The Academy of Canadian Cinema and Television ushered in an era of glitz, glamour and national media awareness of this country’s filmmakers 30 years ago when PR was nothing but a dream north of Hollywood.

Ironically, three decades later, the organization that has celebrated the accomplishments of so many others is treating its own anniversary in a subdued style, perhaps in keeping with the current economic climate.

Sara Morton, the organization’s executive director, says that ‘the Genies and Geminis will reflect that fact in their catalogues.’

There will be no cake. Or there might be cake if sponsors step up to partner with ACCT during the upcoming Canadian festival season, according to the Academy’s first and current chair Ron Cohen. ‘We will look at partners to celebrate with, at festivals, throughout the year,’ he says.

Cohen is also enthusiastic about an online photo gallery that is in the works to showcase the winners from over the years, which also happens to be a frugal way to celebrate Canadian talent through a universal distribution platform.

‘We have great material; so many terrific highlights from all the award shows,’ says Cohen.

The economic climate was certainly different back in 1979 when the Academy was conceived, and in 1980, when the first Genies were presented.

‘When the Academy was formed, lots of organizations were starting,’ remembers Maria Topalovich, then head of marketing and communications, and eventually CEO of the organization. ‘Everything was burgeoning then. The Toronto film festival had begun a few years earlier, and Banff was about to begin. It was a time of great optimism.’

Andra Sheffer, the Academy’s inaugural executive director, and now director of the Independent Production Fund the Bell Broadcast and New Media Fund and the COGECO Program Development Fund, completes the triumvirate – with Topalovich and Cohen – that gave inspiration and confidence to a nascent Canadian industry.

‘It was truly exciting,’ says Sheffer. ‘That first year of the Genies we didn’t think we had much money, but I guess we had enough, because we were able to fly all the nominees to Toronto and have them picked up by limousines and brought to the Sutton Place Hotel where we had a magnificent reception. I remember pinning corsages on all the nominees. It was quite a scene: Gordon Pinsent, Saul Rubinek, Kate Lynch, Harvey Atkin, Frances Hyland, Bob Clark, Don Shebib, Eric Till, Hagood Hardy, Paul Hoffert and Micheline Lanctôt were all there. We had great food and a free bar! They were treated, and felt like, stars – at last.’

‘There was no rebellion,’ notes Cohen of the Academy’s role in filling an industry vacuum. ‘We weren’t replacing anybody. No organization reflected the skills and talents of the industry. There had been the Etrogs – the Canadian film awards – but there wasn’t any place where we could share our experiences together.’

And as the Canadian TV industry grew, the Gemini Awards and Prix Gemeaux were introduced in April 1986 to fill that need as well.

In fact, many believe it is the awards shows that initially made, and continue to make, the Academy an essential player in the business.

David Gale, who now represents the actors on the Academy’s board, recalls going to the first Gemini Awards show in 1986 with his mother. ‘She’s not a star-struck person,” he admits. ‘It was a great opportunity for her to talk to people she’d seen on TV. Before I knew it, she’d struck up a lovely conversation with [CBC science correspondent] Bob McDonald.

‘Fast forward from the ’80s to 2001 when I was nominated for [the cooking show] Loving Spoonfuls. I brought my mom and my dad. And I won! My mom had brought a camera, and when I started my acceptance speech… Well, the cameraman panned over to her and there’s this great moment where she’s taking a picture of me while she was being shot live for national television.’

The Academy’s biggest accomplishment may be the feeling of collegiality that has grown among its members.

Producer, writer, director and editor Allan Novak (The Newsroom, Joe Blow Show, Ralph Benmergui: My Israel) recalls: ‘The Academy, through its award shows was, for me, a great opportunity to feel connected to the industry. As a Young Turk wanting to make a name for myself, putting on a suit and swanning around the cocktail party made me feel part of something big, an industry that was coming into its own.’

Sturla Gunnarsson, president of the Directors Guild of Canada, agrees and notes that, ‘I do believe that the Academy fosters a sense of community amongst a fragmented group of people.’

Yet it may be writer/director Tim Southam (One Dead Indian, The Bay of Love and Sorrows) who sums it up best with his wry observation: ‘Filmmakers are amazing. All someone has to do is invent an award and we start dreaming about winning it. The Academy can’t help being a beacon for us all. Film and TV gatherings bring us together, so the Academy has offered us many great opportunities to meet our counterparts in the industry.’

One thing that has not changed over the years is the Academy’s flat refusal to get caught up in the politics of the day, a worthy task it believes the unions and guilds handle rather well.

Notes Cohen: ‘Way back when [producer Robert Lantos’] In Praise of Older Women was being viewed with askance by the Ontario government, there was pressure on the Academy to take a position on this. The argument was, ‘This isn’t a partisan issue; it’s a free speech issue.’ Even such a fundamentally acceptable notion as freedom of expression was something we felt we couldn’t properly participate in. Could we have done that on C-10? No. Our job is to honor the members of the industry and not create a circumstance where they would ever be embarrassed.’

Morton agrees: ‘We’re a charitable institution. It’s right in our bylaws, that we’re apolitical and don’t lobby. I think it’s one of our strengths. By staying out of the fury, we have a unifying role to play. There are unions and guilds who can do the advocacy work.’

The Academy’s accomplishments are quite obvious: the Genies, Geminis and Gemeaux have brought recognition to the industry. But as The Border producer Peter Raymont comments, ‘It hasn’t created a star system.’

Cohen, perhaps the Academy’s biggest supporter, admits that the elephant in the room is still Hollywood.

‘The Genies are still faced with the difficulty of presenting films that aren’t as well known as they should be,’ says Cohen. ‘It’s tough to avoid the fact that there are so many opportunities for our artists south of the border. But,’ he adds, ‘Canadians do love to come home.’