Independent Spirits: Faith Hubley/John Hubley is a one-hour documentary about art, commerce and the spirit of independent filmmmaking. Set within the context of six decades of American cultural history, the film looks at the careers of Academy Award-winning animators John and Faith Hubley, at their struggle to remain independent in a field that is largely commercial, and at their unique contributions to the development of animation as an art form.

Independent Spirits is about animation: what it is, how it's perceived, what it can be. The film attempts to expand the public perception of animation by moving "beyond pigs and bunnies," as the Hubleys described their art, to arrive at an understanding of animation's artistic and humanistic potential: its potential to deal with serious subjects; its capacity for innovative graphic and structural design; its ability to stimulate both the imagination and the intellect. As animation historian Charles Solomon has written, "the Hubleys did more to make people aware that animation was a legitimate art form than anyone..." With their special blend of intelligence, humor and social commentary, Hubley films were made by animation artists whose ultimate goal was not to have the mouse escape the cat, but rather, as John Hubley said, "to increase awareness, to warn, to humanize, to elevate vision, to suggest goals, to deepen our understanding of ourselves and our relationship to one another." Their non-traditional techniques, a blend of watercolor, wax crayons, multiple exposures and lighting from beneath the camera, give the films a spontaneous appearance, and emphasize the free-form graphic approach that has characterized Hubley style animation. As animation historian John Canemaker has written: "This 'happy accident' graphic style forces audiences to 'fill in the spaces' of what is not seen by using their imaginations."

Independent Spirits is also about the passion, spirit and commitment of independent artists attempting to exist in a culture of compromise. Particularly in the realm of filmmaking, an art form that requires greater financial resources than most others, commissioned work can be an abiding lure, often distracting independents from their passions or even mediating their personal vision. Independent Spirits looks at the issues that independent filmmakers confront every day -- issues that deal with compromise, commitment and the temptation of commerce. The Hubleys' professional choices, even before their partnership began, reflected an intense commitment to political alternatives and a belief in social justice. This film looks at what each of them brought to their unique collaboration: John, an artistic brilliance nurtured at the Disney Studio; Faith, a deep respect for cultural diversity and a rebellious spirit formed in a tough, NYC neighborhood; both, a commitment to progressive politics that influenced their belief that animation could deal with serious subjects and might actually make a difference in the world.

Beginning in the fifties, when they established their independent animation studio, the Hubleys worked to create alternative approaches to artistic self-expression. Films such as Moonbird, Cockaboody and Everybody Rides the Carousel re-defined prior notions of animation in their break from Disney literalism and linearity and in their exploration of animation's potential to communicate serious ideas and confront crucial social issues through the use of innovative graphics and improvisational soundtracks. Their pioneering use of jazz served as an aural equivalent to their alternative graphics and critical content and speaks directly to their commitment to diversity. The Hubleys worked with some of the greatest composers and musicians in the history of jazz, including Benny Carter, Dizzy Gillespie, Ella Fitzgerald and Quincy Jones.

The Hubleys were the first artists to look consistently at the way in which animated film could confront serious social issues. When John and Faith began their collaboration in 1955, they committed to making one independent film a year, in addition to doing work in television commercials, which, as they often stated, they did in order to "put food on the table." Some of the socially progressive themes they dealt with included nuclear arms (The Hole); nationalistic boundaries and barriers that keep people from communicating with one another (The Hat and Voyage to Next); the runaway growth of cities (Urbanissimo); over-population (Eggs) and immigration throughout America's history (People, People, People). Faith's own films have dealt with such subjects as the changing relationships between men and women throughout world history (WOW: Women of the World); the rights of children (Step by Step); the efforts of humankind to leap out of our limited space and view the world through art and music (Sky Dance); the destruction of the Amazon rain forest (Amazonia). Faith's more recent works have represented her ongoing investigation into other cultures and her effort to identify the mythological roots and shared concerns that globally unite us (Cloudland, Tall-Time Tales, and Rainbows of Hawaii are some of her recent titles). Her films are inspired by the myths and legends of other cultures and her explorations convey the importance of recognizing diversity while appreciating the shared concerns that unite us.

In an effort to understand why their collaboration was unique, the film looks at what each of the profiled artists brought to it, as well as at the personal and professional circumstances that influenced their individual contributions:

This page contains information about the animation program from the 2001 festival.
For information on this year's festival, follow the links below.