Elmo's World and gangster film animator Joey Ahlbum. All photographs courtesy of Richard O’Connor.

Less than 12 hours after the ASIFA-East awards wrapped at the New School’s Tishman Auditorium, the same space hosted the federal 9/11 Commission hearings. The one where the audience members pointed out: “The CIA funded al Qaeda” to the smirking government appointed counsel of millionaires.

If looking for revelation, don’t turn to government committees or the ASIFA-East awards. Between the two, the ASIFA-East awards might have at least some flashes of comedy -- if not quite as innovative in its storytelling.

When the awards began 30 years ago, they were most likely an insular, industry-only event where fans, students and newcomers -- while not unwelcome -- were unlikely to be seen. Today’s attendees may be somewhat more diverse, but the films remain surprisingly parochial. If ASIFA’s parties become better than the screenings (and this may soon happen) what more could signal of the crumbling of animation’s ancien regime, would anyone bother to erect a new order in its place?

New York City's Salt and Pepper: Steve Dovas and Ray Kosarin.

Look at the winner of the Excellence in Experimental Technique Award, Andaluz by Joanna Priestly and Karen Aqua. Fairly easy on the eyes, if aurally assaulting, technique-wise and in design, it’s a throwback to 1983. It’s like a commission from the Bureau of Spanish Tourism. “Experimental” is a vague term, but in what dictionary does this meet its conditions?

ASIFA (on the east coast of the United States, at least), and perhaps animation on the whole, confused by the constant edicts floating down from Hollywood Hills that “2D is dead” has become convinced that the mere picking up of a pencil is an act of rebellion -- that the simple act of drawing not only validates a film but makes it somehow superior.