This binary logic suggests that only those on either side of the fence are united. Yet we all know that the world of entertainment or industry is not a single unified entity. It is not a simple umbrella faction of Disney, Warner, DreamWorks, Pixar, Klasky Csupo, Fox. Within their very umbrella there are many divergent interests and voices and visions with a specific geographical space. Can we apply the same sweeping labels to, for example, the U.K. industry and Aardman, Bolex Brothers, etc...? Broken down further the goals and aims of Aardman and Bolex are quite likely different. Just take a look at Tom Thumb. Beyond that where do we place the Bolex Brothers, Cuppa Coffee Animation (Toronto), Bermuda Shorts (London), FilmTecknarna (Stockholm) and other smaller studios who clearly straddle that supposed line between art and entertainment? Under those terms, we would then deem Father and Daughter, The Mermaid, The Cat Came Back as "art" films because they were made independently and not client driven. But is Father and Daughter really so different than Bambi or The Iron Giant? All are skillfully created and emotionally charged films. Evoking an emotion is an aim of these films and yet some would call Father and Daughter an art film and Bambi or The Iron Giant frivolous entertainment. Hell, many of the so-called entertainment animators like Bill Plympton, Nick Park and on it goes, have their roots in this supposed "other" art/independent animation world.

While Shrek and Snow White might not be films that taste good to me, I can nevertheless gain something from what they say or don't say...just as I can from a film by Priit Pärn or Phil Mulloy.

Perhaps it boils down to a question of "authenticity" or seeking something genuine. Are you making the film for money or for yourself? Are you putting your guts on the screen? With that light guiding us can we really fall back on this art vs. entertainment or animation vs. cartoons criteria? Surely the nine old folks at Disney made films with the same desire, passion and soul that Norman McLaren, Jiri Trnka and Jan Lenica did. Priit Pärn makes commercials. Igor Kovalyov makes The Rugrats movie. Nothing is cut and dry. Nothing is certain. One thing is certain: to say that THIS is THAT and THAT is THIS is misleading. In applying these labels we are assuming that all ART or ENTERTAINMENT are made under the same economic, racial, cultural, social and religious influences; that they are all made from the same level playing field. We know that's not the case.

The unique aspect of animation festivals, especially Annecy and — hey, let me toot our horn — Ottawa, is that we strive to shatter those boundaries and barriers. We strive to introduce you to different voices, beliefs and values of the filmmakers and even the organizers.

Forty years ago or so, the International Animator's Association attempted to shatter borders by bringing together Eastern and Western artists at festivals and various other events. At the same time, ASIFA was created to provide a forum for a faction of animation artists who felt that their voices were not being heard. In its time, what ASIFA achieved was outstanding. During the Cold War days, ASIFA maintained an ongoing channel of communication between the Western world and those behind the Iron Curtain. ASIFA was about creating a space not where values, beliefs and "isms" should be left at home, but instead a place where those "isms" could exist side by side in a meaningful dialogue with other "isms." Beliefs and values are a wonderful and necessary part of our natural foundation, but not to the degree that they alienate us from the views and beliefs of other people.

And that is the wonderful thing about festivals and something that online festivals will NEVER capture. I'm not calling for a fucking hugging session here, but festivals provide the opportunity for you to step outside the doors of your own world to view and hear the visions and ideas of your peers who are also stepping beyond their doors. Sure, you respond to some films by saying, "I love it," or "I hate it," but to learn anything from those valid emotional reactions you must try and apply some logic. You will wonder, "WHY did, or didn't, I like that film?" From there you try and articulate for yourself or a friend your reasoning. Without the balance of emotion and logic, what does I LOVE IT or I HATE IT mean? Nothing, they are, just empty words.

Chris Robinson is a writer, festival director, programmer, junky and has been called the John Woo of diplomacy. His hobbies include horseback riding, pudpulling, canoeing and goat thumping.