ANIMATION
WORLD MAGAZINE - ISSUE 3.10 - January 1999
The State of Independence
by Otto Alder
The following observations represent my personal
attempts to come to terms with the idea and substance of "Independent
Animation." This means we have here some subjective, unsorted ideas.
My viewpoint is not that of a theoretician. The following thoughts are based
on my extensive activities as an independent festival consultant and programmer,
and as an independent observer of the international scene. Here, for the first
time, I'll try to tie it all together.
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| Alexander Petrov's The Mermaid. © Shar Studio. |
Definition of Terms
"Independent Film" is an expression
that crystallized out of the Avant-Garde film scene of the late 1950s and
1960s, and reached its culmination in 1968 with the political high-point of
the Student Movement. At that time the Avant-Garde concerned itself with trying
to develop new strategies for communication, and, simply formulated, pressed
for the abolition of older aesthetic standards. The Independent Film, overlooking
its own dependence, attacked "the monopolization of communication media,
and furthered, among other things, jury-free festivals and the communalization
of means of production" [from Ernst Scheugl and Hans Schmidt, A Sub-History
of Film]. Along with this goes the denial of the filmmaker vis-a-vis
the institutions, and opposition against the industrial mechanics of production.
Freedom of experience (everyone could and should make films) and the demand
for the socialization of production means were further goals of the "Independents."
Now the filmic Avant-Garde ever since its beginnings in the 1910s and 1920s
cultivated a very close relationship with the Fine Arts (Futurism/Cubism),
and since Animation itself can also be seen as a synthesis of film and the
graphic arts, naturally the expression "Independent" was also used
in the realm of Animation. And it seems to me that the term is much more popular
today than it was earlier.
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| While running the NYU animation department, John Canemaker made time to create Bridgehampton. © John Canemaker. |
A Faded Expression
In the past years, this term "Independent Animation," through
its indifferent and inflationary use to designate everything that isn't part
of the mainstream Disney provenance or produced under contract to television,
has been robbed of its true political content. The expression has become a
label that anyone can use for whatever their own purposes are. The grounds
for this, it seems to me, lie, among other things, in the global animation
boom sustained over a number of years, which enormously widened the range
of content and technical variety, as well as finding outlets in all sorts
of communication media (TV, Internet, CD-ROM, advertising, Art, education,
etc.). Further factors, inherent in this quick growth, are rationalization,
professionalism, and standardization of all phases of production, with the
inevitable accompanying conditioning and leveling of viewing opportunities.
Likewise, one can no longer differentiate with the label "Independent"
an artistic scene which arose with dizzying growth, from the shallow content
and polished aesthetics of commercial production. The original meaning of
the word "Independent" (which has in the meantime become rather
obsolete historical content) is therefore lost. The rapidity with which the
international market for Animation expanded prevented paradoxically the necessary
reflection about the nature of the medium itself. The theoretical debate hangs
criminally far behind the economic development.
My Proposal
I would make the definition of "Independent" simple. First of
all, it stands for freedom of content and economic freedom for the artist.
That is, freedom in all phases of the production of a work. The only obligation
involved is the individual artistic invention. The fulfillment of the audience's
expectations, the attempt to serve trends, speculation on material profit,
counting on success with the public, or even the wish for artistic or other
recognition, must not be a major concern.
Eastern Europe
This idealized definition of Independence can, as absurd as it may seem,
be applied to the situation of Animation artists who worked in the state-owned
studios of the communist countries (ca. 1955-1990), since Animation was treated
in the politics of these countries almost exclusively as children's films.
In the shadow of the harsher censorship leveled against live-action feature
and documentary films, Animation opened an area of artistic freedom which
answered, in production techniques and economic structure, all the requirements
of "Independent" animation, and represented an island of artistic
freedom in a repressive system. Despite government control and intervention,
an independent aesthetic developed, and brilliant works were produced, many
of which gained a secure place in the history of Animation. Fedor Khitruk,
Yuri Norstein, Jerzy
Kucia, and Priit Pärn, to name only a few examples,
created grand masterpieces that could never have been accomplished outside
the context of the state-run studio system. Today, almost 10 years after the
political changeover and the "introduction" of capitalism, many
artists are forced into very different working conditions. Despite what seems
to be a transformation, only a few artists have managed to continue working
independently in these insecure, difficult conditions. Economic peaks and
valleys, and inadequate government film support have proven rather disadvantageous
for Art.
 |
| Caroline Leaf working on her first sand animation film, The Owl Who Married a Goose. Photo courtesy of Caroline Leaf. |
The National Film Board of Canada
The National Film Board (NFB) for many years offered artists a free space
that could be termed "Independent," and similar in structure to
the Eastern Bloc animation studios. The work, for example, of Norman McLaren,
Caroline Leaf, Pierre Hebert or Wendy Tilby would in my opinion have been
unthinkable without the "half-government" production structure that
the NFB offered, and still partly offers today, although under a much more
sharply curtailed financial framework.
USA/Western Europe
Since information about Independent Animation in this hemisphere is more
easily available, especially concerning Western Europe where the means of
support for Independent projects seems substantially better than in the USA,
we need not go into it too deeply here. An animation film that fits the term
"Independent" as I have defined it, would almost exclusively be
possible only with some private or government funding. Yet here, especially
in West Europe, for the last several years it has been clear that the likelihood
of the economic success of a film that receives grant money seems ever more
to be the chief criteria for granting funding. Art funding has degenerated
more and more into business funding. Projects heavy with serious content or
formal values do very poorly in this new system.
The Japanese System
In Japan, by contrast, there has not been nor is there today any significant
government funding relevant to Animation. Artists who consider themselves
"Independent" (for example, Yoji Kuri, Kihachira Kawamoto, or Renzo
Kinoshita) have to fund their work with their own money if they are to work
at all. They have it much harder when producing a project that does not seem
to be quite marketable up front. Nothing has changed about this situation
up to the present.
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| Death and the Mother by Ruth Lingford stuns audiences. © An Ownbrand Production for Channel 4. |
Channel Four - Stronghold of Artistic Freedom
Films that deserve the name "Independent" without any reservations
or compromise are for me those productions which have for many years been
successfully financed or co-produced by the British television network Channel
Four. This situation, unique in the whole world,
provides the ideal support structure for the Independent Animation film. They
guarantee many filmmakers continuing work, promote young talent, and ongoing
support for British Animation to set the worldwide standard for content and
technique. The enduring and effective success of this system lies fundamentally
in the fact that the primary artistic criterion in the selection of projects
is "relevance."
Festivals' Important Role
Festivals, which are actually temporary museums, have for many years felt
it their duty to support Independent filmmaking, and have assumed an important
role, making connections between the filmmakers and audiences. For many filmmakers,
festivals are the only place they can show their films. In 1960 the first
festival wholly devoted to Animation was founded at Annecy, in close collaboration
with ASIFA. An additional goal of the festival was to improve communication
between the West and the East. In the wake of the expansion of the Animation
film, more and more festivals have dedicated themselves to the presentation,
discussion and support of Animation. Though many of these events have the
same structure, one finds in every corner of the globe, festivals with a variety
of different emphasizes on content, so one can clearly see that the chances
of an Independent Animation film being screened is obviously improved.
 |
| Marie Paccou's Un Jour is an insightful student work. © 2001. |
Student Contributions
Possibly the term "Independent" can be applied first, as far
as production conditions go, to the context of schools. As part of education,
usually the production techniques and necessary materials are supplied free
of cost to the students. In general, the students are also subject to no restrictions
regarding content or techniques, which furthers "Independent" creation.
Furthermore, schools provide free-space for experimentation and promote innovation.
Fine works have come out of the many excellent film schools, including films
like Balance (Wolfgang and Christoph Lauenstein), Secret Joy of
Falling Angels (Simon Pummell), Cow (Alexander Petrov), Grand
National (Susan
Loughlin), and Un
Jour (Marie Paccou). In schools it is presumed
that without exception all students when producing their film will present
a personal artistic expression, rather than a wish for money or fame. One
can observe, however, that more and more schools come under pressure from
commercial interests. The booming industry wants trained animation specialists,
who are thoroughly qualified and can go to work immediately after graduation
with 100% performance in the industrial arena. This has developed to the extent
that certain Studios create their own "schools," just to educate
young people in exactly what the studio needs.
Animation is the Liveliest Artform
Animation enjoys an ever-increasing popularity. Animation is a young artform,
which still stands right now at the beginning of its development. Animation
is the art of the future, which it owes to the fact that its visualizations
can be understood throughout the entire world. Artists and technicians who
loved to experiment were from the beginning on the source of strength for
the aesthetic and technical development of the medium, and the guarantors
of continual renewal. The technical-stylistic diversity, thematic breadth
and relevant vitality of animation art depend widely on the efforts of Independent
artists. Films by students have contributed their share to further the development
of the genre. Festivals remain as before the proven site for presentation
and discussion. Thanks to a support structure (which used to be better and
more extensive), many artists are able to produce new works regularly and
develop their own styles. As usual, the inventions and discoveries of the
Independent artists are co-opted by the Industry, assimilated, commercialized
and presented as if it were their own achievement. We can conclude from this
that Independent Animation with its diverse creativity and endless innovation
plays a key role in the popularizing and dissemination of commercial animation.
It's very important to understand this: "Independent Animation"
is livelier than ever!
In my opinion, we need a new definition of the term "Independent,"
since the production, distribution and reception conditions have radically
changed. Above all, however, we need a new definition of the Animation film,
that fundamentally differentiates it from the live-action film, and that stresses
the fact that Animation unites all other artforms in it. One should further
understand that Independent production today, in general, is no longer in
opposition to the commercial system, but in the system, as a self-sufficient
part.
Translated from German by Dr. William Moritz.
Otto Alder has been on the jury of numerous festivals, as well as acting
as a consultant and programmer for many more. He was the Director of the Stuttgart
Festival from 1986-1992, on the ASIFA Board from 1991-1996, founded the FANTOCHE
Festival in 1995 and since 1992 has been selecting animation for the Leipzig
Festival and Animation Show. He is also a noted writer and film director.
His latest film is The Spirit of Genius: Fedor Khitruk and His Films.
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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