Animation
World Magazine, Issue 2.2, May 1997
Letters to the Editor - May 1997
Defining ASIFA
The following letter was sent in reply
to Chris Robinson's "To
Be or Not To Be An ASIFA-Sanctioned Festival,"
which appeared in the January issue of Animation
World Magazine. Additional
letters responding to this article were published
in the March 1997 issue.
March 27, 1997
To: Animation World Magazine, Hubert Tison, Chris Robinson, Michel Ocelot,
David Ehrlich and Gunnar Strom.
Dear People,
I feel compelled to write regarding remarks made by Mr. Chris Robinson
concerning the organization that is ASIFA, and it's relevance to it's members,
of whom I am one. Frank discussion is necessary, but I find Mr. Robinson's
remarks couched more in mean-spiritedness and less in frankness. This correspondence
appeared on the ASIFA web site and AWN.
It was the following remark that I took particular offense to in light
of the tone of his correspondence: "Why do you think societies have
sprung up across the country in Vancouver, Toronto, Winnipeg and Calgary?
Because it is impossible for ASIFA Canada to represent their needs."
Mr. Robinson should have done some research before making a statement like
this. I can't speak for the founding members of the Quickdraw Animation
Society (which is probably who he was referring to in Calgary) regarding
the formation of the Society in 1984, relative to ASIFA (so I don't see
how Mr. Robinson can,) but I can speak as an active producing member (since
1990) and operations coordinator (since 1994) at QAS.
QAS is primarily a non-profit, artist-run animation film production co-op
with equipment, facilities and support services for artists to produce
their personal visions in animation. Nowhere in the ASIFA literature that
I have does it say that they are a production facility. QAS is not an international
organization, with international connections, nor could we ever hope to
be, but through ASIFA we can approach a level of recognition that we could
never achieve on our own. This is how ASIFA-Canada can meet our needs.
QAS is taking positive steps to get more involved; by actively encouraging
our members to become ASIFA members, contributing to the newsletter, networking
with other ASIFA members, possibly hosting an ASIFA children's workshop
in connection with our Quick Kids programming, and so on. I will not allow
QAS to be used as ammunition by Mr. Robinson in his attack against ASIFA.
ASIFA has been very Eastern-centric, but it is changing, and QAS is assisting
with that change. It's unfortunate that the change is occurring when there
is little funding to support it.
As far as ASIFA-Canada separating into chapters, oh yes, that's just what
we need, yet another bunch of under-funded organizations duplicating services
that could very likely wither and die for lack of financial and volunteer
support. The current political and financial climate does not adequately
support the arts and culture organizations that already exist. Regional
representation on the board of ASIFA-Canada would be a much better idea,
with assistance provided through the existing animation groups. QAS already
actively supports and encourages cooperation with other organizations (locally
with EM/Media Gallery and Video Production Society, and the Calgary Arts
Facility Association; provincially with the Alberta Media Arts Alliance
Society (amaa-s); and nationally with the Independent Film and Video Alliance
(IFVA), and ASIFA). There is a large national push for more support and
communication among arts and culture organizations; it takes some effort,
but it will create a strong and united community, instead of further fracturing
it by creating splinter groups. Why does Mr. Robinson want to encourage
something that is in direct opposition to these nationally supported initiatives?
As operations coordinator at QAS, I am continually struggling (as are most
non-profit arts organization) to maintain our current structure of support
for our members, including (under)paying staff, paying rent, maintaining
very expensive film production equipment, subsidizing members' productions
through our volunteer credit program, creating and administering courses,
workshops and programming relevant to our members, and these concerns have
to be addressed all year, year after year. I make a little over $11,000.00/year,
QAS is forced to operate on $70,000.00/year, so the money has to be spent
in exactly the right places. We have the potential to do so much more,
and we are very frustrated.
There are a great many arts professionals in this country that are becoming
completely demoralized because of the constant battle for funding. The
people with the power and the money don't seem to care, there is a lack
of philanthropic initiative in the business community, individuals have
to spend their time volunteering and supporting health and educational
institutions to provide basic human needs so there is no energy left over
to devote to supporting arts and culture. This is a horrible and unhealthy
social climate that arts groups are constantly facing. Support to QAS through
the Canada Council has been frozen for the last five years, and up until
last year we were the lowest funded Media Arts group. ASIFA-Canada funding
was cut completely in 1996. This is something that I wonder if Mr. Robinson
was aware of. I think his energy would be put to better use lobbying the
government (on all levels) to increase funding to arts and culture, instead
of constantly complaining to ASIFA about having no funding. Perhaps ASIFA
could assist with this lobby, as this would directly support and encourage
the art of animation on it's most basic level - funding for the creation
and presentation of animated films. QAS is involved with an initiative
with the IFVA regarding a National Cultural Emergency Day of Action on
April 26, I can and do sympathize with Mr. Robinson regarding his funding
concerns with the Ottawa Festival, and I would be very interested in seeing
a copy of the festival budget; I have some opinions but would like to present
some educated feedback. I have no experience in festival operations, but
I have practical experience in theater, which operates on similar grounds,
and with organizing large events for QAS. I also know how I, as an animator,
would like to see films presented.
As far as ASIFA being an "old boys network", these "old
boys" are established professionals in the field who have the time,
inclination and finances to be able to provide the necessary support. I
respect and admire these people for their accomplishments and have no qualms
about their ability to represent me as an ASIFA member. QAS has a policy
of inclusion regarding styles and concepts of animation, and we appreciate
and promote our proud heritage, as does ASIFA. Among the Pantheon of Gods
at QAS are Norman McLaren, Frederic Back (I would suppose that would make
Hubert Tison a prophet), Jan Svankmajer, Chuck Jones, Ray Harryhausen,
Ishu Patel, Caroline Leaf, John Whitney, the Brothers Quay, Tex Avery.
. . . Our Valhalla is quite crowded. If Mr. Robinson truly wants to be
an advocate for animators, doesn't he realize he is already in the perfect
position to be that as a festival director?
I would love to be a representative on the board of ASIFA, but when I am
not working at my job, with the attendant committee and association meetings
and volunteerism, I am trying to make my films. My partner, Kevin Kurytnik,
and I are in production on a 15 minute cel animation project that has been
in development for the last three years, and I myself have two projects
in development. We do not work for a studio, we are self employed, we get
limited financial support through grants (when the application is successful,
the competition is enormous), money we don't use for food or rent goes
back into our films, so there is little left for other concerns.
Having spoken to many ASIFA people over the course of this last year, they
are coming to understand the approach to animation here at QAS, and stylistic
preferences aside, they respect and appreciate what we are accomplishing.
I was also surprised to find that many of them are facing the same issues
that animators at QAS have or are now facing, those being struggling with
completing their latest film, waiting for funding for their next project,
fighting with producers, looking for distributors; it's encouraging and
discouraging at the same time. These are the people who sit on the ASIFA
boards, it is very clear that they understand what animators face. I don't
see them as being out of touch at all. It is Mr. Robinson who appears thus.
If he purports to speak for animators, is he himself an animator? Who is
he, where does he come from, why is he involved?
It is also quite evident that animation as an artform is very fractured.
"Independent" has a different definition depending on who you
talk to, most industry people appear to have absolutely no clue about animation
as fine art and only seem interested in where the money is made, fine art
animation is not properly or adequately presented at festivals except in
token gestures, and the younger generation doesn't seem to care about animation
unless it's hooked up to a computer, or steeped in cynical pop culture
posing and smugness. Communication and education is so important to bringing
more understanding and appreciation of the vastness of animation, and this
is what the festivals should be, a huge conduit for communication and education,
along with entertainment, networking, and good will.
ASIFA as an organization needs time to recover from the financial hit it
took. M. Tison stated in his June 1996 editorial for the newsletter that
"newly established governmental budget policies have had negative
repercussions...we are a bit shaken by the financial constraints..."
You'd think that Mr. Robinson would be more compassionate towards this
reality as he is facing the same thing with his festival. Most organizations
have to rethink and restructure in order to survive now, and these things
take time. What is needed is positive critical discussion and action. I
suppose through Mr. Robinson's efforts we are now entering into these discussions,
however I take issue with his reasons and methods. His criticism of ASIFA
with regards to the Ottawa Festival might have some validity if this was
a recurring problem from past festivals.
As I understand it, this is his first experience as director of the Festival,
perhaps there was not proper orientation by the last director in outlining
the responsibilities of ASIFA with regards to the Festival, there was obviously
a lack of communication and this goes both ways. I was very disappointed
with the whole experience of the Ottawa Festival. There was no indication
that the people who are the main focus of the Festival, that being the
animators, were ever really welcome. The workshops were of absolutely no
relevance to me as an independent animator. The layout of the trade fair,
with the dreadful crush of humanity before and after screenings, had no
appearance of advance planning, there were some rude and distracted volunteers
more concerned with where the donuts were than with assisting festival
participants. Yes they were volunteers (and thank the gods for them!,)
and their duties can be brutal, but there is a certain level of professionalism
expected. I appreciate Mr. Robinson's position as a first time director
and am fully aware of the work involved with a festival of this caliber,
but I think he should make a more informed analysis of a situation before
leveling the type of criticism he has.
The Ottawa Festival is the perfect venue for active support and advocacy
of animators and their passion. Mr. Robinson's attitude does a disservice
to the festival. With the approach that he has taken with ASIFA I can only
see him alienating the people whose support he should be actively encouraging.
I hope further rational dialogue continues that results in a stronger ASIFA-Canada
and a better Ottawa Festival, and I offer my participation as needed.
Sincerely;
Carol Beecher
ASIFA Member
Letters to the editor can be sent by email to editor@awn.com, by fax to (213) 464-5914, or by regular mail to Animation
World Network 6525 Sunset Blvd., Garden Suite 10, Hollywood, CA 90028 USA.
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