TASI has been active since nine years and IFFI is in its 40th year. How did the initiative to host a special section for Indian animation come into place at this juncture?
Actually, it was IFFI that spearheaded the initiative. They wanted to introduce an exclusive animation section this year and were looking for partners who would not have a vested interest. At the same time, we were looking to partner with the Entertainment Society of Goa to spread more awareness about Indian animation and its evolution.
Things progressed and the proposal translated into showcasing milestones in Indian animation at the Short Films Centre at IFFI this year. It has been an ideal match for both sides since we also wanted to be associated with a film festival and create awareness in the mainstream.
What have been the selection criteria for the films that are to be showcased at the festival?
We have gone through a lot of works by independent filmmakers as well as the archival material at the Films Division before selecting films. Largely, these represent the beginning and journey of animation films over the years in India. It includes the works of stalwarts like Bhimsainji (Khurana), Ram Mohan and V.G. Samant. We have material that runs over four to six hours. Approximately, we are looking to showcase 50 short films, but this will be interspersed with interactive sessions by those like Bhimsainji and V.G. Samant. A plain arrangement with just screenings would mean missing out on interesting anecdotes and expert insights. The idea behind such an initiative is to generate more awareness about Indian animation which would lead to further discussion in the mainstream.
Does this mean that each filmmaker will be present to share his insights about the making of the film and has perspective on the industry’s evolution?
It is not possible for us to have every filmmaker on board. But from a curator point of view, the two big stalwarts of Indian animation will be present there. That is as far as the Retrospective of Indian animation section is concerned. The second section on Contemporary animation will see Prakash Moorthy, who belongs to the next generation of animators after seniors like Ram Mohan, as the curator. He will be sharing interesting anecdotes with the guests. And on the fifth and the sixth day, we will have Arnab Chaudhary, whose film Arjun is being produced by UTV, and Chetan Desai, who is developing Ramayana - The Epic to share their experiences as part of the Future of Indian animation section.
Will you be showcasing any recent feature films during the contemporary Indian animation screenings?
No, we will be showcasing short films, student films as well as professional independent films. This is because there is a separate section on feature films in India at IFFI outside the Short Films Centre.
Talking about length-wise segregation, do you agree with the concept of viewing animation films as a separate genre by itself? Doesn’t that result in the story-telling taking a backseat with the technique becoming the focus point?
Well, this has been an old global discussion now, whether mediums other than live-action should be included along side at film festivals and screenings. To me, animation is not just a technique, it’s a craft. It requires a certain set of skills that not all live-action filmmakers have and vice versa. However, to judge it alongside a live-action film would be biased because a lot of results cannot be achieved in both the mediums. Of course, at the end of the day it is all about telling a story in the most believable way. And so, the animation of a film is judged by its effectiveness in putting across a story and doing justice to the genre, be it comedy, action or drama. When animation films are screened separately, it helps raise awareness about the possibilities the medium offers to a live-action filmmaker incase he reaches a dead-end or a difficult stage while working in his existing medium.
