History of animates

The history of the Anime starts at the beginning of the 20th century, when Réalisateur S Japan board are tested with the techniques of animation which had been explored in the West. In spite of these early experiments, it is necessary to await Astro, the small robot , created in 1963 by Osamu Tezuka, for touching with popular success. During the years 1970, the animates continue to develop, separating from their Western roots and developing single kinds such as the Mecha. One finds at that time works like Lupin III and Mazinger Z . During this period, several realizers become famous, in particular Hayao Miyazaki and Mamoru Oshii.

In the Years 1980, the animates are integrated into the popular culture and the production explodes. The starting of the frankness Gundam and the beginnings from the career of Rumiko Takahashi mark the beginning of the decade. In 1988, Akira obtains the record of the production costs of a animates .

During the Years 1990 and the 2000, the animates receive more regards abroad than before. Akira and Ghost in the Shell (1995) becomes famous throughout the world. Series like Neon genesis Evangelion and Cowboy Bebop triumph in Japan, but collect also the attention in Occident. the Voyage of Chihiro receives the 1st equal price of the Festival of film of Berlin 2002 and gains the Oscar of best cartoon film in 2003, and Cannes festival 2004 place Innocence: Ghost in the Shell 2 in official competition.

Oldest animates known, discovered in 2005, was produced Ca 1907 and was composed of 50 images drawn directly on a ribbon of Celluloïd. This short test showed a young boy writing the Chinese characters for “film” (映画), then turning to the spectator and drawing his hat to him. The identity of the creator remains unknown.

The first generation of Japanese organizers

Unfortunately, very few works drawn at that time arrived to us. The reasons vary but are mainly commercial. After being exploited, the reels, properties of the cinemas, were sold with smaller cinemas through the country then cut out and sold in small bands, even in image by image.

Oten Shimokawa : political Caricaturist and illustrator having worked for the magazine Tokyo Puck. Its career begins thanks to the Tenkatsu, which engages it to carry out an animation. For medical reasons, it makes only 5 films, of which Imokawa Mukuzo - Genkanban No maki , before turning over to its work of illustrator.

Jun'ichi Kōchi : Caricaturist and painter, having also studied the Watercolour. In 1912, it penetrates the sector of the illustration, then, in 1916, it is engaged by Kobayashi Shokai for an animation. He is regarded as the Japanese organizer most technically advanced of the Années 1910. Its work counts approximately 15 films.

Seitaro Kitayama : With the difference of the other pioneers of this era, Kitayama manufactures animations by itself. Besides it founds its own studio, Kitayama Eiga Seisakujo, which closes its doors for lack of business success. Its technique consists in animating on black board, then on paper (with or without pre-printed backgrounds).

The second generation of Japanese organizers

Yosuji Murato, Hakuzan Kimura, Sanae Yamamoto and Noburo Ōfuji were disciples of Seitaro Kitayama and worked in its film studio. Kenzo Masaoka, another important organizer, worked in a more minor studio. In 1923, the Grand earthquake of Kantō destroys the major part of the Studio Kitayama and the organizers residing disperse and found new studios, including/understanding the financial interest of animation.

During this time, the first laws of protection of the children are adopted, bringing to the censure of some animates intended for the children of less than 15 years. In parallel, the educational films were encouraged by the Monbusho (Minister of education). Hundreds of thousands of Yen S were spent in their promotion. Animation found a use durable in teaching, the policy and industry, involving a strong demand again contained.

During the war

During the Years 1930, the Japanese government practices a policy forcing with the cultural nationalism, which applies by a strict censure and a control of the media published. Many organizers are " encouragés" to produce animates glorifiant the Japanese spirit. The films are projected in the NEWS-Cinemas like inventors of opinions and enjoy a strong notoriety. Indeed, after Japan had its own film support via the new whole Fujifilm, the News-Cinema exploded and the industry of animation reaches its peak thanks to these official films. At that time, of many small studios are closed or amalgamate: it does not remain after this " épurage" that three large studios, which dominate a broad market.

Walt Disney exerts a strong influence on the organizers, but from the commercial problems of Japanese animation at that time, the standards of production remain relatively low and the productions prove to be pale imitations of the Disney feature films (repeating the scenes and the gags, recording the soundtracks in a separate way…). Disney uses films very early incorporating the sound, but this integration remains well too expensive for the majority of the Japanese studios of the years 1930.

Until the Years 1930, the industry of Japanese film is dominated by the cinemas, which order animations with small studios or isolated organizers. Of share the fusion and the growth of the studios of animation, increasingly large projects become possible, but the required funds do not come from the Monbusho or the large conglomerates of cinemas. Many animations in the place are financed by the soldiers, showing the Japanese crafty ones and rapids vis-a-vis the exceeded forces enemies: the Japanese often appear in it in the shape of monkeys, which still points out the inheritance of the archipelago (the legend of Its Goku).

In 1942, Momotarō No Umiwashi (桃太郎の海鷲) of Geijutsu Eigasha, adding up 37 minutes, becomes longest and most technically advanced animated works of the East. She tells the history of a unit of marine, consisted of human Momotaro and several animal species representing the ethnos groups of the Far East; who fight together for the same goal. Three years later, the April 12th 1945, Shōchiku Dōga Kenkyūsho produced Momotaro - Umi No Shinpei which, extremely of its 74 minutes, is regarded as the first Japanese animation of standard duration compared to the projection of cinema.

Toei Animation and Mushi Productions

1948 sees the creation of Toei Animation, which produces the first animates coloured in 1958, the white Snake . The film is very marked by a tone close to the Disney, with musical numbers and animals as supporting roles. It is diffused in the United States under the title Panda and the Magic Serpent . During the Years 1960 and the beginning of the Years 1970, Toei continues in this style of productions and publishes two of the thereafter animates most known: Dragon Ball (1986) and Sailor Moon (1992).

The Toei style is characterized by the importance attached to the principle which each organizer brought its own ideas to the production. The most extreme example is the film Horus, prince of the Sun of Isao Takahata. Horus is often regarded as a major rupture with the normal style of the animates and the beginning of a later movement of animates authors, or animates progressists, which will include later realizers like Hayao Miyazaki and Mamoru Oshii.

A major contribution of the Toei style to the animates modern is the money shot . Conceived to reduce the costs, this method of animation proposes to stress certain important plans by animating them with more details than the remainder of the work (of which time is often restricted). The organizer of Toei Yasuo Ōtsuka starts to test with this method, to develop it still on television more.

Osamu Tezuka opens a rival company, Mushi Production. Its first success, Astro, the small robot , are essential in 1963 like the first popular animated series on television. Contrary to the generally accepted ideas, Astro was not the first animated series diffused in Japan. This honor returns to Manga Calendar , from which the diffusion began in 1962. However, Astro is the first series to be presented of the recurring heroes within an intrigue stretching itself on many episodes. The program is adapted and rewritten for the United States in 1964. The success of Astro allows the emergence of many other titles Japan, like Tetsujin 28-go of Mitsuteru Yokoyama, the King Léo of Tezuka or Mach Go Go Go of Tatsuo Yoshida, this last product by Tatsunoko Production Co., Ltd.

At the end of the years 1960, the animates open their horizons. Tezuka cuts through this path via three experimental, known films under the name of " Animerama" films; : 1001 Nights (1969), Cleopatra ( Kureopatora , 1970), and Belladonna off Sadness (1973). All are conceived for an adult public. The Belladonna, most experimental, gives to birth to Utena the revolutionary young girl (1997). In addition, the first series for adults, Lupin III , is diffused at that time (1973) and meets a true glory.

The Years 1970

During years 1970, the Japanese market of film collapses vis-a-vis the competition of television. The Toei gradually stops the production of sumptuous musical comedies inspired by Disney to devote itself to the production of televised series. Mushi Production is put in bankruptcy, dispersing its organizers in new studios, for example Madhouse Production and Sunrise. Because of that, many stimulating young people even reach the realization, without to be promoted at this station. This injection of young talents brings a new breath, a large variety of experiments and visions.

The series Heidi (1974) of Isao Takahata is an example of these experiments. At the beginning, this program is sold painfully, considered to be too realistic for children. The majority of the chains of remote transmission think that he will not be appreciated because the children need something moreover " fantastique" to immerse itself in the fiction. Heidi is finally a world success, exported in many European countries where it remains very popular. In Japan, success is so colossal that it allows Hayao Miyazaki and Isao Takahata of launching a series of animates based on literary works, the cycle of the Chefs-d'oeuvre of the world theater . Although Miyazaki and Takahata forsake the project at the end of the years 1970, the series perdure until the middle of the years 1990.

Another kind, the Matched, appears at that time. Mazinger Z (1972 - 1974), Kagaku ninja-tai Gatchaman (1972-1974), Yamato (1974 - 1975) and Mobile Follows Gundam (1979 - 1980) are some of the more symbolic systems. These titles show a progression of the kind Science-fiction in the animates , marked by a change of an orientation Fantastique " Superman " towards an orientation Space operated " réaliste" , proposing increasingly complex scenarios and less and less Manichéen S. Char Aznable of Mobile Follows Gundam is a famous example, passing from the statute of enemy in the first series to become an ally in the continuations Mobile Follows Zeta Gundam again then an enemy in the film Mobile Follows Gundam: Char' S counterattack .

The golden age of the animates

The slip towards the kind Space operated becomes more marked at the end of the Années 1970, in connection with the business success of the Star Wars . That makes it possible to make revive the precursor Yamato with the cinema. This version big screen is regarded as the base of the boom of the Années 1980, called “the Golden age of the animates ”.

Two events enamel this slip of the time of giant robots Super-héros with that of the space opera tortuous . A Japanese subculture (which gives itself later the name of Otaku ) starts to develop around magazines of animation like Animage or latest Newtype. These magazines emerge in answer to impressive the Fandom , which develop around certain series such at the end of the years 1970, like Yamato .

Moreover, one major component of the animates from a technical point of view develops with Yoshinori Kanada, a director of animation (having worked on Yamato ) which allows each Organizer-key working for him to add its own style of movement, with an aim of reducing the costs. In full with others animates " of auteur" , that forms the base of the individualistic style of animation, which makes the characteristic of Japanese commercial animation. Animations of Kanada inspire Takashi Murakami and its artistic movement Superflat .

In the United States, the popularity of Star Wars striking also animation, but more modest measurement. Gatchaman is worked over again and diffused under the title Battle off the Planets in 1978 and under that of G-Force in 1986. Yamato is also altered in Star Blazer in 1979 and, in a way more disturbing, much more disrespectful original work, Robotech (1985) is assembled starting from three different works: Super Dimension Fortress Macross , Southern Cross-country race and Mospeada . The organized American first otaku are born around these series.

The culture otaku becomes more marked with the adaption by Mamoru Oshii in 1982 of Urusei Yatsura, manga popular of Rumiko Takahashi, under the title Lamu . True Japanese triumph, Yatsura makes it possible Takahashi to become a great name of the animates , in spite of its modest origins of creative artist of Dōjinshi. As for Oshii, it moves away from the culture fan and approaches the animates of author, with the feature film Lamu - a Dream without end (1984). It approaches the universe of Takahashi by implying there more itself. Later, it will thus carry out a completely personal film, the Egg of the angel , in company of Yoshitaka Amano.

The subculture otaku produces some effects on the people who integrated industry at that time. Most famous of those were a group of production amateur, Daicon Films, which will become the Studio Gainax. Gainax starts by making films for convention Daicon SciFi and is so popular there within the community otaku that one gives him the chance to carry out film of animates to the largest budget of the time, the Wings of Honnéamise (1987).

In 1984, the studio Topcraft diffuses one of the keystones of animation: Nausicaä of the valley of the wind. This film adds to the prestige of the animates , making it possible many expensive experimental projects to be financed shortly after its exit. It also allows its director, Hayao Miyazaki, and with its partner of long time, Isao Takahata, to found their own studio under the supervision of the former editor of Animage, Toshio Suzuki. Thus is born the Studio Ghibli, actor major of the Japanese animation, of which the first film, the Castle in the sky (1986), mark durably criticism, in spite of a mitigated success.

In the neighborhoods of the exit of Nausicaä appears new a medium for the animate : the Original video animation or OAV. These OAVs consist of cassettes sold directly to the private individuals, container of films or series intended for an audience of niche, too limited for a diffusion on the waves or in the dark rooms. Carried out Mamoru Oshii, Moon Base Dallos (1983 - 1984) is the first Japanese OAV. Dallos does not meet any popularity, but Megazone 23 (1985) was takes a lead in the market like the first true success of the OAV. Series such as Patlabor make their beginning on this market: the series is seen like little saleswoman near the public, but this format of the OAV supports its diffusion. Patlabor becomes a myth and proves the utility of the OAV for launching more experimental or personal works.

The OAV also accommodates the first truth animates pornographic with Cream Lemon (1984), just preceded by Lolita animates: Yuki No kurenai keshō ~ shōjo will bara kei ~ . See also Hentai .

At the end of the years 1980, according to the exit of Nausicaä , a number of more important of films with large bugets and/or experimental could leave. In 1985, Toshio Suzuki helped to gather the funds for experimental film of Oshii, the Egg of the angel (1985). The market of OAVs allowed the edition of short experimental works such as Take the X Train , Neo-Tokyo , and Robot Carnival (all three in 1987).

The cinematographic exits became increasingly ambitious, each film trying to outclass or spend a larger budget than the precedent, all fascinating model on the popular success and critical of Nausicaä . Ginga tetsudō No yoru (1985), Bruises off Genji (1986) and the Tomb of the fireflies (1987) were all three of ambitious achievements, based on important literary works in Japan. Films such as Mobile Follows Gundam: Char' S Counterattack 1988 and Arion (1986) had sumptuary budgets. This period of disproportionate budget and experimentation reached its zenith with two of the most expensive productions of films of animates ever seen: Wings of Honnéamise and Akira (1988).

The majority of these films do not refund the production costs. Neither Akira nor the Wings of Honnéamise was successes of the Box-office Japanese . It results a closing from it from many studios of animates , and a large part of the experimental productions are seen forsaken with the profit of formulas having proven reliable. Only the Ghibli Studio manages to still turn into to ambitious productions at the end of the years 1980 thanks to its film Kiki the small witch (1989), who reaches the top of the boxoffice of this year and reports more than 31 million euros, for an initial budget of 5.6 million euros.

In spite of the failure of Akira in Japan, the film creates a broad base of fans of animates throughout the world. When it was diffused abroad, work became worship, the symbol of this medium in Occident. The domestic failure and the international success of Akira, compound to the bursting of the economic bubble and the death of Osamu Tezuka in 1989, abolish the golden age.

Years 1990 at the present

After this boom, certain people observe a decline in the general quality of the animates . The budgets collapse and of many ambitious projects are not financiés any more. Success Neon Genesis Evangelion (1995), the work of Hideaki Anno, allows a short rebirth and becomes what one calls the " third impact" Japanese animation. But the situation is hardly flourishing on the Japanese market. The major part of the attention, and consequently the most ambitious projects, turn to the West. A fight starts in 1995 with Macross Plus , Memories and especially the famous Ghost in the Shell to obtain prestigious cartoon films to broad bugdets for the American public. Memories cannot be distributed in the immediate future, in spite of its vocation: it is a work designed to like a vast public. Reason of this failure to lie in the too important sum requested by the holder of the rights to Japan, for export On the other side of the Atlantic.

In 1995, Hideaki Anno imagines and carries out what is perhaps the animates more discussed ever made, Neon Genesis Evangelion . This program becomes popular among the Japanese fans of animates and arrives at the general public by the means of the media. It is usually thought that Anno, in the beginning, wanted that this program is the animates ultimate for Otaku , conceived to make revive declining industry, but in the middle of the production, it makes a strong criticism of it. The diatribe is amplified in The End off Evangelion , film carried out in 1997 and which pays more than 8 million euros. Popularity, always increasing, is accompanied by a controversy increasingly stronger.

Many scenes of Evangelion feed the discussions and force TV Tōkyō to intensify the censure on the contents violate or arousing animates. Thus, when Cowboy Bebop (1998) is diffused for the first time, it is a version massively published and truncated half of its episodes which one projects. This censure is slackened thereafter.

After Evangelion follows program series indicated like " post-Evangelion". The majority put in scene gigantic robots within a religious or not easily comprehensible intrigue. Among them, RahXephon , Brain Powerd and Gasaraki . Other series of this kind are experimental diffusions of end of evening. Begun with Serial experiments Lain (1998), these late diffusions became a forum for the animates experimental among which appear Boogiepop Phantom (2000), Texhnolyze (2003) and Paranoia Agent (2004).

In addition, the continuous saga Gundam in its appogée and offers to Japan Gundam SEED (2002-2003), followed Gundam SEED Destiny (2004-2005), two extraordinary animates which occupy during more than 5 years the signal of best the animates in Japan, the characters of these series, of which Kira Yamato, Asran Zala, Shin Asuka or Lacus Clyne and Cagalli Yula Athha, more being appreciated in the country, all animates confused.

At that time, an artistic movement launched by Takashi Murakami emerges, combining the Japanese popular culture with post-modern art " Superflat ". Murakami claims that the movement is an analysis of the Japanese culture world post-war, through the eyes of the subculture otaku . Its desire is also to get rid of separation between the tops and low arts to create a Continuum, from where the term superflat . Its artistic exposures are very popular and influenced unquestionable creator of animates , in particular those of the Studio 4°C.

Contrary to the experimental current, the same period also saw a tendency to an ahead extreme setting of the subculture otaku . Many programs diffused in second or 3rd part of evening are based on Eroge (plays Hentai ) and are intended only to the public of the otaku pure and hard. Examples of works of this kind, frequently including Fan service (sometimes with excess), are Green Green , Mahoromatic (2001) and Hand Maid May . These programs are often pointed finger by criticisms as being sexists (with many representations of idealized subjected women) and as destroying the artistic vitality of the industry of the animates , using the desires of the fans instead of continuing an artistic research. At the same time, these programs appeared very advantageous in Japan. See also Moé . But the eroge are more than one source of series in extreme cases of the erotism: several series, whose Shingetsutan Tsukihime and Kimi ga Nozomu Eien (2003), respects a certain threshold of quality. The first tends towards a universe dark and complicated, the second tries an adult approach of the love.

In the Nineties emerges a colossal phenomenon: rise of the Pokémon . For some it is about the largest success of animation. The televised series extend over many seasons, there is a production with Broadway, several films, card decks to be collected, video games, jouts and full with others derived. Created with a purely commercial aim, this program is registered like one the most adapted of to youth.

At the end of the Nineties and the Years 2000, the animates are more easily accepted on the overseas markets. Cowboy Bebop is sold better in the United States that on Japan, and imposes itself even over there like a juicy license. the voyage of Chihiro receives the 1st price ex-aequo Festival of film of Berlin 2002 and gains the Oscar of best cartoon film in 2003, and Innocence: Ghost in the Shell 2 is selected for the Cannes festival 2004.

Gankutsuou (2005), realized by Mahiro Maeda, uses and alters the universe of the Count of Assembles-Cristo and wants to be upon the departure a work accessible to a Western public (and even in the Western intellectual mediums). Many references to the French culture enamel the course of the history. The music is partly composed by a French, Jean-Jacques Burnel, and the series also borrows the Symphonie Manfred of Tchaikovsky. The visual one is inspired by the esthetics of Gustav Klimt . Thus, Gankutsuou wants to be visually different from the standards of Japanese animation and ambitious in its approach. This accessibility seems to be a constancy within the studio Gonzo.

References

Benjamin Ettinger " Karisuma Animators"
Benjamin Ettinger " Toei Doga" (Share 2) Anipages Daily. 7/25/2004 and 7/26/2004.
Hayao Miyazaki, trans. Ryoko Toyama " Butt Japanese Animation"
Toshio Okada and. Al (2005), " Otaku Talk". Little Boy: The Arts off Japan' S Exploding Subculture . ED. Takashi Murakami. Japan Society and Yale University Near. ISBN 0-913304-57-3.
Sharp, To marble " Pioneers off Japanese Animation At PIFan" ''Midnight Eye'' 9/25/2004

See too

Animates
Histoire of animation
Cartoon
Manga

External bonds

Cours on line on the history of the '' animates ''
Bref introduction to the history of the '' animates ''
Histoire of the '' animates '': Osamu Tezuka
Voyage in the history of the '' animates ''
a glance on '' the 4 revolutions of animates ''
Ressources on the history of the '' animates '' of Right Stuf
Page on Samurai 7 of IFC: To go down until the bond " ANIMATE in the USA, " a document in 2 parts on the growth of the presence of the animates in the United States.

Random links: