The Make-Believe U.S. Boom
Okay, but what has all this got to do with the decline of American television animation? Aren't we in the midst of the greatest growth spurt of animation ever, with new and varied venues clamoring for more and more cartoons? Well, yes and no. Moreover, what does this have to do with MIFA?

Eight years ago, MIFA was filled with European producers vying to make deals with American distributor/producers. The Europeans offered government financing coupled with access to content-controlled national television networks and merchandising financing. As a result, these deals were done with regularity and with only one caveat: government financing meant local production. Slowly, imperceptibly at first, television production began to flow out of the U.S. With the exception of two major distributor/producers (Warners and Disney), who categorically refused to give up any control, no U.S. studio was immune to the siren's song. Much as the Far East took over the mass-production of animation, Europe began to replace America as the top location for pre- and post-production. At this year's MIFA it was widely predicted that before the next MIFA, Europe will be producing 1,000 episodes per year of television animation - for the first time, a total greater than U.S. production. (Questions such as, but not limited to, where these programs will be shown, or what, if any, commercial profit will be reached, are far too complex for a market survey to address briefly.)

It is no longer news that the growth the U.S. has seen over the past few years has been in exhibition, not in production, and it has been fueled by the growth in alternative delivery systems: mainly cable/satellite and home video. The previously preponderant network and syndication exhibition flows have declined. There is now less original production than there was a decade ago. In fact, the largest growth spurt in American television animation was the mid-'80's, when, in the span of three years, the domestic market skyrocketed from around 300 to over 1,000 episodes per year. While we all applaud Nick's $430 million commitment to production over several years, it should be noted that a sum greater than that was spent (in today's dollars) on U.S. syndicated shows in 1985 alone.

The all new "Creative Focus" area of MIFA was designed to attract artists into the market. Here, Jacques Drouin gives a presentation of animation on the pinscreen.

Europe's Success
Finally MIFA has reached its goal: the creation of an independent European production community. This year, aside from talent recruitment, American producer participation was down from previous markets. American exhibitors were well represented though, having recognized that the glut of European shows means that cheap acquisition deals can be done. The news that one Euro-producer had actually given (yes, for free) a U.S. exhibitor a first-run show came as a shock to many other Europeans. However, far from being shocking, it is a sign of the maturity of the European industry, a parallel to what happened domestically a few years back in first-run syndication.

Where will this all lead? Fair question but no answers are apparent yet, except for more questions. Will the European studios produce hits on the level of Disney, Warners or Nick? Will the current high Euro-ratings for Euro-shows hold up as alternative delivery systems spread throughout the continent? Will hold-out American producers finally bow to Euro-pressure and produce in Europe to spread the risk and quiet content concerns? What, exactly, do the children of the world want to watch, and will they ever be allowed to watch it?

Buzz Potamkin is an award-winning independent producer, best known for The Berenstain Bears and Dr. Seuss. Before he escaped L.A. for New York, he had been President of Southern Star Prods and then Executive Vice President of Hanna-Barbera Cartoons.