, and informed position.

We have also collaborated with the University of Science and Technology to host bi-monthly public lectures on oil and gas activities in the country. These sessions have been extremely successful, with an audience of over 600 in person and a maximum of 900+ online. The audience included students, professionals from all fraternities, diplomats, academics, and government officials. The speakers included the Minister of Mines and Energy in Namibia, the Petroleum Commissioner, lawmakers, geologists, and educators, to name a few. Lastly, I am pleased to have teamed up with exceptional fellow women in the industry to establish the first ever Women in Oil, Gas, and Energy Association in Namibia, a body aimed at achieving the advancement of women in the energy sector.

Energy poverty is an African reality, and Namibia is not singled out from this reality. Further to that, my area of operation is one of the most socially challenged in our country, and I have started and will continue to use my role to innovatively tackle these challenges to ensure that my country and our continent as a whole benefit from its resources.

The energy industry is known for its complexities. What were some significant challenges you faced along the way, and how did you navigate through them to achieve your goals?

It definitely has to be the onslaught that accompanies the frowning upon of oil and gas exploration and development of this resource by African countries and the public's perception of oil and gas exploration and development. I was very lucky to, very early in my career, listen to the AEC chairperson speak on the just transition as well as really grasp the concept of African solutions for African challenges. This helped me focus on the matter at hand, which is to ensure that I carry out my role without listening to the unwarranted attacks.

Adopting the just transition and African solutions for African challenges has also helped me stay focused on the bigger responsibility, which is to ensure meaningful, impactful, and tangible contributions to eradicating energy poverty in Namibia and the continent, meaningful participation in the sector, and meaningful benefit from the energy sector.

What advice would you give to young females aspiring to excel in the energy sector? Are there any specific strategies or mindsets that helped you overcome obstacles and reach your current position?

Humility, listening to those who have been in the sector, put in the work, collaboration and willingness to learn learn learn!

I was very privileged to have been welcomed into the sector with open arms by so many, including the leadership in our oil and gas sector in the country. I specifically want to highlight the women including Maggy Shino, Victoria Sibeya, MME Dep Minister Kornelia Shilunga, and Taimi Itembu, to name a few. Leadership in my company is the true definition of meaningfully giving a young black woman a seat at the table and supporting her in the role.

It is important to note that it is not enough to be given a seat at the table; the work has to continue to maintain that seat at the table. To be considered at the table should not be to satisfy a quota but because one is capable of excelling, achieving, and delivering.

A career in energy can be demanding. Could you describe a typical day in your life?

Demanding indeed! I am typically up by 05:30 and start my day with reflection, praise, worship, or prayer—not every day as I would like to. Because our team works in different time zones, I use my mornings to attend to emails that may have come through in the night. Having planned my to-do list the night before, I start executing my items for the day.

My role involves a lot of writing; therefore, I am constantly writing or preparing messages. Our meetings normally take place in the late afternoon or early evening. I work well at night and therefore choose to action some of the deliverables right after our meetings, in the evening.

With stakeholder relations, I am also constantly working on monitoring our relations and finding ways to maintain or improve them. One must be innovative. A lot of moving pieces, all the time. The last two hours of my work day are dedicated to upskilling. I try as much as possible to take short courses to assist me in carrying out my role.

Looking ahead, what changes or advancements do you hope to see in the energy sector, and how do you envision your role in shaping that future?

Meaningful participation in the energy sector, advancement of women in the energy sector, community understanding, being informed and educated about the energy sector, meaningfully benefiting from the sector, and overall. I truly believe that local content and meaningful participation in the energy sector needs to start with an understanding and education of the sector. An example is understanding that there are certain skills and capital capabilities we do not have and how we are going to work with operators to achieve our goals in combating energy poverty and social challenges throughout the energy sector. I believe that I can use my role as a vehicle to educate the Namibian nation on the energy sector for the purpose of meaningful participation.

Additionally, being on the ground and understanding the social challenges means using my role as a vehicle to be innovative in tackling these challenges and ensuring meaningful impact. As a female executive in the energy sector, it is my duty to show other women that it is possible to be in the energy sector meaningfully. At the same time, I have the very important duty to show and prove that women in the sector are capable, deliver, and have the skills to contribute to the sector. Moreover, women should not, are not, and don’t just want to be considered because we are women and that we can fill a quota, but that we have capacity, put in the work, have the skills, are capable, and deliver.

Distributed by APO Group on behalf of African Energy Chamber.

SOURCE

African Energy Chamber

African Energy Chamber Urges Gabon To Protect Oil & Gas Assets Amid Political Coup

PRESS RELEASE

African Energy Chamber Urges Gabon To Protect Oil & Gas Assets Amid Political Coup

The African Energy Chamber is calling for the security and safety of energy operations and personnel, citing disruptions to the industry as an attack on economic progress

JOHANNESBURG, South Africa, August 31, 2023/ -- The African Energy Chamber (AEC) (www.EnergyChamber.org) urges political and military players in Gabon not to interfere with the country’s oil and gas assets and operations, as tensions rise following the country’s most recent national election. Serving as the voice of the African energy sector, the AEC acknowledges the crucial importance these assets play in creating market stability, driving economic growth while improving the lives of the population. The announcement of a coup by military officers this week has created uncertainty regarding oil and gas operations, and the AEC strongly calls for a collective approach to protecting assets.

Gabon held its most recent national election this week, whereby, following the announcement that President Ali Bongo had won a third term, a group of high-level military officers seized control, citing lack of transparency, credibility and inclusivity in the election process. The military group believes the country to be in a state of political, economic and social crisis, and have seized power in an attempt to “defend peace.” In this current state of conflict, the country’s oil and gas assets – all of which contribute significantly towards Gabon’s economy, providing jobs and opportunities for the population – are at risk.

Currently, active oil and gas companies in Gabon have stated that their operations have not been impacted, and that the safety and security of workers is of uttermost priority. These include TotalEnergies, who is prioritizing the safety of employees and operations; Tullow and Perenco, both of which are closely monitoring the situation; Maurel & Prom, stating that all employees are safe; BW Energy, stating that all offshore operations have continued as normal, and many more. However, as tensions mount, concerns are rising that oil and gas activities could be halted.

“At a time such as this, there needs to be assurance from all sides that Gabon’s oil and gas activities will not be impacted. The country needs its hydrocarbons to function, grow and thrive. Any disruptions to oil and gas activities will result in significant challenges for the country, its citizens and its development. As such, the Chamber strongly calls for a collective approach to protecting these assets and ensuring stability and security across this industry,” states NJ Ayuk, Executive Chairman of the AEC. 

Gabon’s energy industry is multifaceted, with developments taking place across ever segment of the value chain. Representing a pillar of the country’s economy, oil and gas is responsible for generating income, creating employment and advancing the livelihoods of the population. The country holds two billion barrels of proven oil reserves and 1.2 trillion cubic feet of natural gas, and major projects in the country include the Hibiscus/Ruche development; the Cap Lopez oil terminal and Liquefied Natural Gas facility; the Etame Conventional Oilfield and many more. Protecting these assets should be a top priority, and the Chamber strongly advocates for security regarding Gabonese oil and gas operations.

Distributed by APO Group on behalf of African Energy Chamber.

SOURCE

African Energy Chamber

The Academy Awards, Nollywood and the Submission of Nigeria's Entry for the Best International Feature Film

The Academy of Motion Pictures, Arts and Sciences (AMPAS) is not responsible for the selections of the members of the Nigerian Official Selection Committee (NOSC) for the International Feature Film (IFF) category of the annual Academy Awards (Oscars).

The brouhaha over the lack of honesty and transparency in the rejection of any of the two acclaimed Nigerian films as the country’s official submission for the IFF Award last year caused the resignation of Mildred Okwo and Shaibu Husseini from the selection committee and I don't know if they have returned. But there should be a defined criteria for the membership of the Nigerian Official Selection Committee (NOSC) based on international professional achievements and accomplishments in filmmaking and being on the jury of highly rated international film festivals and awards. So, some members of the NOSC are not qualified to be members of the committee. And I mean every word in my statement. 

I was dragged into the mess of the NOSC last year that caused the local and international embarrassment of Nollywood, because after my investigation I discovered that Nigeria should have submitted an entry for the International Feature Film (IFF) category of the last Oscars. But personal antagonisms and not professional criticisms caused the rejection of the two films from which one should have been submitted. 

The two major contenders for the submission as Nigeria's entry were "Elesin Oba, The King's Horseman" , Yoruba-language historical drama film directed by Biyi Bandele based on Nobel Laureate, Prof. Wole Soyinka's "Death and the King's Horseman", a stage play he wrote while in Cambridge and "Aníkúlápó", a Yoruba epic fantasy film by Kunle Afolayan. Both of them were good enough; therefore one of them should have been submitted for the International Feature Film (IFF) category of the annual Academy Awards (Oscars). But the antagonism between those who wanted "Aníkúlápó" and those who wanted "Elesin Oba, The King's Horseman" resulted in the rejection of the films. 

Selfish opportunism has done more harm than good to professionalism in Nollywood and the Nigerian film industry.

To me, any Nigerian film that fails to be accepted for the Official Selections of any of the following annual international film festivals: Sundance Film Festival; Berlin International Film Festival: Cannes Film Festival, Venice International Film Festival and Toronto International Film Festival (TIFF) should not be in the consideration for the submission by the NOSC.

 - Ekenyerengozi Michael Chima,
The Publisher/Editor,
NOLLYWOOD MIRROR® Series,
Nigeria Daily
Nigerians Report Online on Blogger and Facebook
New Nigeria on Pinterest
Vuulr Program Partner,
Cinewav affiliate partner

#Oscars
#Academyawards
#BestInternationalFeatureFilm
#OfficialSelections
#nominations
#nominees
#films
#committee
#Nollywood

Dear Nollywood, Compete with the Best Filmmakers in the World

 Filmmakers in Nollywood should compete with the best filmmakers in the world and stop their bragging rights for the competition for being on Netflix, Amazon Prime Video and Showmax.

Filmmakers in Hollywood and Bollywood don't brag about being on Netflix, Amazon Prime Video and other top streaming platforms, including HBO Max, Disney+ and Apple TV.

The best filmmakers want to be in the Official Selections of the Berlinale, Berlin International Film Festival in Germany, Toronto International Film Festival (TIFF) in Canada, Venice Film Festival in Italy and the biggest and most prestigious Cannes Film Festival in France and finally the ultimate pedestal, the nominations for the most coveted Academy Awards, popularly known as the Oscars.  Anything else is good, but not yet the best.

The Big Picture of the future of  Nollywood is seeing the movies competing for the Oscars, Palme D'or, Golden Lion (Leone d'Oro),Grolsch People's Choice Award and Golden Bear 

All the brouhaha and going gaga over Netflix, Amazon Prime Video and Showmax are not bragging rights for the best filmmakers and those who are more nuanced intellectually.

- Ekenyerengozi Michael Chima,
The Publisher/Editor,
NOLLYWOOD MIRROR® Series

Musa-Musawa, Nollywood and other Stories from Nigeria

Photo: Minister of Arts, Culture, and Creative Economy, Hannatu Musa- Musawa.

I read a report by The Punch newspaper of Nigeria, that "Nigeria’s entertainment industry is set to receive a boost with the recent appointment of Hannatu Musawa as the Special Adviser on Culture and Entertainment Economy to President Bola Tinubu."

https://punchng.com/all-eyes-on-president-tinubus-new-adviser-musawa

The Punch did not tell us how Hannatu Musa-Musawa will boost the culture and creative industry, except quoting her academic and professional qualifications as a lawyer like Alhaji Lai Mohammed, the former Minister of Information and Culture under former President, Gen. Muhammadu Buhari,retd.

President of the Theatre Arts and Motion Pictures Practitioners Association of Nigeria, Bolaji Amusan, aka Mr Latin commended President Bola Ahmed Tinubu for her appointment. 

Why? 

I don't know.

Has she been an outstanding administrator before her appointment? 

I am more concerned with Nollywood and the Nigerian film industry,

The past Ministers for Information and Culture did not know about the administration of the film industry and were more focused on being spokespersons for the President; like Alhaji Lai Mohammed and his predecessors. 

Nigeria does not have a film policy, no single film commission and only recently talking about film treaties with France, Canada and  South Africa. 

Nollywood does not have any insurance policy and no structure in the Nigerian film industry.

There is more opportunism than professionalism in Nollywood and Kannywood.

The National Film and Videos Censors Board (NFVCB) sometimes crosses the line to do the work of the Nigerian Film Corporation (NFC). 

Have you noticed that many Nigerian movies don't have classifications for the restrictions of children under the ages of 13, 16 and 18. 

They just approve movies once you pay them the fees. 

I have been to their office for the approval of "Changing Faces" of Faruk Lasaki in 2012. They just approved it without any classification. Most likely, they didn't know how to classify the film.  

The office had no library. 

The qualifications of the staff are dubious. Are they trained and certified for their jobs?  

The Nigerian Film Corporation is meant to produce films. 

But have you seen films produced by the corporation since 1999 to date? And when you tell them to do their duties, they become angry and attack you. 

Civil servants and political appointees should not be given appointments which they will not know what to do, except having events, news media interviews and traveling to International conferences to make speeches. They will keep on wasting precious quality time and budgets without achievements. 

What did Alhaji Lai Mohammed achieve for the Nigerian film industry? 

What did he achieve for the music industry?

Show me the milestones of his office in the administration of former President Buhari.

- Ekenyerengozi Michael Chima,

Publisher/Editor,

NOLLYWOOD MIRROR® Series

Sex, Netflix and Showmax

Sex, Netflix and Showmax 💕💋💥

Every Nigerian man who can afford to buy condoms monthly can afford paying for Netflix and Showmax

I have done marketing family planning methods, including selling condoms for two years when I did on the spot market surveys of all the major markets in Lagos State, including the Mile 12 market on the mainland.

Do you know that majority of Nigerian men spend more than N20, 000 monthly on condoms? 

I mean each one spends more than N20, 000 on condoms monthly.

How much is the monthly subscriptions for Netflix and Showmax in Nigeria?

Oh! I forgot, Nigerian men need more sex than watching Netflix or Showmax? 

Seriously?

Wrong.

Nigerian men watch more TV than having sex.

How many hours do they spend on sex every day?

Of course, majority of us spend more hours watching movies and series than having sex weekly.

Netflix, Showmax and Amazon Prime Video can have more than 40 million subscribers in Nigeria by 2025 if they use social marketing strategies for their advertising and marketing campaigns. 

Static billboards and banners on the streets are not the best methods of advertising in Nigeria. And using celebrities have failed in several cases for the promotion of movies at the box office. 

Several movies featuring Nollywood stars with millions of followers on Instagram have bombed. 

Netflix acquired a movie by a popular celebrity with over 50 million followers on Instagram, but I doubt if even 100, 000 of her followers subscribed to Netflix to watch her movie.

If you can sell condoms, then you can sell subscriptions for Netflix and Showmax.

#sex #Netflix #Showmax #movies #series #condoms #Instagram #boxoffice #celebrities #subscriptions #subscribers #advertising #marketing #socialmarketing #followers #billboards #Nollywood #Nigeria #Lagos #surveys #communication #education #banners #information #family #planning #promotion #campaigns #Nigerianmen #men #women

- By Ekenyerengozi Michael Chima,

Publisher/Editor,

NOLLYWOOD MIRROR® Series

82nd Academy Awards(R) Nominations Announced

82nd Academy Awards(R) Nominations Announced

MEDIA CONTACT
Teni Melidonian
tmelidonian@oscars.org

Toni Thompson
tthompson@oscars.org

February 2, 2010
FOR IMMEDIATE RELEASE


82ND ACADEMY AWARDS® NOMINATIONS ANNOUNCED


Beverly Hills, CA — Nominations for the 82nd Academy Awards were announced today (Tuesday, February 2) by Academy of Motion Picture Arts and Sciences President Tom Sherak and 2008 Oscar® nominee Anne Hathaway.

Sherak and Hathaway, who was nominated for an Academy Award® for her lead performance in “Rachel Getting Married,” announced the nominees in 10 of the 24 categories at a 5:38 a.m. PT live news conference attended by more than 400 international media representatives. Lists of nominations in all categories were then distributed to the media in attendance and online via the official Academy Awards Web site, www.oscar.com.

Academy members from each of the branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominations are selected by vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees; this year that category features 10 nominees instead of 5, as has been the case since 1943.

Nominations ballots were mailed to the 5,777 voting members in late December and were returned directly to PricewaterhouseCoopers, the international accounting firm, for tabulation.

Official screenings of all motion pictures with one or more nominations will begin for members this weekend at the Academy’s Samuel Goldwyn Theater. Screenings also will be held at the Academy’s Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area.

All active and life members of the Academy are eligible to select the winners in all categories, although in five of them – Animated Short Film, Live Action Short Film, Documentary Feature, Documentary Short Subject and Foreign Language Film – members can vote only if they have seen all of the nominated films in those categories.

Academy Awards for outstanding film achievements of 2009 will be presented on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network beginning at 5 p.m. PT/8 p.m. ET. The Oscar presentation also will be televised live in more than 200 countries worldwide.


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Nominations for the 82nd Academy Awards

Performance by an actor in a leading role

Jeff Bridges in “Crazy Heart” (Fox Searchlight)
George Clooney in “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
Colin Firth in “A Single Man” (The Weinstein Company)
Morgan Freeman in “Invictus” (Warner Bros.)
Jeremy Renner in “The Hurt Locker” (Summit Entertainment)
Performance by an actor in a supporting role

Matt Damon in “Invictus” (Warner Bros.)
Woody Harrelson in “The Messenger” (Oscilloscope Laboratories)
Christopher Plummer in “The Last Station” (Sony Pictures Classics)
Stanley Tucci in “The Lovely Bones” (DreamWorks in association with Film4, Distributed by Paramount)
Christoph Waltz in “Inglourious Basterds” (The Weinstein Company)
Performance by an actress in a leading role

Sandra Bullock in “The Blind Side” (Warner Bros.)
Helen Mirren in “The Last Station” (Sony Pictures Classics)
Carey Mulligan in “An Education” (Sony Pictures Classics)
Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate)
Meryl Streep in “Julie & Julia” (Sony Pictures Releasing)
Performance by an actress in a supporting role

Penélope Cruz in “Nine” (The Weinstein Company)
Vera Farmiga in “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
Maggie Gyllenhaal in “Crazy Heart” (Fox Searchlight)
Anna Kendrick in “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate)
Best animated feature film of the year

“Coraline” (Focus Features), Henry Selick
“Fantastic Mr. Fox” (20th Century Fox), Wes Anderson
“The Princess and the Frog” (Walt Disney), John Musker and Ron Clements
“The Secret of Kells” (GKIDS), Tomm Moore
“Up” (Walt Disney), Pete Docter
Achievement in art direction

“Avatar” (20th Century Fox), Art Direction: Rick Carter and Robert Stromberg, Set Decoration: Kim Sinclair
“The Imaginarium of Doctor Parnassus” (Sony Pictures Classics), Art Direction: Dave Warren and Anastasia Masaro, Set Decoration: Caroline Smith
“Nine” (The Weinstein Company), Art Direction: John Myhre, Set Decoration: Gordon Sim
“Sherlock Holmes” (Warner Bros.), Art Direction: Sarah Greenwood, Set Decoration: Katie Spencer
“The Young Victoria” (Apparition), Art Direction: Patrice Vermette, Set Decoration: Maggie Gray
Achievement in cinematography

“Avatar” (20th Century Fox), Mauro Fiore
“Harry Potter and the Half-Blood Prince” (Warner Bros.), Bruno Delbonnel
“The Hurt Locker” (Summit Entertainment), Barry Ackroyd
“Inglourious Basterds” (The Weinstein Company), Robert Richardson
“The White Ribbon” (Sony Pictures Classics), Christian Berger
Achievement in costume design

“Bright Star” (Apparition), Janet Patterson
“Coco before Chanel” (Sony Pictures Classics), Catherine Leterrier
“The Imaginarium of Doctor Parnassus” (Sony Pictures Classics), Monique Prudhomme
“Nine” (The Weinstein Company), Colleen Atwood
“The Young Victoria” (Apparition), Sandy Powell
Achievement in directing

“Avatar” (20th Century Fox), James Cameron
“The Hurt Locker” (Summit Entertainment), Kathryn Bigelow
“Inglourious Basterds” (The Weinstein Company), Quentin Tarantino
“Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate), Lee Daniels
“Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios), Jason Reitman
Best documentary feature

“Burma VJ” (Oscilloscope Laboratories), A Magic Hour Films Production, Anders østergaard and Lise Lense-Møller
“The Cove” (Roadside Attractions), An Oceanic Preservation Society Production, Nominees to be determined
“Food, Inc.” (Magnolia Pictures), A Robert Kenner Films Production, Robert Kenner and Elise Pearlstein
“The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers”, A Kovno Communications Production, Judith Ehrlich and Rick Goldsmith
“Which Way Home”, A Mr. Mudd Production, Rebecca Cammisa
Best documentary short subject

“China’s Unnatural Disaster: The Tears of Sichuan, Province”, A Downtown Community Television Center Production, Jon Alpert and Matthew O’Neill
“The Last Campaign of Governor Booth Gardner”, A Just Media Production, Daniel Junge and Henry Ansbacher
“The Last Truck: Closing of a GM Plant”, A Community Media Production, Steven Bognar and Julia Reichert
“Music by Prudence”, An iThemba Production, Roger Ross Williams and Elinor Burkett
“Rabbit à la Berlin” (Deckert Distribution), An MS Films Production, Bartek Konopka and Anna Wydra
Achievement in film editing

“Avatar” (20th Century Fox), Stephen Rivkin, John Refoua and James Cameron
“District 9” (Sony Pictures Releasing), Julian Clarke
“The Hurt Locker” (Summit Entertainment), Bob Murawski and Chris Innis
“Inglourious Basterds” (The Weinstein Company), Sally Menke
“Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate), Joe Klotz
Best foreign language film of the year

“Ajami” (Kino International), An Inosan Production, Israel
“El Secreto de Sus Ojos” (Sony Pictures Classics), A Haddock Films Production, Argentina
“The Milk of Sorrow”, A Wanda Visión/Oberon Cinematogrà/Vela Production, Peru
“Un Prophète” (Sony Pictures Classics), A Why Not/Page 114/Chic Films Production, France
“The White Ribbon” (Sony Pictures Classics), An X Filme Creative Pool/Wega Film/Les Films du Losange/Lucky Red Production, Germany
Achievement in makeup

“Il Divo” (MPI Media Group through Music Box), Aldo Signoretti and Vittorio Sodano
“Star Trek” (Paramount and Spyglass Entertainment), Barney Burman, Mindy Hall and Joel Harlow
“The Young Victoria” (Apparition), Jon Henry Gordon and Jenny Shircore
Achievement in music written for motion pictures (Original score)

“Avatar” (20th Century Fox), James Horner
“Fantastic Mr. Fox” (20th Century Fox), Alexandre Desplat
“The Hurt Locker” (Summit Entertainment), Marco Beltrami and Buck Sanders
“Sherlock Holmes” (Warner Bros.), Hans Zimmer
“Up” (Walt Disney), Michael Giacchino
Achievement in music written for motion pictures (Original song)

“Almost There” from “The Princess and the Frog” (Walt Disney), Music and Lyric by Randy Newman
“Down in New Orleans” from “The Princess and the Frog” (Walt Disney), Music and Lyric by Randy Newman
“Loin de Paname” from “Paris 36” (Sony Pictures Classics), Music by Reinhardt Wagner, Lyric by Frank Thomas
“Take It All” from “Nine” (The Weinstein Company), Music and Lyric by Maury Yeston
“The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” (Fox Searchlight), Music and Lyric by Ryan Bingham and T Bone Burnett
Best motion picture of the year

“Avatar” (20th Century Fox), A Lightstorm Entertainment Production, James Cameron and Jon Landau, Producers
“The Blind Side” (Warner Bros.), An Alcon Entertainment Production, Nominees to be determined
“District 9” (Sony Pictures Releasing), A Block/Hanson Production, Peter Jackson and Carolynne Cunningham, Producers
“An Education” (Sony Pictures Classics), A Finola Dwyer/Wildgaze Films Production, Finola Dwyer and Amanda Posey, Producers
“The Hurt Locker” (Summit Entertainment), A Voltage Pictures Production, Nominees to be determined
“Inglourious Basterds” (The Weinstein Company), A Weinstein Company/Universal Pictures/A Band Apart/Zehnte Babelsberg Production, Lawrence Bender, Producer
“Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate), A Lee Daniels Entertainment/Smokewood Entertainment Production, Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
“A Serious Man” (Focus Features), A Working Title Films Production, Joel Coen and Ethan Coen, Producers
“Up” (Walt Disney), A Pixar Production, Jonas Rivera, Producer
“Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios), A Montecito Picture Company Production, Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers
Best animated short film

“French Roast” , A Pumpkin Factory/Bibo Films Production, Fabrice O. Joubert
“Granny O’Grimm’s Sleeping Beauty” (Brown Bag Films), A Brown Bag Films Production, Nicky Phelan and Darragh O’Connell
“The Lady and the Reaper (La Dama y la Muerte)”, A Kandor Graphics and Green Moon Production, Javier Recio Gracia
“Logorama” (Autour de Minuit), An Autour de Minuit Production, Nicolas Schmerkin
“A Matter of Loaf and Death” (Aardman Animations), An Aardman Animations Production, Nick Park
Best live action short film

“The Door” (Network Ireland Television), An Octagon Films Production, Juanita Wilson and James Flynn
“Instead of Abracadabra”, (The Swedish Film Institute), A Directörn & Fabrikörn Production, Patrik Eklund and Mathias Fjellström
“Kavi”, A Gregg Helvey Production, Gregg Helvey
“Miracle Fish”, (Premium Films), A Druid Films Production, Luke Doolan and Drew Bailey
“The New Tenants”, A Park Pictures and M & M Production, Joachim Back and Tivi Magnusson
Achievement in sound editing

“Avatar” (20th Century Fox), Christopher Boyes and Gwendolyn Yates Whittle
“The Hurt Locker” (Summit Entertainment), Paul N.J. Ottosson
“Inglourious Basterds” (The Weinstein Company), Wylie Stateman
“Star Trek” (Paramount and Spyglass Entertainment), Mark Stoeckinger and Alan Rankin
“Up” (Walt Disney), Michael Silvers and Tom Myers
Achievement in sound mixing

“Avatar” (20th Century Fox), Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
“The Hurt Locker” (Summit Entertainment), Paul N.J. Ottosson and Ray Beckett
“Inglourious Basterds” (The Weinstein Company), Michael Minkler, Tony Lamberti and Mark Ulano
“Star Trek” (Paramount and Spyglass Entertainment), Anna Behlmer, Andy Nelson and Peter J. Devlin
“Transformers: Revenge of the Fallen” (DreamWorks and Paramount in association with Hasbro, Distributed by Paramount), Greg P. Russell, Gary Summers and Geoffrey Patterson
Achievement in visual effects

“Avatar” (20th Century Fox), Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
“District 9” (Sony Pictures Releasing) , Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
“Star Trek” (Paramount and Spyglass Entertainment), Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton
Adapted screenplay

“District 9” (Sony Pictures Releasing), Written by Neill Blomkamp and Terri Tatchell
“An Education” (Sony Pictures Classics), Screenplay by Nick Hornby
“In the Loop” (IFC Films), Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche
“Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate), Screenplay by Geoffrey Fletcher
“Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios) , Screenplay by Jason Reitman and Sheldon Turner
Original screenplay

“The Hurt Locker” (Summit Entertainment), Written by Mark Boal
“Inglourious Basterds” (The Weinstein Company), Written by Quentin Tarantino
“The Messenger” (Oscilloscope Laboratories), Written by Alessandro Camon & Oren Moverman
“A Serious Man” (Focus Features), Written by Joel Coen & Ethan Coen
“Up” (Walt Disney), Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy
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