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Cinematography (Black-and-White) - Joseph Ruttenberg Best Motion Picture - Metro-Goldwyn-Mayer Writing (Screenplay) - John Van Druten, Walter Reisch, John L. Balderston
- Best Motion Picture
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Anchors Aweigh – Metro-Goldwyn-Mayer The Bells of St. Mary’s – Rainbow Productions The Lost Weekend – Paramount Mildred Pierce – Warner Bros. Spellbound– Selznick International Pictures
The Bells of St. Mary’s – Leo McCarey The Lost Weekend – Billy Wilder National Velvet – Clarence Brown The Southerner – Jean Renoir Spellbound– Alfred Hitchcock
Bing Crosby – The Bells of St. Mary’s Gene Kelly – Anchors Aweigh Ray Milland – The Lost Weekend Gregory Peck – The Keys of the Kingdom Cornel Wilde – A Song to Remember
Ingrid Bergman – The Bells of St. Mary’s Joan Crawford – Mildred Pierce Greer Garson – The Valley of Decision Jennifer Jones – Love Letters Gene Tierney – Leave Her to Heaven
Michael Chekhov – Spellbound John Dall – The Corn Is Green James Dunn – A Tree Grows in Brooklyn Robert Mitchum – G. I. Joe J. Carrol Naish – A Medal for Benny
Eve Arden – Mildred Pierce Ann Blyth – Mildred Pierce Angela Lansbury – The Picture of Dorian Gray Joan Lorring – The Corn Is Green Anne Revere – National Velvet
The Affairs of Susan – Thomas Monroe, Laszlo Gorog The House on 92nd Street – Charles G. Booth A Medal for Benny – John Steinbeck, Jack Wagner Objective, Burma! – Alvah Bessie A Song to Remember– Ernst Marischka
“Accentuate The Positive” – Here Come the Waves – Music by Harold Arlen; Lyrics by Johnny Mercer “Anywhere” – Tonight and Every Night – Music by Jule Styne; Lyrics by Sammy Cahn “Aren’t You Glad You’re You?” – The Bells of St. Mary’s – Music by James Van Heusen; Lyrics by Johnny Burke “The Cat And The Canary” – Why Girls Leave Home – Music by Jay L...
The Bells of St. Mary’s – Harry Marker The Lost Weekend – Doane Harrison National Velvet – Robert J. Kern Objective, Burma! – George Amy A Song to Remember– Charles Nelson
The Keys of the Kingdom – Arthur Miller The Lost Weekend – John F. Seitz Mildred Pierce – Ernest Haller The Picture of Dorian Gray – Harry Stradling Spellbound– George Barnes
Mar 28, 2021 · By the 1940s, two full Academy Awards were given out for cinematography each year, divided into black & white and color. This would continue until 1967 when color and black & white films would finally be judged against each other for a single Best Achievement in Cinematography award.
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From 1939 to 1967 with the exception of 1957, there were also separate awards for color and black-and-white cinematography. After Who's Afraid of Virginia Woolf? (1966), the most recent black-and-white films to win since then are Schindler's List (1993), Roma (2018) and Mank (2020).
The 17th Academy Awards were held on March 15, 1945 at Grauman's Chinese Theatre, honoring the films of 1944. This was the first time the complete awards ceremony was broadcast nationally, on the Blue Network (later ABC Radio). Bob Hope hosted the 70-minute broadcast, which included film clips that required explanation for the radio audience.
1945: Black-and-White: Harry Stradling (The Picture of Dorian Gray); Color: Leon Shamroy (Leave Her to Heaven) 1946: Black-and-White: Arthur Miller ( Anna and the King of Siam ); Color: Charles Rosher, Leonard Smith, and Arthur Arling ( The Yearling )
3 days ago · By 1940, the award had permanently split in two: One for Black-and-White, and the other for films in Color, with Gone with the Wind being the first to win the latter. 1966 was the final time the Academy made that distinction, though black-and-white movies have won since, like Schindler’s List in 1994, Roma in 2019, and Mank in 2021. And now ...
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