ASIFA And Festivals: A Changing Relationship
by Michel Ocelot
Editor's
Note: It is no secret that the declaration by the International Animated
Film Festival at Annecy to go annual sent shockwaves through the world
animation community. Besides everyone's query about which festivals to
attend this crowded summer, this announcement brought up questions regarding
the relationship between ASIFA and festivals. On that note, we invited
ASIFA International president Michel Ocelot to write on the subject.
This article will be republished in the next ASIFA International newsletter.
For further information about ASIFA International and the discussion revolving
around Annecy, as well as a list of current ASIFA patronized and approved
festivals, visit their web site accessible through AWN's
Animation Village.
I am often asked, "What is ASIFA Patronage for festivals all about?"
Well, here are some answers.
Raison D'Etre
ASIFA Patronage and the Rules and Regulations attached to it, are meant
to have films and film makers respected, and to help festivals which seem
to be the more positive ones.
Respect Of Films And Film Makers
The rules on respect of films and creators, independence and internationalism
were first worked out within the framework of the Annecy festival, the
first festival, which was born at the same time as ASIFA. These rules are
now well recognized, and used, totally or partially, by all the animation
festivals that we know, whether or not they have official ties with ASIFA.
It is currently only a matter of being watchful that this is not eroded
by big business and market forces...
However there is more to say about aiding the festivals.
Help to Festivals, Ministries And City Halls
ASIFA Patronage has a precise and fundamental use: these festivals partially
depend on public money. To obtain this funding, they need to show proof
of their quality and of being recognized by the profession, internationally
if possible. Not all civil servants in ministries may know about ASIFA,
but the full title, International Animated Film Association, or a brief
presentation, speaks for itself. ASIFA Patronage gave a sense of authority
to festivals which needed it and assisted them in making themselves heard.
When the reputation of a festival grows, this patronage may not appear
as vital as in the initial years. Still, some festivals keep the idea of
the renewed official ASIFA Patronage as a base in their strategy. (Patronage
has to be obtained anew for each installment). Withholding of the patronage
has indeed occurred for some regrettable breaches against filmmakers. This
rare measure has brought forth a betterment after some wavering, or the
disappearance, of certain festivals.
The Hidden Part Of The Iceberg: More Letters
Official patronage is the visible part of ASIFA's intervention, which ASIFA
has come to realize is not that visible after all, as this distinction
was not publicized enough. Often letters are written, on the request of
festivals, by the President or the General Secretary to personalities or
institutions to obtain particular aid or solve new crises.
"Judges"
After each festival, the ASIFA Board of Directors sends the festival staff
an evaluation of the recent festival, detailing qualities and defects,
compliments and criticisms, and wishes for the next edition. This critical
overseeing has brought forth ambivalent feelings in festival directors
but ASIFA is not a union. Festivals are not its employers, but there is
sometimes this feeling between them. Some directors may feel like breaking
away from the ASIFA watch and recommendations, whereas, conversely, the
ASIFA report is usually well used when it is laudative. I believe this
"supervision" brought a discipline which did not harm these festivals.
Individuals Who Help
On par with this critical observation, ASIFA has always been there to help
on the spot whether it is supplying information, working at the event,
supplying forgotten helping hands or big retrospectives, from everyday
needs to a rescue from a grave situation. There was no catalog made of
this. Each individual volunteered one's help without having it noted and
published. Maybe a catalogue should have been done, as things are easily
forgotten.
Good Sentiments
Another provision in favor of selected festivals was promoting good relations
between them. Regulations, linking festivals among themselves and with
the ASIFA Board of Directors, stated that festival directors invited each
other to their manifestations, that these festivals took place every two
years, alternatively, so as to not inconvenience the others, and that they
would be at least four months apart, when taking place in the same year
and continent (unless the two festivals agreed otherwise). As for ASIFA,
it pledged not to grant patronage to more than two international competitive
festivals, per year, on the same continent.
What Now?
It is worth pointing out that ASIFA has also been helping manifestations,
with no official links with the association but which look worthwhile,
with official or unofficial letters and/or assistance. Appeals for ASIFA
Patronage have come in throughout the years and some are presently being
examined.
Cramped
Restrictions dictated by the ASIFA patronized festival regulations prevented
ASIFA from supporting some estimable manifestations. Last year ASIFA went
around this difficulty by reinstalling an old distinction, "ASIFA
Approval." The excellent Espinho festival in Portugal was the first
to be granted this distinction.
20 Years Old
These ASIFA patronized festival regulations are now around 20 years old,
and have had a few amendments made along the way. They are now being remolded,
taking into account the enormous changes in the animation scene. The two
year frequency does not fit the present tendency, due to the huge increase
in animation production.
To Be Continued...
ASIFA will go on proposing guidelines on how it believes a good festival
is set up, defending the art of animation. It is currently defining new
proceedings to foster quality, independence, and usefulness of festivals.
When these proceedings have reached a more developed conclusion, we will
do our best to let the animation community know.
Michel Ocelot is president of the International Animated Film Association
(ASIFA).
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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