Earlier this decade, when the Academy of Motion Picture Arts and Sciences began handing out Oscars for best animated feature, I viewed it as a misguided decision. Increasingly, over the past eight years, I’ve come to see it not only as misguided, but as downright awful, an idea that is at best backwards and out of touch with contemporary times, and at worst, a reactionary measure designed to protect their live-action base of filmmakers from the threat of an emergent art form. Furthermore, the immature manner in which the Academy presents the animation award during their ceremony is completely at odds with what is actually happening within the art form. If I didn’t know better, I’d think their intentions were to pigeonhole animation into its own specialized niche instead of promoting the art form as a valid equivalent to the live-action process.
The Academy’s animated feature award looks increasingly antiquated as more progressive film awards and festivals begin to recognize animation on its merits as film and not as some weird subset removed from the rest of film art. Yesterday, the 29th edition of Fantasporto, a major film festival in Portugal, awarded its top prize for Best Film and Best Screenplay to Bill Plympton’s feature Idiots and Angels. Plympton beat out of dozens of live-action films for both awards. The screenplay award is notable because Idiots and Angels is dialogue-less and Plympton relied purely on visual storytelling to make his film.