And Oscar’s Campaign Contributions Go To . . .
Last weekend was really busy and I failed to post a news item from my introductory US government and politics class. Sorry about that. We had some very interesting submissions, really we did.
Lots of interesting articles and posts sent in by my students again this week. Everything from evidence that Barack Obama really hearts America to Oklahoma’s efforts to spin the AP history exam to a fascinating article about Trinity Industries’ efforts to lobby states’ attorneys general.
But it’s Oscars night. The celebrities are on the red carpet and, so, our featured article this week has an Academy Awards theme.
Political Scientists love data and while federal election law may not do much to discourage floods of money going into campaigns, it has provided us with lots of data about who gives how much to whom.
Analysts from Crowdpac, a group that compiles campaign finance data, examined records of actors, producers, directors and crew members who worked on this year’s Oscar-nominated films in search of a correlation between the message of their film and the political views of their creators.
Crowdpac assigned each person a score based on their donor history, ranking them from most liberal to most conservative. The analysts then tallied an average score for each Best Picture-nominated movie.
Here’s how it breaks down for the Oscar-nominated films (film/liberal index (out of 10)/number of donors/total contributions):
Imitation Game – 9.4L (4 donors – $4,441)
Birdman – 9.2L (16 donors – $518,602)
Selma – 9L (8 donors – $448,408)
Boyhood – 8.7L (11 donors – $39,515)
Whiplash – 8.6L (7 donors – $33,859)
Grand Budapest Hotel – 8.4L (6 donors – $23,500)
Theory of Everything – 6.3L (1 donor – $19,281)
American Sniper – 3.1L (9 donors – $55,959)
It won’t surprise many to see that the donors associated with these films tend to the liberal end of the spectrum, or that American Sniper is the least liberal-leaning film in tonight’s competition.
But maybe there is room for a methodological debate here. After all, if you follow the Auteur theory of cinema, maybe we should only count donations from a film’s director (and maybe screenwriter). I mean, do the Key Grip’s contributions really affect the politics of a film?