I begin to suspect that this is like trying to write the perfect pre-nuptial, and wonder that perhaps it can’t be done!  I chew on this for a bit before I start to realize that the problem that is stymieing me, needs to be included in the definition.   After all, if art can’t be clearly defined wouldn’t that need to be part of its definition?  I also thought of what Elbert Hubard said, “Art is not a thing, it is a way.”

On the specific topic of film, there is the Francois Truffaut auteur theory, which suggests that in order for a film to be recognized as art, there must be one guiding hand on the entire project.  This is to say that the auteur must be all things to the film – He or she must write the screenplay, cast the actors, direct and edit the film in order for it to be considered a work of art.  Truffaut allows that others may set the lights, operate the cameras and fill other duties but all creative decisions must be solely and strictly that of the filmmaker. 

The question is how does this definitioin fit in animation where the vast majority of films are made with a team of artists and technicians working together, often independently?  

 

I have just read with interest and pleasure, an article on AWN written by Karl Cohen titled, “What is Great Animation?”  In the article Cohen discusses not only his views but has asked a number of luminaries to provide their personal thoughts on the topic.  Cohen is a teacher and historian with an impressive background.   I found all the various opinions and observations irreproachable and yet, illusive like all attempts to define something without first knowing exactly what it is your trying to define.

Yes I know - How phony is it to brag that you’ve never seen The Kardasians or Wife Swap or The Biggest Loser or the Bachelorette?  No one believes you of course.  I mean really, who can resist these little escapes into non-reality reality?  We all seem to be entranced by them, as there is a show for everyone; bikers, fashion designers, bounty hunters, regular hunters, treasure hunters, car lovers, dog lovers, beauty contest contenders, hoarders, miners, oil drillers, brides and just ordinary people like the rest of us.  

Can China, India, Singapore and other countries offering cheaper animation services lure U.S. producers away by offering subsidies, grants and equity investment in theatrical films and television series?  It seems that outsourcing, while resented by most Americans, has become more and more a way of doing business for large American corportations.  Where will this practice ultimately end?  I can't say for sure but I do know it will get worse before it can get better.  But there is hope.  If you want to read my opinion you'll have to wait until I wrap this up next week.

It's clearly a love/hate thing for a lot of us.  It has become so much a part of our lives that we have a hard time looking away.  Television, we can't do without it but couldn't we expect more for this member of our family that is always there. always tempting us to sit down and let it entertyain us?

Nothing important really.  If you don't read this you won't miss a great job opportunity or any special Zen like enlightenment.  You won't get any good tips on playing the ponies or how to make a perfect souffle or even where to pick up Boys/Girls....  If you have 5 minutes to waste give it a read, otherwise go in peace and know that you won't be any less informed or likely to regret missing my secret 'Five Steps to Growth and Success in the Business of Animation Filmaking." - (Just kidding).

A number of things are far better now than they were in the 60's and 70's.  We have cable television, video games, feature films made by companies other than Disney and for many year round jobs.  But I do wonder if todays animation people are as happy doing what they do as their predessors were?

We've come along way from The Flintstones to The Simpsons but one thing seems to remain constant when looking at the most succesful Prime Time Animated shows as at the core of most of them is the American Family and its problems, concerns and interactions.  The newer shows keep searchingfor the line they can't cross but after all is said and done the father, mother and kids all rotate around the same age old problems and concerns, just with a more contemporary viewpoint. 

Old animation is not necessarily important becasue it is old.  There is a lot of bad old stuff just like there is a lot of bad new stuff.  It's always hard to put your finger directly on what makes one show a hit and another a miss but with classics we have the benefit of some perspective.  Did a show create a new style or popularize a treand or make use of technology never tried before?  Is the show still known and revered years after its run on television?  Have the characters become cultural icons or hae they become lost to all but a small group of devotees?  I've tried to look at all the old series while balancing these kind of questiions - as always this list only represents my opinions so read on if you're interested.