Movies and TV shows, two of the biggest forms of media used for escapism. To be put into another universe, to see it, feel it. That’s what the creators of these films and shows want to give you. A world you can completely sink into.
So why is animation, a medium that can smoothly transport you into places of dreams, so looked down upon?
It’s pretty clear how big the bias against animation is in society and the industry. For decades, animation has been dismissed as too ugly and too childish. But this simply isn’t true.
Considering it too immature to enjoy as an adult is hilarious. You’d think that with shows like “Bojack Horseman” and “Family Guy” around, people would realize animation isn’t just a genre. These are shows with cursing, violent imagery and a bunch of other inappropriate content, so it’s really surprising how people still say all animation is only for a specific age group. It’s another medium for creativity, one that allows you to create entire worlds from nothing, bringing anything you think of to life. Yet, somehow, people still find a way to hate animation, saying it’s just for kids and nothing special.
When people think about something being childish or for kids, they think that it’s filled with dumbed-down characters and easy themes for babies. But it’s so much more than that. Some of the most tear-jerking, deep films and shows I’ve seen would be labeled “for kids.”
“The Last Unicorn,” a film not even rated at PG but even lower at G, explores the impact that humans have on the world around them and how morality shapes a person’s life. “Gravity Falls,” a show that aired on Disney Channel, handles themes of growth and family with a dash of horror.
Many animated children’s films and TV shows played a big role in my childhood; I bet they do for other people as well. I would rewatch shows like “Avatar: The Last Airbender” on repeat. The characters were funny, their stories were moving and the animation pulled me in. My favorite movie, which I must have watched even more times, was “How To Train Your Dragon” for its beautiful world-building and interesting plot.
It was because of those new worlds, those stylized characters and stories I could relate to, that I fell in love with animation. While it seems almost everyone watched animated media as a kid, barely anyone seems to recognize animation as an actual award contender.
Yet, even when animated films actually get recognition, it’s almost always the same style winning. Yes, I’m talking about Disney and Pixar.
Out of the 21 years that the animation Oscars have existed, Disney has won 15 of those awards. You can argue that Disney deserved those awards, as some of these movies are childhood classics, and I would normally agree with you. But what about the competitors that push the boundaries of animation? Films that experiment with style and take risks? When I look at the other nominees for most years they won, I cannot find myself experiencing anything other than shock.
Take 2019: “Toy Story 4” won over “Klaus” and “I Lost My Body,” two stunningly innovative films. Or 2017, when “Coco” beat “Loving Vincent,” the first-ever fully painted feature film, and “The Breadwinner,” a deeply moving and culturally significant story. And 2009? “UP” took the award over “The Secret of Kells,” “Fantastic Mr. Fox,” “Coraline” and even “The Princess and the Frog.” Now I love “UP,” it’s a beautiful movie with a lovely story. But it’s absolute nonsense to have won that Oscar.
“Secret of Kells” took a total of 10 years to make, with its incredibly unique style inspired by celtic and medieval art. “Fantastic Mr. Fox” and “Coraline” were both stop-motion films, each scene composed up of thousands of still shots that were slightly moved for each frame. These films, with their innovation and creativity, were overqualified for the Oscar and still lost.
The problem isn’t just Disney’s dominance; it’s how animated films are judged. Animation is what a movie has to excel in to win this Oscar; it’s called the Animation Oscar for a reason. Yet, I continue to see the academy pick over popularized, soft-styled, 3D animation rather than anything with actual creativity in the field. Movies that are hand-drawn, 2D, stop-motion or any other style just get shoved aside.
That’s an insult to everything the award is supposed to stand for. How is it fair, even to Disney, when voters just pick the most popular one? When movies are judged, not by what they look like or make you feel, but by what society thinks just by glancing at the poster?
It’s sad when another beautiful form of human expression and creativity goes unappreciated, so I’m at least glad the Annie Awards exist.
Though the fight to be recognized more in the Academy Awards is ongoing, the Annie Awards are something everyone who loves animation and works in the industry looks forward to. It’s the one award ceremony that is all about animation, where winning an Annie is considered one of the highest honors in all of the animation community. It pushes the boundaries of normal award ceremonies by having every faction, from storyboards to best character animation, as something to be celebrated.
Not only do all the different elements of animation get recognition, but so do the writers and voice actors. It shows how much of an effort animation takes, really just as much as live action, if not more.
Maybe one day, everyone else will see it too.
