tv Talking Movies BBC News November 5, 2021 2:30am-3:01am GMT
towards eliminating the use of coal, one of the most harmful energy sources, but most of the big polluters are not on board. the host nation says 46 countries had signed up to end coal use. the ethiopian government has said it will continue its fight against tigrayan rebel forces, despite growing international calls for a ceasefire. the government says it's on the brink of victory, but tigrayan forces have been advancing towards the capital and seizing key towns in recent days. the world health organization has described the current surge of coronavirus cases in the wider europe region as a warning shot for the entire world. europe saw almost 1.8 million new cases last week alone the who says europe is again becoming what it called the epicentre of the pandemic. a new study suggests that cervical cancer has been virtually eradicated in young women because of
the hpv vaccine programme. around 3,200 women are diagnosed with cervical cancer in the uk each year, and 99% of these are caused by the human papillomaviruses. but cases of the disease have fallen by nearly 90% among women now in their twenties, who were the first generation to get the jab. the vaccine is offered to all girls and boys in the uk at some stage between 11 and 13 years old, depending on where they live, and up to the age of 25 if they missed out at school. our health editor hugh pym reports. three women give their perspective on an historic day and a big leap forward for medicine, with the success of the hpv vaccine. evie missed out at school, but then found she could get the injections on the nhs. i've now at 23 got the vaccine and, yeah, this news isjust really, really good, because you can just see that the changes are happening and that the vaccine
is working. lynne highlights the huge fall in cancer risk for those vaccinated. the fact that can be drastically reduced by 90% is just such good news. fantastic. penny had cervical cancer, but it was picked up early thanks to a smear test and, after a major operation three years ago, she is now clear. i have three kids, i had no intention of having any more children, so although it was major surgery, for me it didn't have the same impact that it might have on somebody, on a woman who gets diagnosed in her 20s who hasn't had any children, who is faced with the option that they have to you know have a hysterectomy and they're not going to be able to have children naturally. in 2019, vaccines were extended to boys. they had been introduced in 2008 for girls age ranges of between 11 and 13, differing slightly in the uk's nations. hpv can cause some cancers, including head and neck, in men and the vaccine could help prevent those. no wonder scientists are talking
of a dramatic break through. it is a really historic moment to show that at last we have concrete proof that the vaccine is actually stopping people from getting cervical cancer. so it is an incredible story of the power of science and research and what we can achieve when we put that into practice. the vaccine could make a big difference in developing countries like laos, where it's been introduced for girls. 90% of deaths from cervical cancer are in low and middle income countries, where access to screening is limited. there have been calls for action to eliminate cervical cancer and that goal is now several steps closer. hugh pym, bbc news. now on bbc news, it's time for talking movies.
hello from los angeles. i'm tom brook. welcome to our special talking movies academy museum review programme. after many delays, a long—awaited museum here in the world's movie capital finally opened its doors to the public at the end of september, and it made quite an impact. billed as the largest institution in the us devoted to exploring art and science of movies and moviemaking, the museum has many champions in hollywood, including tom hanks, who participated in the opening festivities. it matters for los angeles to have this film museum. we all know films are made everywhere in the world and they are wonderful films. and there are other cities with film museums but with all due respect, a place like los angeles, created by the motion picture academy, this museum has really got to be the parthenon of such places. those views were shared by some of the other big names attending the opening
celebrations. it's crazy that there hasn't been anything like this in la before. i mean...it�*s strange, �*cause this is la. it should be cinema stuff everywhere. and so it's really, really nice to see this finally come to fruition. it'sjust an opportunity to reflect on the history of film and to be able to go and, like, be, you know, see the little bits and pieces of what built the industry that we're all so lucky to be a part of is really cool. the town that has been based around this one particular- beautiful industry, and i hopej the museum sort of obviously joyously celebrates the thing that we try and do here, - which is to make _ entertainment, movies, right? the museum's site consists
of a converted old department store from 1939 connected to an adventurous brand—new futuristic structure, which has been designed to provide america's film capital with something it's never had before — a cathedral for movies. we hope that the academy museum becomes the centre place for people coming to los angeles, looking for a sense of movie magic, looking to learn about cinema, looking to get connected to the academy. right now the academy is mainly the oscars, which people see once a year, globally. this is a home for the work of the academy and for the history of cinema and we hope that tourists turn to us for that. the museum is also a striking feat of design, the work of renowned italian architect renzo piano. he believes the complex he has created somehow reflects the wonders of cinema. when you make a building, you must create a building that tells a story of what
is the building for. this is a place of cinema, and cinema is old enough to have a museum, but young enough to need to be flexible, open to change. but what do critics and commentators in california make of architect renzo piano's creative achievement? the museum does seem to be on its way to becoming an appreciated iconic los angeles landmark. i'm excited for what this building represents architecturally, which is an interesting new piece of contemporary architecture, which, while not lovable, is very interesting. it's trying to use what we already have, notjust tearing everything down and building anew, and i don't think there's an angelino in town who doesn't know the corner of wiltshire and fairfax who hasn't maybe posted to social media about it. it is a building that has been talked about for years, and i think now that people are going to be able to go
inside of it, probably even more so. the museum is big — 50,000 square feet of exhibition space, along with two plush auditoriums, an educational studio, a restaurant and much more. it's a museum celebrating cinema and its history. right now — at a time in the world where the entertainment industry is in a sort of sea change where the landscape is changing, a place where you can focus on what's the historical beginnings of all of that — film, relatively young medium, you know — right through to now, i think never more necessary. it's an endeavour that film professionals see as having a major impact on redefining the academy, the umbrella organisation that oversees the oscars, the museum and other entities. i love that people will begin to think about the academy for more than just the oscars. a lot of people think that's all they do, but they have a really important role to play in terms of the preservation of film culture as well, and they're in a city that is one
of the great capitals of film culture, and what i hope they will do, and i've seen it in some of the programming they've set up already, is that they'll go well beyond, you know, the current hollywood hits and the oscar winners and that sort of thing, and really dig deeper into international cinema, into independent cinema, and i think it'll give people an opportunity to literally walk through a wider range of film culture. the museum, which has been in the works since 2011, was beset by numerous delays. when it finally welcomed in the public, the opening night film was a real hollywood classic — the wizard of oz, released in 1939. # you're off to see the wizard, the wonderful wizard of oz... it is the widely loved story known the world over of a young girl called dorothy, played byjudy garland, in the magical land of oz. it was seen as a fitting choice to launch this new hollywood institution. lions? and tigers? and bears! there's a gallery devoted
to the wizard of oz that walks you through all of the arts, crafts, sciences, professionals that worked on that film. it's a great way to deconstruct how a movie is made through the lens of one film. of course, we own the ruby slippers, or one pair of the ruby slippers — that's sitting in the centre of the room. so it's an iconic movie, it stands the test of time, and one part of our campus, the former may company department store opened in 1939, which is the year that the wizard of oz was released. the museum is also paying tribute to filmmaker spike lee, who brought world cinema such classics as do the right thing, with a special inaugural installation. then there's an exhibit dedicated to japanese animation master hayao miyazaki, as well as a section highlighting the work of celebrated spanish filmmaker pedro almodovar. there's all kinds of memorabilia on display, including the sled, rosebud, from the classic citizen kane,
and bruce the shark from the moviejaws. it's also a museum exploring the science of filmmaking. throughout our galleries, especially in stories of cinema, you will learn about visual effects, cinematography, you will learn about the core science and technology components of how movies are made, so it's really powerful, to look at these physical pieces of equipment and to learn about the artists and the scientists who created both the science behind it and the physical apparatus, to bring special effects and the science of moviemaking to the public. # it was a clear black night, a clear white moon # warren g was on the streets, trying to consume... the academy museum was originally intended to be a largely uncritical celebration of the movie industry.
then, during its development, came social upheaval. the me too movement, black lives matter and, more recently, the pandemic. as a result, the remit of the academy museum has changed. the title for an early plan for the core exhibition at the museum was where dreams are made, ajourney inside the movies. now, there's an agenda connected with more sobering realities. when the me too movement happened, when george floyd was murdered last year, we were already working diligently to tell the more complex and, frankly, less proud moments of our history, our cinematic history. we also have a gallery, i should mention. in stories of cinema, our core exhibition, devoted to social impact in moviemaking. the gallery's entitled impact reflection, and we're opening with that gallery devoted to four movements — black lives matter, labour relations, climate change and me too. it's a way for us to think about the ongoing relevance of movies, to recognise that movies have always had
political and cultural impact, sometimes in ways that had not been acknowledged by the film industry, sometimes really damaging ways like castigating whole—sale groups of people, we're acknowledging those histories, and we're using this museum as a platform to think collectively about how we can change those practices going forward. some people might take the view, though, that you're advancing a progressive activist agenda by way of what you're saying, and the role a the museum is really to reflect the status quo. well, i don't know that the museum world can any longer take that point of view. i think that neutrality is a position, and what we're trying to do here is to recognise that you're always taking a position, and if can use the museum as a platform for addressing social inequities of the past, we recognise those things as a collective, and we hope that people will see this as a space to have these conversations, to raise exactly the kind of question that you just raised. all of those questions
are welcome here. but haile gerima, a leading figure in black american independent cinema, wonders just how long this spirit of inclusiveness on the part of the academy museum will last. gerima is a radicalfilmmaker whose credits include the atlantic slave trade story sankofa. he has just received a vantage award from the museum, recognising an individual who has challenged dominant narratives in cinema. he views hollywood with disdain, as a white supremacist stronghold. in some respects, though, he applauds the museum for giving him the award. i respect them for trying to use me to recognise the excluded people in a very exclusive white supremacist club. the museum could be inclusive, it can, but then again, who is going to continue what it started?
the newly opened academy museum in los angeles is very much a hollywood institution in terms of its geographical location, but there's a big effort for it to be a global centre with the visitors it attracts and the cinema it showcases. somebody who might be watching you, say, in mumbai, which has its own bounteous film industry, might be thinking, well, this man isjust talking about a hollywood centric institution, is that the case? not the case at all. we're an international film museum, one of our galleries is devoted to pedro almodovar, one to bruce lee, one to chivo lubezki, fellini is featured in our oscars gallery. when you go into spike lee's gallery, you will learn about his influences, rossellini, de sica, melvin van peebles, so you'll see independent us moviemaking, hollywood us moviemaking and international moviemaking throughout our galleries. we think of this is a global museum.
i think this is another void in film history that we're going to be filling, which is to think not just about hollywood's centrality in world cinema but, really, to take the concept of world cinema seriously. so our major exhibition on hayao miyazaki is the most extensive of its kind in north america, and we're really going to think about the ways that he has developed work that is grounded injapanese culture, but global in its appeal. our collaboration with pedro almodovar is another example of looking at and working with an artist who speaks in cinematic language. so there are so many ways that people who are not familiar with the work of these filmmakers, not familiar with the work of other international filmmakers that are featured across our galleries will make connections across these traditions. given that this is the academy museum, it flows that attention wouldn't pay to the academy's most important event, the annual oscars ceremony.
a special section of this building has been devoted to looking at the history of the oscars, the good moments and the bad. emma jones reports. it's the world's most famous red carpet, most famous awards ceremony and still the only reward for films that the public really prize. the oscars still have power to thrill, and this exhibition goes right back to the first ceremony in 1929 when a world war i silent movie called wings, starring clara bow, took the very first best picture award. there are plenty of oscar highs to celebrate, including in 2020 when parasite became the first non—english language film to win best picture. but also, shameful lows to acknowledge. notably hattie mcdaniel�*s treatment when she became the first african—american to win a oscar when triumphed for gone with the wind in 1940.
no use trying to sweet talk me, miss scarlett. i knows you ever since i put the first pair of diapers on you. she was not allowed to sit with the rest of the cast. she sat in the back of the room. this was a moment where she was going to be celebrated or was celebrated, but was not treated in an equitable way. we are the premiere organisation devoted to celebrating excellence in the arts and sciences of moviemaking, but we've not always gotten it right, and i think the world knows that. # a terrible time in america. # you forget i'm in america! rita moreno's best supporting actress win in 1962 for her role as anita in west side story made her the first hispanic woman to receive an oscar, although few others have come after her. her oscar victory is marked in this exhibition too. at some point, you gotta to decide for yourself who you wanna be. moonlight�*s historic win
in 2017 is also shown as the first film with an all—black cast and first film with an lgbt protagonist to win best picture, even if at first la la land was announced as the winner. well, here's my first question — do you think it's a little dangerous handing out guns in a bank? then there's the controversial moments. michael moore never finished his speech after criticising former presidents bush after the us—led invasion of iraq when he won best documentary for bowling for columbine in 2003. he eventually did finish his speech at the critics' choice documentary awards in 2018. to pick up a camera and fight the power, make your voice heard and stop this senseless war. thank you and goodnight. and that was the end of the speech! marlon brando sent a native american actress to decline his best actor award in 1973 for the godfather in order to protest at the treatment of native americans in hollywood.
we want to show that the oscars history is connected to social and political history, that it does not exist outside of the realms of real life. so that's not all that we have in that gallery, but those strike us as significant moments to remind ourselves that an awards show is not just about the awards, but about the society in which they are awarded. what do you think of the oscars looking back on both the good on the bad things that they've done? i think, you know, if they made this museum five years ago, it would have been a very different thing, celebratory about the oscars, and this is a late period bit of handwringing and mea culpa hand up from hollywood. i think it's very welcome, but they have to be very careful that they don't consign the oscars to a bit of history. you're putting it in a museum, it sort of says, well,
this is what we used to do, and that concerns me. it's still a living, breathing organism that can look forward and change, and putting it in a museum and saying we made a lot of mistakes does consign it to the bin. # you're here... nearly 25 years after titanic won 11 oscars, one of only three movies in oscar history to do so, the academy awards biggest challenge seems to be their relevance. few modern movies rival titanic or lord of the rings: the return of the king in being huge crowd—pleasers as well as oscar winners. tv viewing figures of the ceremony in 2021 were at a record low atjust under 10 million in the usa. but audiences are watching on social media. this viral photo from 2014 got 2 million likes and 2 million retweets. i don't think there's less of an impact of the oscars on our culture. there's more social media around the oscar weekend and all that goes into that than any other spectacle, so the cultural impact
of the oscars, i think, is — remains incredibly high. # i've got a feeling i'm not the only one... the academy museum is opening up at a very challenging time for the american film industry. there is the sense that movies are perhaps less central to our lives than they have been in the past. some academy members see the museum as a trailblazer rallying to support the film industry, especially cinema going, which is in a very fragile state as a result of covid. you might say it's a fight for the life of the media and so you need trailblazers and people who have all of the resources and glories of that medium at their disposal in order to either refresh people's minds, imaginations and hearts and souls about what's possible, orjust to sort of explain what the differences are. but i think the — i think
we need it, i think we most certainly need it and we need to be reminded. that the museum is opening at a very challenging time for the film industry is without question. the final cost of completing the museum is almost $500 million. it's gone over budget. will it fly? will it become a success? there's no question that there's going to be a big audience for this museum, but will that same audience be there a generation from now? there's a whole new generation that really doesn't worship movie theatres the way that my generation did, that views films on their ipads or their iphones. people are really questioning the 2—hour format of a movie because they're getting used to seeing longform television, which, in many ways, is more vital at this moment in time. this project started in 2011. it was an idea. ten years is not a long time to take an idea, find it a home, raise the money to build it,
design and construct the campus, curate over 50,000 square feet of exhibition space, programme our theatres — we have months of programming lined up. so we're really proud that we were able to do that in the midst of a global pandemic, in the midst of shifting moviegoing appetites and ways of watching movies. i think a museum like the academy museum can adapt to those changes and constantly remind people why movies and the stories of cinema are so important to all of us. this is something we all engage in. we see ourselves reflected in movies, we learn about other cultures and ourselves. in my own opinion, there is no doubt that the film world is better off with this new academy museum now in place. it is trying to represent the film industry, which is being heavily
scrutinised for past and present transgressions from a wide range of groups and interested parties. it needs to stake out a position that it will, indeed, be a global institution reflecting the magic of cinema in the context of fair and spirited debate, notjust a one—sided echo chamber presenting one view of movie history. you can be sure the whole world will be watching. well, that brings this special talking movies academy museum review programme to a close. we hope you've enjoyed the show. please remember you can always reach us online and you can find us on facebook and twitter. so from me, tom brook, and the rest of the talking movies production team here in los angeles, it's goodbye as we leave you with a young judy garland singing in the movie the wizard of oz. that picture was the opening night film here at the academy
museum. # somewhere over the rainbow bluebirds fly # birds fly over the rainbow # why then, oh, why can't i? hello there. after the rather chilly conditions of the last few days, things are going to feel a little bit different as we head towards the weekend. some milder weather in the forecast, but with that, quite a lot of cloud feeding in from the west. and for some of us through the weekend there is some wet and windy weather on the way.
this warm front has been working its way southwards and eastwards, introducing more in the way of cloud, but also introducing a westerly wind, so that is bringing a milderfeel. a milder start to friday for many. the coldest conditions down towards the south and the east where the skies have remained clear. and that's where we will see the best of any sunshine through the morning. for many other places there is going to be a lot of cloud. that cloud, at times, producing some spots of light rain and drizzle. especially over high ground in western scotland. we will hold onto a little bit of brightness at times across eastern scotland, north—east england, parts of east wales, the midlands, and down towards the south—east. and the temperatures a little higher than they have been. double digits for almost all of us. 10—13 degrees at best. as we head through friday night, bonfire night of course, expect mild conditions, a lot of cloud, some spots of rain and drizzle, and then through the early hours of saturday, some heavier rain starting to push in towards the western side of scotland. there will be quite a mild
start to the weekend. seven, eight, nine, 10 degrees. but for saturday, while high pressure will hold on down towards the south, low pressure is pushing close to the north of the uk, and this frontal system here will bring some outbreaks of quite heavy rain southwards and eastwards across scotland, and northern ireland. some of that rain eventually getting down into north—west england and north wales. ahead of that, southern and eastern parts of england largely dry, but quite cloudy. brightening up eventually up towards the north—west where it will also be turning very windy. but we stick with that milder theme —12—14 degrees. now through saturday night as this area of low pressure passes close to northern scotland, notice the white lines, the isobars squeezing together. there will be a swathe of really strong winds. quite widely it will be windy, but wind gusts could get up to 70 mph or even a touch more in the most exposed spots in northern scotland. but for sunday, we can expect more in the way of sunshine. showers continuing in the far north where we keep a fairly brisk breeze. it will feel a little cooler by this stage, but still top temperatures of 10—13 degrees.
you're watching bbc news. i'm rich preston, our top stories: more than 40 countries pledge to end the use of coal, but major producers, including the us, india and china, are not signed up to the agreement. in ethiopia, tigrayan forces threaten to march on the capital prompting the prime minister to tell residents to prepare to bear arms. the world health organization warns that europe is once again at the epicentre of the covid pandemic. and the uk becomes the first country in the world to approve an anti—viral pill against coronavirus. welcome to our viewers on pbs in america and around