JAPANESE ANIME during the 1970s:- During the 1970s, the Japanese film market shrunk due to competition from television. This increased competition from television reduced Toei animation's staff and many animators went to studios such as A Pro and Telecom animation. Mushi Production went bankrupt (only to be revived 4 years later), its former employees founding studios such as Madhouseand Sunrise. As a result, many young animators were thrust into the position of director before they would have been promoted to it. This injection of young talent allowed for a wide variety of experimentation. One of the earliest successful television productions in the early 1970s was Tomorrow's Joe (1970), a boxinganime which has become iconic in Japan. Another example of this experimentation is with Isao Takahata's 1974 television series Heidi, Girl of the Alps. This show was originally a hard sell because it was a simple realistic drama aimed at children. Most TV networks thought the TV show wouldn't be successful because children needed something more fantastic to draw them in.Heidiwound up being an international success being picked up in many European countries and becoming popular there. In Japan it was so successful that it allowed for Hayao Miyazakiand Takahatato start up a series of literary based anime ( World Masterpiece Theater). Miyazaki and Takahata left Nippon Animationin the late 1970s. Two of Miyazaki's critically acclaimed productions during the 1970s were Future Boy Conan (1978) and Lupin III: The Castle of Cagliostro (1979). Another genre known as Mechacame into being at this time. Some early works include Mazinger Z (1972–74), Science Ninja Team Gatchaman (1972–74), Space Battleship Yamato (1974–75) and Mobile Suit Gundam (1979–80). These titles showed a progression in the science fiction genre in anime, as shows shifted from more superhero-oriented, fantastical plots found, as seen in the Super Robotgenre, to somewhat more realistic space operaswith increasingly complex plots and fuzzier definitions of right and wrong, as seen in the Real Robotgenre.

Some Stories Need To Be Told ANIME Style: Toei Animation And Mushi Production:- In 1948, To...

Some Stories Need To Be Told ANIME Style: Toei Animation And Mushi Production:-

In 1948, To...

Toei Animation And Mushi Production:- In 1948, Toei Animation was founded and produced the first color anime feature filmin 1958, Hakujaden ( The Tale of the White Serpent, 1958). This film was more Disneyin tone than modern anime with musical numbers and animal sidekicks. However, it is widely considered to be the first " anime" ever, in the modern sense. It was released in the US in 1961 asPanda and the Magic Serpent. From 1958 to the mid-1960s, Toei continued to release these Disney-like films and eventually also produced three of the most well known anime series, Dragon Ballin 1986, Sailor Moonin 1992 and One Piecein 1999. Toei's style was also characterized by an emphasis on each animator bringing his own ideas to the production. The most extreme example of this is Isao Takahata's film Hols: Prince of the Sun (1968). Holsis often seen as the first major break from the normal anime style and the beginning of a later movement of " auteuristic" or "progressive anime" which would eventually involve directors such as Hayao Miyazaki (creator of Spirited Away) and Mamoru Oshii. A major contribution of Toei's style to modern anime was the development of the "money shot". This cost-cutting method of animation allows for emphasis to be placed on important shots by animating them with more detail than the rest of the work (which would often be limited animation). Toei animator Yasuo Ōtsukabegan to experiment with this style and developed it further as he went into television. in the 1980s Toei would later lend its talent to companies like Sunbow Productions, Marvel Productions, DiC Entertainment, Murakami- Wolf-Swenson, Ruby Spearsand Hanna Barberawith producing several animated cartoons for America during this period. Other studios like TMS Entertainment, were also being used in the 80's, which lead to Asian studios being used more often to animate foreign productions, but the companies involved still produced anime for their native Japan. Osamu Tezukae stablished Mushi Production in 1961, after Tezuka's contract with Toei Animation expired. The studio pioneered TV animation in Japan, and was responsible for successful TV series such as Astro Boy, Kimba the White Lion, Gokū no Daibōken and Princess Knight.

JAPANESE ANIME-During the Second World War:- In the 1930s the Japanese government began enforcing cultural nationalism. This also lead to a strict censorship and control of published media. Many animators were urged to produce animations which enforced the Japanese spirit and national affiliation. Some movies were shown in newsreel theaters, especially after the Film Lawof 1939 promoted documentaryand other educational films. Such support helped boost the industry, as bigger companies formed through mergers, and prompted major live-action studios such as Shochikuto begin producing animation. It was at Shochiku that such masterworks as Kenzō Masaoka's Kumo to Chūrippuwere produced. Wartime reorganization of the industry, however, merged the feature film studios into just three big companies. More animated films were commissioned by the military, showing the sly, quick Japanese people winning against enemy forces. In 1943,Geijutsu Eigashaproduced Mitsuyo Seo's Momotaro's Sea Eagleswith help from the Navy. Shochiku then made Japan's first real feature length animated film, Seo's Momotaro's Divine Sea Warriorsin 1945, again with the help of the Navy. In 1941 Princess Iron Fanhad become the first Asian animation of notable length ever made in China. Due to economic factors, it would be Japan which later emerged long after the war with the most readily available resources to continue expanding the industry.

Second Generation japanese ANIME:- Yasuji Murata,Hakuzan Kimura,Sanae Yamamotoand Noburō Ōfujiwere students of Kitayama Seitaro and worked at his film studio. Kenzō Masaoka, another important animator, worked at a smaller animation studio. In 1923, the Great Kantō earthquakedestroyed most of the Kitayama studio and the residing animators spread out and founded studios of their own. Prewar animators faced several difficulties. First, they had a hard time competing with foreign producers such as Disney, which were influential on both audiences and producers. Since foreign films had already made a profit abroad, they could be sold for even less than the price domestic producers need to charge in order to break even. Japanese animators thus had to work cheaply, in small companies with only a handful of employees, but that could make matters worse: given costs, it was then hard to compete in terms of quality with foreign product that was in color, with sound, and made by much bigger companies. Japanese animation until the mid-1930s, for instance, generally used cutout animationinstead of cel animationbecause the celluloid was too expensive. This resulted in animation that could seem derivative, flat (since motion forward and backward was difficult) and without detail. But just as postwar Japanese animators were able to turn limited animationinto a plus, so masters such as Yasuji Murata and Noburō Ōfuji were able to do wonders in cutout animation. Animators such as Kenzō Masaokaand Mitsuyo Seo, however, did attempt to bring Japanese animation up to the level of foreign work by introducing cel animation, sound, and technology such as the multiplane camera. Masaoka created the first talkieanime, Chikara to Onna no Yo no Naka, released in 1933, and the first anime made entirely using cel animation,The Dance of the Chagamas (1934). Seo was the first to use the multiplane camera inAri-chanin 1941. Such innovations, however, were hard to support purely commercially, so prewar animation depended considerably on sponsorship, as animators often concentrated on making PR films for companies, educational filmsfor the government, and eventually works of propagandafor the military. During this time, censorship and school regulations discouraged film-viewing by children, so anime that offered educational value were supported and encouraged by the Monbusho (the Ministry of Education). This proved important for producers that had experienced a hard time releasing their work in regular theaters. Animation had found a place in scholastic, political and industrial use.

First Generation Japanese ANIME:- Few complete animations made during the beginnings of Japanese animation have survived. The reasons vary, but many are of commercial nature. After the clips had their run, reels (being property of the cinemas) were sold to smaller cinemas in the country and then disassembled and sold as strips or single frames. Katsudō Shashin (活動写真,Moving Picture), a short which lasts 3 seconds, was possibly produced in 1907. The film was found in Kyoto in July 2005. The undated film consists of fifty frames drawn directly onto a strip of celluloid. It depicts a young boy in a sailor suit writing the kanji "活動写真" (katsudō shashin, for "moving pictures") on a board, then turning towards the viewer, removing his hat, and offering a salute. The creator's identity is unknown, but it is thought that it was made for private viewing, perhaps as experimentation, rather than for public release. The discoverer, Natsuki Matsumoto, has speculated that it could be "up to 10 years older" than the previously first known Japanese animation, Imokawa Mukuzo Genkanban no Maki, released in 1917. However, while a date of circa 1915 is possible, there is no actual basis for this extreme speculation. Ōten Shimokawawas a political caricaturist and cartoonist who worked for the magazineTokyo Puck. He was hired by Tenkatsuto do an animation for them. Due to medical reasons, he was only able to do five movies, including Imokawa Mukuzo Genkanban no Maki (1917), before he returned to his previous work as a cartoonist. Another prominent animator in this period wasJun'ichi Kōuchi. He was a caricaturist and painter, who also had studied watercolor painting. In 1912, he also entered the cartoonist sector and was hired for an animation by Kobayashi Shokai later in 1916. He is viewed as the most technically advanced Japanese animator of the 1910s. His works include around 15 movies. Seitaro Kitayamawas an early animator who made animations on his own, not hired by larger corporations. He even founded his own animation studio, the Kitayama Eiga Seisakujo, which was later closed due to lack of commercial success. He utilized the chalkboard technique, and later paper animation, with and without pre-printed backgrounds. The works of these two pioneers include Namakura Gatana (An Obtuse Sword, 1917) and a 1918 film Urashima Tarōwhich were discovered together at an antiquemarket in 2007.

The history of anime began at the start of the 20th century, when Japanese film makers experimented with the animation techniques that were being explored in the West. The first generation of animators in the late 1910s included Ōten Shimokawa, Jun'ichi Kōuchiand Seitaro Kitayama, referred to as the " fathers" of anime. During World War II, propaganda filmssuch as Momotarō no Umiwashi (1943) and Momotarō: Umi no Shinpei (1945) were made, the later being the first anime feature film. During the 1970s, anime developed further, separating itself from its Western roots, and developing distinct genres such as mechaand its Super Robotsub-genre. Typical shows from this period include Lupin IIIand Mazinger Z. During this period several filmmakers became famous, especially Hayao Miyazakiand Mamoru Oshii. In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production. The rise of Gundam, Macross, Dragon Ball, and the Real Robotand space operagenres set a boom as well. The film Akiraset records in 1988 for the production costs of an anime film and went on to become a success worldwide. Later, in 2004, the same creators produced Steamboy, which took over as the most expensive anime film. Space Battleship Yamatoand The Super Dimension Fortress Macrossalso achieved worldwide success after being adapted respectively as Star Blazersand Robotech. The internet also led to the rise of fansubanime. Spirited Awayshared the first prize at the 2002 Berlin Film Festivaland won the 2003 Academy Awardfor Best Animated Feature, while Innocence: Ghost in the Shell was featured at the 2004 Cannes Film Festival.