The Academy Award for Best Makeup really recognizes makeup and hairstyling. The hairstylists might be largely forgotten on account of the title of the award, but this is nevertheless the category in which their work is noticed by the AMPAS. Both makeup and hairstyling help create a character, specific to time, period, setting and persona, whatever these factors may be.

Like visual effects, there are two stages to choosing the nominees in this category. Seven films are announced before nomination morning as finalists, known as the “bakeoff.” A committee then views the films and chooses three nominees from the lot.

The category is also one of the most difficult to predict, largely because the bakeoff often has shockers in store, omitting films considered good bets for nods and including titles often not considered. As expected, however, makeup that is most noticeable tends to garner the most attention.

Perhaps the biggest question mark in this year’s race surrounds “Pirates of the Caribbean: Dead Man’s Chest.” Ve Neill (three-time Oscar winner) and Martin Samuel were nominated for their work on the original film three years ago, losing to the “Return of the King” juggernaut. They could also run into trouble this time around if the branch feels there is not enough new work, especially when a character like Davy Jones is created through visual effects rather than practically. I personally feel their work is easily worthy of a nod given all the battle wounds, distinctive looking new characters and, most notably, Stellan Skarsgård’s Bootstrap Bill, a character whose look was almost completely the result of makeup. I suspect the branch will see this as I do and give the film the nod, on its way to the win. But if it were not to make the bakeoff, I would not be shocked.

After “Dead Man’s Chest,” the film which strikes me as the best opportunity this year for makeup artists to shine is Mel Gibson’s “Apocalypto.” We all know of Gibson’s rather – how shall I put this politely – “odd” behavior as of late. However, “Apocalypto” will feature ritual makeup, battle wounds and memorable hairstyles, all attempting to fashion a piece of history seldom recreated. Moreover, his makeup crew includes Oscar nominees Daniel Parker (“Mary Shelley’s Frankenstein”) and Keith VanderLaan (Gibson’s own “The Passion of the Christ”). All things considered, this nod is up to the film to lose.

The makeup branch loves aging famous actors. See the nomination for “The Sea Inside” two years ago for essentially aging just one character in particular. And Daniel Phillips did this exquisitely and memorably this year on Stephen Frears’s “The Queen” for a far more famous individual. Helen Mirren looks doesn’t exactly resemble Britain’s reigning monarch, but Phillips’s work, on both makeup and hair fronts, aided in convincing us that she was. Moreover, there was also the task of turning Sylvia Syms into the 97-year old Queen Mother. Ms. Syms is, after all, a spry 72!

Also dealing with queens this year was Sofia Coppola’s “Marie Antoinette.” Though not necessarily a makeup showcase, the range in the hairstyling was rather incredible. A nomination is not out of the question though color me skeptical as to the number of nods the film will receive on the whole.

“Dreamgirls” is another movie where the hairstyling may be able to pull the film into contention in this category. I would not bank on a nod here, but if the film starts scoring across the board, one never knows how much love it will receive.

Gritty makeup that serves the situations of the characters can find a home in this category. Witness “Saving Private Ryan”’s nod here in 1998. Through makeup, both “World Trade Center” and “Flags of Our Fathers” captured the horror of the situations in which the films’ protagonists were immersed. However, neither crew has received plentiful Oscar love to date (only Mike Smithson of “World Trade Center” has been nominated before, for “Austin Powers: The Spy Who Shagged Me”).

Makeup and hairstyling have been key to the success of the “X-Men” franchise. So far, however, none of the films have even managed to make the list of finalists. And Brett Ratner’s “X-Men: The Last Stand” was nowhere near as good as Bryan Singer’s previous efforts in the series. Then again, “Star Wars: Episode III – Revenge of the Sith” managed to be the first movie in its franchise to score a makeup nod last year.

“Eragon” is another blockbuster which will undoubtedly be heavily reliant on makeup. Oscar winner Trefor Proud (“Topsy-Turvy”) leads the department so I wouldn’t call this nod impossible. But the film will need hit status and reviews that aren’t horrid. (Stefan Fangmeier hardly guarantees quality filmmaking after all). Proud also headed up the makeup department on “Copying Beethoven” this year, transforming actor Ed Harris into the famous composer.

I’ll end the discussion of this category with the same way I began it – by discussing a film whose fate here may be reliant on the branch’s perception of makeup being downplayed by visual effects work. I’m speaking of Guillermo Del Toro’s “Pan’s Labyrinth.” I unfortunately have not seen this film yet, so I can’t comment on where makeup ends and effects begins. But it certainly looks like a visual feast with the opportunity for a makeup artist to really shine.

So there’s another category covered. Next week, we turn to Best Sound Mixing.