ANIMATION WORLD MAGAZINE - ISSUE 5.04 - JULY 2000

The Annecy Story: 40 Years of Celebrating the Art of Animation
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Making Annecy an Annual Event
In 1998, the Annecy festival became annual. This had always been the intention of Jean-Luc Xiberras. In January 1997, in an interview with Animation World Magazine, Jean-Luc Xiberras said: "It is not acceptable to have 1,000 films rejected from official selection each year. With the return to an average of 700 to 800 films received, and thus a reasonable portion represented in selection, the task of the jury will be more manageable." -- for its first annual edition 677 films were submitted to the selection. Other reasons for becoming annual included the need to develop sponsorship loyalty and the capitalization of human resources. After the annualization, the permanent staff grew from 4 to 15 people.

The decision sent shockwaves through the world animation community. It most affected the other animation festivals which were traditionally held during the spring of Annecy’s off-years, particularly Zagreb and Cardiff. When Cardiff ceased to exist after its 1998 edition, Annecy's move was one of the contributing factors named. While understanding the reasons for becoming annual, ASIFA objected to this unilateral decision. According to ASIFA, Annecy was breaking rules that it had asked ASIFA to set, at a time when Annecy feared competition from other mushrooming festivals, and without regard for the other festivals which had been partners for many years. Since then, a dialogue has been renewed between ASIFA and the new management of the festival. Finally, relations are improving and returning to normal. In 1999, Annecy agreed to support the ASIFA-sanctioned festivals by inviting their directors to the festival, and providing a booth and ad space in the festival publications. Annecy also offered to forward selected films directly to Zagreb, with a certain notation on the Annecy registration forms. The need to modernize ASIFA had been long recognized. However, this rupture with Annecy, together with other setbacks such as Ottawa's decision, in 1998, to withdraw from ASIFA called for more questioning. (One catch for instance is that festivals supported by ASIFA have to cover the accommodation expenses for ASIFA board members attending the festival.) ASIFA's role, as well as its general philosophy, are under revision. At Zagreb 1998 the ASIFA Board decided to terminate its patronage system, and started to work on a new partnership system, which will include objective festival evaluations and classifications.

The Local Players
In addition to the festival’s organization, the association has been entrusted with other missions. In 1984, supported by the Town Council, it created the International Animated Film Center (CICA) in order to focus on preservation, training and distribution activities. The Documentation Center was originally placed under the responsibility of Jean-François Camus, a film adviser with the Secretary of State for Youth (who is now involved in the newly-opened animation school, "La Poudrière" in Valence). One of the CICA's accomplishments is the Animaquid, an interactive database providing information on international films and companies. For a period of time, the CICA also distributed two animated films.

In the same way, the Annecy Museum, a festival partner from the early days, has built up a rich collection of optical toys and pre-cinema objects (from the magic lantern to the optical theater), as well as thousands of documents (drawings, cells, puppets, books) used in the making of animated films. Since 1981, the Museum has been totally in charge of the production of the festival's main exhibition, and its commitment to animation has grown stronger over the years. In 1997, the festival collection of documents were donated to the Town Council, thus to the Annecy Museum. The Museum is currently working on an Animation Museum project, which will be part of a bigger plan (a complete Image Center), in conjunction with the festival and the MIFA. It is funny that, at the same time, the Swiss Cinémathèque, a neighbor, is working with ASIFA International on the preservation of the ASIFA archives at the Cinémathèque...

It is difficult to pin down the reasons for Annecy's growth. However, one factor is key: Annecy is deeply rooted in the local cultural life. The infrastructure and services put at the festival's disposal are invaluable. In addition to significant funding, the Town Council (Technical Department) participates in constructing MIFA’s tent and booths, etc. each year. Despite some unavoidable internal quarrels over glory, the festival benefits from the support of all of the local cultural organizations. It addition to the Bonlieu cultural center, five local theaters are placed at the festival's disposal. Film programs, workshops and exhibitions are organized in various venues during and after the festival, including programs for local schools. Many volunteers come to reinforce the staff, some of them temporarily freed from duty with other cultural organizations. Now that the festival has become a huge industry event, with all the implied economical repercussions, conflicts of interest may occur. However, Annecy's ability to maintain a harmonious balance with the local fabric will be instrumental in its future success.

The first day of the festival is a rare opportunity to witness the reunion of festival-goers and veteran volunteers who have become friends over the years. Indeed, Annecy celebrated their forty years of animation with an exceptional programme. Yet, the recognition of the myriad of personal relationships built up in Annecy over these past forty years is one of the most significant aspects of this anniversary.

Thanks to those who accepted to share their memories: Nag Ansorge, Pierre Jacquier, Bill Littlejohn, and Raoul Servais. Also thanks to: François Darasse, Pierre Lambert, Holly Stone, the Annecy festival and the Annecy Museum.

This article was originally published in FPS Magazine issue 19.

Annick Teninge is the General Manager of Animation World Network. A French native, Annick began her animation career as Assistant Director at the Annecy International Animation Festival, a post she held for six years.

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