FantAsia
(continued from page 2)
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New
animation is being created in the Middle East every year like
this shot from Iranian director Amir M. Dehestani's film,
Houd the Prophet.
© Hoor Animation Association
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So, on which shelf of our video stores can
we find Amir Hamzeh, The Spring of Butterflies or
Tandava? Where can we view some of the artists and works
listed above? The answer at present is? You can't, unless you are
a devotee of certain university-sponsored festivals, travel abroad,
or have access to Asian-owned specialty stores. Since these works
would not bring in nearly as much profit as, say, Disney's videos
would, we are not likely to experience the joys of multi-cultural
animation anytime soon. Still, things are getting better; ASIFA
now has chapters in many Asian countries, and the profitability
and popularity of Japanese animation is serving to motivate other
studios on the mainland. It may be only a matter of time before
other Asian animation catches up with Japan's, but in the meantime
here are some suggestions for quickening the pace:
1. Expand the schedule of ASIFA festivals
ASIFA sponsors major animation festivals in Annecy, Kiev, Ottawa
and Zagreb. There is an ASIFA festival in Hiroshima as well,
but how about a festival (or several of them) on the Asian mainland?
Now that ASIFA has more chapters among these nations, this would
be the logical thing to do. Festivals would not only showcase some
of the continent's most exciting new artists, they would lead to
greater awareness (and marketing possibilities) for the animation
itself.
2. More collaborative international efforts
1997 saw the formation of the International
Animation Consortium for Children's Rights in which many nations'
animation studios participated in a program that produced 30-second
spots for UNICEF. The Cartoon
Network provided US$3,000 grants to studios in Iran, Syria, Indonesia
and Uzbekistan that went toward production costs in the Cartoons
for Children's Rights project. That worthy effort and others like
it should be duplicated on a regular basis and involve studios from
Asian nations as much as possible.
3. Increased commercial exposure
Since anime has achieved lasting popularity in the US and Europe,
why can't some savvy entrepreneur start importing other Asian animation
as well? To those who might want to take a shot at it, here are
some suggestions for a decent start: Red Hawk, Armageddon and
Hungry Best 5 are South Korean productions that fans of anime
might enjoy as well. If successful, the door would be open for increased
exports from other Far Eastern nations, and animation-starved fans
in America could feast heartily on a whole new genre. At one time
the Cartoon Network presented Canadian animation to American audiences;
after Boomerang becomes the new Scooby Doo Preservation Society,
perhaps Cartoon Network can find some programming time for Asian
animation as well.
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With
Western influences flooding the East and vice versa, it will
be interesting to see what "morphs" the future holds.
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4. Step up cultural exchange programs
It is always a solid idea to send students and professionals
overseas to learn, teach, and exchange perceptions with animators
from other cultures. Exchange
programs need not always be academic in nature; if some of the
animators subcontracting for American studios in Korea, Taiwan,
and the Philippines could come to the US for advanced training,
independent efforts could later be encouraged and original works
could be produced and marketed through US outlets. This would be
expensive for American producers, but could be a notable investment
in the long run. Conversely, US animators should spend time among
their Asian counterparts in order to observe and practice the styling
and concepts that will appeal to an increasingly multicultural market
and audience. Some of this is already being done, and more of it
should be.
In Singpore there dwells a cartoon star named Mister Kiasu, instantly
recognizable to millions of Asians. Few Americans would recognize
this comic little figure, but the day may be coming when he takes
his place next to Pepper Ann, CatDog, and Dexter. The names of Tekuza
and Miyazaki have become as identifiable to many animation fans
as the names of Disney and Fleischer, and in the future they may
be joined by Ali Murat Erkorkmaz or Ibrahim Mohd Noor. Such developments
could only serve to enrich us all. Animation is perhaps the most
creative and flexible medium on Earth; while it is impossible to
predict even its immediate future, we might do well to turn to the
East for the next set of clues.
Martin "Dr. Toon" Goodman is a longtime student and
fan of animation. He lives in Anderson, Indiana.
