Never mind Christmas without a Santa Claus, this was almost the year (on its 20th anniversary in fact) that Ottawa didn’t have its animation festival ­ the world’s second largest and North America’s only competitive animated film showcase.

‘Just getting the festival to happen this year is something to celebrate,’ says executive director Chris Robinson. ‘For a while the festival was really in jeopardy.’

Organizers faced a devastating blow when the Ontario Film Development Corporation, a crucial sponsor, cut a third off the festival’s budget. But, as testament to the hard work of the festival team and the support of the animation industry, Ottawa 96 is not only happening, it is expected to be bigger and better than ever with a record number of entries, over 1,000 from 40 countries, more than 600 industry representatives expected, and a total audience anticipated at 30,000. Ottawa 94, in comparison, attracted 20,000 movieg’ers to its 850 film entries.

Corporate sponsors came through with major money to save the financially strapped festival and more than made up the ofdc loss.

‘We went after sponsors more aggressively and it paid off,’ explains Robinson. ‘Fortunately, the festival is close to so many hearts in the industry. The sponsors this year have been incredible. We have everybody who is anybody in animation involved this year.’

A long list of big names in the animation industry is backing Ottawa 96, among them Walt Disney, Nelvana, Warner Bros., Hanna-Barbera, Cinar, Toon Boom Technologies, DreamWorks, Cartoon Network, Sony Pictures Imageworks, Ph’enix Animation, Honeycomb Animation, Funbag, Family Channel, and Lacewood Productions.

A celebration of the art of animation, the Ottawa festival (Oct. 2-6) showcases the best new animated films and videos from around the world. But the bigger push towards industry sponsorship leaves Ottawa 96 open to criticisms of losing its original focus of showcasing independent work.

‘There is more of an industrial side to the festival now,’ admits Robinson, ‘but our priority is still independent work and I don’t think this has been affected by all the corporate sponsors. We keep the official competition out of bounds, off limits.’

Robinson also points to the reality that the festival cannot ignore that animation has become a big business.

‘The greater industrial side at Ottawa 96 reflects our position as the only festival in North America. It’s animation central here. It would be nice to focus only on the independent side, but if we did that we wouldn’t be around at this point, we need the help of the studios. This festival has become a lot more prominent for the industry.’

To cater to the industry, several key workshops are planned, including a special panel on the business of television animation featuring Michael Hirsh of Nelvana and Linda Simenski from the Cartoon Network, an ‘Animating the Net’ workshop and ‘The Animation Studio of the 21st Century’ hosted by Toon Boom.

As it has evolved since 1976, the animation festival has also become a key center for recruiting new talent. ‘This is a feature of our festival that others don’t offer,’ boasts Robinson.

International studios use the event to seek out potential talent, and the schools are keenly aware of this. Sheridan College in Oakville, Ont., for example, is sending 200 students and schools in Chicago, Rhode Island, and Philadelphia are also planning to show off their best and brightest at Ottawa 96.

Although there is no formal recruitment program at the festival, studios often reserve suites to conduct interviews and organizers have geared some of the workshops, such as Preparing Portfolios and a storytelling workshop, towards students. They have also asked guest animators to give up some of their time to consult with students at the official animator’s rendez-vous, Chez-Ani.

Despite the industry focus, there is no doubt that Ottawa 96 is the place to be for sampling a wide array of the latest in international animation. Approximately 87 films are in competition, with another 25 in the Panorama screenings.

This year’s competitive lineup is far more diverse than in previous years, due in part to Robinson’s conscious decision to choose a selection committee which reflected the variety within the animation field.

‘I consciously went with a younger selection committee with a lot more diversity,’ says Robinson. ‘There is a wide variety of tastes within the committee and it is definitely reflected in the program.’

The committee consisted of Canadian animator Stephen Barnes, a computer animation veteran whose Capital P won Best Short Film in Berlin and Quebec; the u.k.’s Andy Wyatt, a Disney alumnus who uses a traditional 2D approach; and American Journal editor and animation scholar Maureen Furniss, whose forte is experimental films.

Subsequently, the films chosen for competition showcase a medley of styles, from Nick Park’s claymation A Close Shave, to German artist Barbel Neubauer’s experimental Roots, painted directly on film, and Carmen Habanera from Aleksandra Korejwo of Poland, based on the famous opera and created with sand on glass.

Robinson is particularly enthusiastic about the films competing in the first-film category, which includes three Canadian films ­ Why? from Carol Halstead, Sean Mahoney’s Blinds and Stiffy from Brian McPhail. ‘In past years the first films realistically wouldn’t have a chance for the grand prize,’ says Robinson, ‘whereas this year there are definitely some challengers, there is some really strong first work out there.’

Another noticeable difference at this year’s festival is an increased number of computer-animated films in competition.

‘Computer animation has been noticeably absent in past festivals because it was quite weak,’ explains Robinson. ‘But this year it is starting to come together, strong stories and strong technical work.’

From the nfb, Robert Doucet’s The Flying Can’e uses computer-enhanced cel animation to bring to life the isolated lumber camps of the Gatineau River Valley and tell the riveting legend of lumbermen who made a pact with the devil to visit their loved ones. The End of the World in Four Seasons by Paul Driessen uses standard animation assembled and colored on computer and features eight windows on the screen simultaneously telling interlocking stories.

In addition to the coveted Grand Prize and individual category prizes, there are some new awards up for grabs: The Zack Schwartz Award for best story, named in honor of the talented animator who taught at Sheridan College, and a prize for best Canadian feature sponsored by Viacom Canada.

Some notable masters of the animation field are being honored in the retrospective series and will be present at the screenings. The program includes tributes to Estonian surrealist director Pritt Parn (1895, Hotel E); German animator Raimund Krumme (Passage), the nfb’s Derek Lamb and Kaj Pindal (I Know An Old Lady Who Swallowed A Fly), and the first North American retrospective of Russian animator and teacher Fedor Chitruk (Winnie The Pooh). There will also be a retrospective of the work of Toronto-based Nelvana, which is celebrating 25 years in the animation business.

Organizers are trying to incorporate greater public participation at the festival by programming events which will appeal to animation buffs, kids and families, as well as industry types.

‘There has always been a complaint that people in Ottawa are not aware that they have the world’s second largest animation festival in their city,’ says Robinson. ‘A lot of people think it is just a closed conference for animation professionals. This year we are trying to stress this festival is for the public as well.’

A number of free outdoor public screenings are underway, including a collection of favorite animated films from past festivals. A special Saturday afternoon family package has been added which includes a screening of children’s animation, entertainment, a picnic where the world’s most talented animators compete in the unfamiliar medium of pumpkin carving, and a workshop where youngsters can try their hand at filmmaking with Montreal animator Eric Goulet.

‘I think we have found a nice balance that will attract the industry and awaken the general public,’ says Robinson. ‘Hopefully Canadians will become more aware of the festival and get involved.’