Lihat sumber bagi Sejarah anime

{{Anime dan manga}}

'''Sejarah anime'''  telah bermula sejak abad ke-20 lagi, apabila pembuat filem [[orang Jepun]] menguji kaji dengan teknik [[animasi]] yang telah diterokai oleh Barat. Semasa tahun 1970-an, anime berkembang jauh, berpisah daripada akar umbi animasi Barat, dan berkembang kepada beberapa genre seperti [[Mecha#Dalam manga dan anime|mecha]] dan subgenrenya iaitu [[Robot Super]]. Rancangan yang tertentu dalam era ini ialah ''[[Lupin III]]'' dan ''[[Mazinger Z]]''. Beberapa pembuat filem semakin terkenal dalam era ini terutamanya [[Hayao Miyazaki]] dan [[Mamoru Oshii]].

Pada tahun 1980-an, anime telah diterima dalam aliran utama di [[Jepun]], dan mengalami lonjakan saujana dalam produksi. Kemunculan seperti ''[[Gundam]]'', ''[[Macross]]'', ''[[Dragon Ball]]'', dan [[Real Robot]] serta genre [[opera angkasa]] juga mengalami penerimaan yang tinggi. Filem ''[[Akira (filem)|Akira]]'' mencatat rekod pada tahun 1988 bagi kos penghasilan filem anime dan kemudian menjadi satu kejayaan di seluruh dunia. Kemudiannya pada tahun 2004, pencipta yang sama mencipta ''[[Steamboy]]'', yang menjatuhkan kesemua filem anime yang termahal. ''[[The Super Dimension Fortress Macross]]'' juga menjadi satu kejayaan di seluruh dunia selepas diadaptasikan sebagai sebahagian daripada ''[[Robotech]]'', dan ''[[Megazone 23]]'' juga mendapat pengiktirafan di Barat selepas ia diadaptasikan sebagai ''[[Robotech: The Movie]]''.{{Citation needed|date=December 2013}}

Internet telah membangkitkan anime [[fansub]]. ''[[Spirited Away]]'' memenangi hadiah pertama di [[Festival Filem Berlin]] 2012 dan juga pertama dalam [[Anugerah Akademi]] 2003 untuk Animasi Pilihan Terbaik, sambil ''Innocence: Ghost in the Shell'' juga telah dicalonkan dalam [[Festival Filem Cannes]].

==Generasi pertama juruanimasi Jepun==
Beberapa animasi lengkap dibuat semasa permulaan animasi Jepun dapat bertahan. Alasannya berbeza-beza, tetapi kebanyakan adalah dari jenis komersial. Selepas klip mereka telah dijalankan, [[gelung filem]] telah dijual kepada pawagam kecil dalam negara dan kemudian dibuka dan dijual sebagai jalur atau bingkai tunggal. ''[[Katsudō Shashin]]'', sketsa pendek yang berlangsung 3 saat, telah dihasilkan pada tahun 1907. [[Ōten Shimokawa]] ialah seorang karikatur politik dan kartunis yang bekerja untuk majalah ''Tokyo Puck''. Beliau telah diupah oleh [[Tennenshoku Katsudō Shashin|Tenkatsu]] untuk membuat animasi bagi mereka. Oleh kerana sebab-sebab kesihatan, beliau hanya mampu untuk melakukan lima filem, termasuk ''[[Imokawa Mukuzo Genkanban no Maki]]'' (1917), sebelum dia kembali ke kerja beliau sebelum ini sebagai kartunis.

Satu lagi juruanimasi yang terkenal dalam era ini adalah [[Jun'ichi Kōuchi]]. Dia adalah seorang karikatur dan pelukis, yang juga pernah belajar lukisan cat air. Pada tahun 1912, beliau juga memasuki sektor kartunis dan telah diupah untuk animasi oleh Kobayashi Shokai kemudiannya pada tahun 1916. Dia dianggap sebagai juruanimasi Jepun yang paling maju dari segi teknikal 1910-an. Karya-karya beliau mempunyai kira-kira 15 filem.

[[Seitaro Kitayama]] adalah seorang juruanimasi awal yang membuat animasi sendiri, tidak diupah oleh syarikat-syarikat yang lebih besar. Dia juga mengasaskan studio animasi sendiri, [[Kitayama Eiga Seisakujo]], yang kemudiannya ditutup kerana kekurangan kejayaan komersial. Beliau menggunakan teknik papan hitam, dan animasi kertas kemudian, dengan dan tanpa latar belakang pra-cetak.

Karya kedua-dua perintis termasuk ''[[Namakura Gatana]]'' (''An Obtuse Sword'', 1917) dan sebuah filem 1918 ''[[Urashima Tarō (anime)|Urashima Tarō]]'' yang ditemui bersama-sama di pasaran [[antik]] pada tahun 2007.<ref>{{Cite web |url=http://www.cartoonbrew.com/anime/earliest-anime-found |title=Anime yang paling awal ditemui |access-date=2013-12-16 |archive-date=2008-06-16 |archive-url=https://web.archive.org/web/20080616074904/http://www.cartoonbrew.com/anime/earliest-anime-found |url-status=dead }}</ref>

Pada bulan Julai 2005, sebuah filem animasi lama ditemui di Kyoto. Filem 3 saat tidak bertarikh ini jelas bertajuk ''Moving Picture'' (活動写真, ''Katsudō Shashin''?), terdiri daripada lima puluh bingkai dilukis terus pada jalur [[seluloida]].<ref>{{cite web| url = http://j.peopledaily.com.cn/2005/08/01/jp20050801_52250.html| title = China People's Daily Online (Japanese Edition): 日本最古？明治時代のアニメフィルム、京都で発| accessdate = 2007-03-05}}</ref> Ia menggambarkan seorang anak muda dalam pakaian kelasi menulis [[kanji]] "活動写真" (''katsudō shashin'', bermaksud "gambar bergerak") diatas sebuah papan, kemudian beralih ke arah penonton, mengeluarkan topi, dan menawarkan [[tabik hormat]]. Identiti pencipta tidak diketahui, tetapi ia menyangka bahawa ia dibuat untuk tontonan peribadi, mungkin sebagai uji kaji, dan bukannya untuk siaran awam. Orang yang menjumpai, Natsuki Matsumoto, telah membuat spekulasi bahawa ia boleh menjadi "sehingga 10 tahun lebih tua" daripada animasi Jepun yang sebelum ini dikenali pertama, ''[[Imokawa Mukuzo Genkanban no Maki]]'', dikeluarkan pada tahun 1917. Walau bagaimanapun, tarikh sekitar tahun 1915 adalah mungkin, tidak ada asas sebenar untuk spekulasi melampau ini.
<!---Terjemah kemudian
== Second generation of Japanese animators ==
[[Yasuji Murata]], [[Hakuzan Kimura]], [[Sanae Yamamoto]] and [[Noburō Ōfuji]] were 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 earthquake]] destroyed 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.<ref name="Yamaguchi">{{cite book|last=Yamaguchi|first=Katsunori|coauthors=Yasushi Watanabe|title=Nihon animēshon eigashi|publisher=Yūbunsha|year=1977|pages=26–27}}</ref> 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 animation]] instead of [[cel animation]] because the celluloid was too expensive.<ref>Sharp, Jasper (2009). "The First Frames of Anime". ''The Roots of Japanese Anime'', official booklet, DVD.</ref> This resulted in animation that could seem derivative, flat (since motion forward and backward was difficult) and without detail.<ref>{{cite book|last=Yamaguchi|first=Katsunori|coauthors=Yasushi Watanabe|title=Nihon animēshon eigashi|publisher=Yūbunsha|year=1977|pages=20–21}}</ref> But just as postwar Japanese animators were able to turn [[limited animation]] into a plus, so masters such as Yasuji Murata and Noburō Ōfuji were able to do wonders in cutout animation.

Animators such as [[Kenzō Masaoka]] and [[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 [[Sound film|talkie]] anime, ''[[Chikara to Onna no Yo no Naka]]'', released in 1933,<ref name="animeguide">{{cite book |title=Anime: A Guide to Japanese Animation (1958-1988) |last=Baricordi |first=Andrea |coauthors=de Giovanni, Massimiliano; Pietroni, Andrea; Rossi, Barbara; Tunesi, Sabrina |date = December 2000|publisher=[[Protoculture Inc.]] |location=[[Montreal, Quebec]], [[Canada]] |isbn=2-9805759-0-9 |page= 12}}</ref><ref name="kodanasha1993">{{cite book |title=Japan: An Illustrated Encyclopedia |year=1993 |publisher=[[Kodansha]] |location=[[Tokyo]], [[Japan]] |isbn=978-4-06-206489-7 |page= |pages= }}</ref> and the first anime made entirely using cel animation, ''[[The Dance of the Chagamas]]'' (1934).<ref>{{cite web|url=http://www.midnighteye.com/features/pioneers-of-anime.shtml|title=Pioneers of Japanese Animation (Part 1)|last=Sharp|first=Jasper|date=September 23, 2004|publisher=Midnight Eye|accessdate=10 December 2009}}</ref> Seo was the first to use the multiplane camera in ''[[Ari-chan]]'' in 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 film]]s for the government, and eventually works of [[propaganda]] for the military.<ref>''The Roots of Japanese Anime'', official booklet, DVD.</ref> 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.

== 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 Law]] of 1939 promoted [[documentary film|documentary]] and other educational films. Such support helped boost the industry, as bigger companies formed through mergers, and prompted major live-action studios such as [[Shochiku]] to begin producing animation.<ref>{{cite book|last=Yamaguchi|first=Katsunori|title=Nihon animēshon eigashi|publisher=Yūbunsha|year=1977|pages=34–37}}</ref> It was at Shochiku that such masterworks as [[Kenzō Masaoka]]'s ''[[Kumo to Chūrippu]]'' were 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,<ref>{{cite book|last=Yamaguchi|first=Katsunori|title=Nihon animēshon eigashi|publisher=Yūbunsha|year=1977|pages=38–44}}</ref> showing the sly, quick Japanese people winning against enemy forces. In 1943, [[Geijutsu Eigasha]] produced [[Mitsuyo Seo]]'s ''[[Momotaro's Sea Eagles]]'' with help from the [[Imperial Japanese Navy|Navy]]. Shochiku then made Japan's first real [[feature length]] animated film, Seo's ''[[Momotaro's Divine Sea Warriors]]'' in 1945, again with the help of the Navy. In 1941 ''[[Princess Iron Fan (1941 film)|Princess Iron Fan]]'' had become the first [[Culture of Asia|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.

==Toei Animation and Mushi Productions==

In 1948, [[Toei Animation]] was founded and produced the first color anime [[feature film]] in 1958, ''Hakujaden'' (''[[The Tale of the White Serpent]]'', 1958). This film was more [[Walt Disney Pictures|Disney]] in 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 as ''Panda 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 Ball#Dragon Ball|Dragon Ball]]'' in 1986, ''[[Sailor Moon]]'' in 1992 and ''[[One Piece]]'' in 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). ''Hols'' is often seen as the first major break from the normal anime style and the beginning of a later movement of "[[auteur]]istic" 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 Ōtsuka]] began 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 Spears]] and [[Hanna Barbera]] with 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.
{|class="wikitable"
|-
! style="width:25%;"|First
! style="width:25%;"|Native language name
! style="width:25%;"|English name
! style="width:20%;"|Released
! style="width:10%;"|Type
! width=5%|Broadcast
|-
| First anime series || おとぎマンガカレンダー || ''[[Otogi Manga Calendar]]'' || May 1, 1961 || series || yes
|-
| First late night anime series || 仙人部落 || ''[[Sennin Buraku]]'' || September 4, 1963 || series || yes
|-
| First super robot anime series || 鉄人28号 || ''[[Tetsujin 28-go]]'' || October 20, 1963 || series || yes
|-
| First Magical girl anime series || 魔法使いサリー || ''[[Sally the Witch]]'' || December 5, 1966 || series || yes
|-
| First anime space opera series || 宇宙戦艦ヤマト || ''[[Space Battleship Yamato]]'' || October 6, 1974 || series || yes
|-
| First real robot anime series || 機動戦士ガンダム || ''[[Mobile Suit Gundam]]'' || April 7, 1979 || series || yes
|-
| First [[Original video animation|OVA]] || ダロス || ''[[Dallos]]'' || December 12, 1983 || OVA || yes
|-
| First hentai anime OVA || ロリータアニメ || ''[[Lolita Anime]]'' || February 21, 1984 || OVA || yes
|}

==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 Productions went bankrupt (only to be revived 4 years later), its former employees founding studios such as [[Madhouse (company)|Madhouse Production]] and [[Sunrise (company)|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 [[boxing]] anime 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. ''Heidi'' wound 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 Miyazaki]] and [[Isao Takahata|Takahata]] to start up a series of literary based anime ([[World Masterpiece Theater]]). Miyazaki and Takahata left [[Nippon Animation]] in the late 1970s. Two of Miyazaki's critically acclaimed productions during the 1970s were ''[[Future Boy Conan]]'' (1978) and ''[[The Castle of Cagliostro|Lupin III: The Castle of Cagliostro]]'' (1979).

Another genre known as [[Mecha]] came 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 Robot]] genre, to somewhat more realistic [[space opera]]s with increasingly complex plots and fuzzier definitions of right and wrong, as seen in the [[Real Robot]] genre.

=== Key Titles ===
{|class="wikitable"
|-
! style="width:5%;"|Year
! style="width:20%;"|Original Title
! style="width:20%;"|English Title
! style="width:30%;"|Director
! style="width:20%;"|Studio
! style="width:5%;"|type
! style="width:10%;"|Released
|-
| 1970 || あしたのジョー || ''[[Ashita no Joe]]'' || [[Osamu Dezaki]] || [[Mushi Production]] || series || April 1, 1970
|-
| 1970 || 昆虫物語 みなしごハッチ || ''The Adventures of Hutch the Honeybee'' || Ippei Kuri, Seitarô Hara || [[Tatsunoko Productions]] || series || April 7, 1970
|-
| 1971 || どうぶつ宝島 || ''[[Dōbutsu Takarajima]]'' || [[Hiroshi Ikeda]] || [[Toei Animation]] || film || March 20, 1971
|-
| 1971 || 天才バカボン || ''[[Tensai Bakabon]]'' || || [[Tokyo Movie Shinsha]] || series || September 23, 1971
|-
| 1971 || ルパン三世 || ''[[Lupin III|Lupin III Part I]]'' || [[Masaaki Ōsumi]] || Tokyo Movie Shinsha || series || October 24, 1971
|-
| 1972 || デビルマン || ''[[Devilman]]'' || || Toei Animation || series || July 8, 1972
|-
| 1972 || 科学忍者隊ガッチャマン || ''[[Science Ninja Team Gatchaman]]'' || [[Hisayuki Toriumi]] || Tatsunoko Productions || series || October 4, 1972
|-
| 1972 || アストロガンガー || ''[[Astroganger]]'' || || [[Knack Productions]] || series || October 1, 1972
|-
| 1972 || ど根性ガエル || ''[[Dokonjō Gaeru]]'' || [[Tadao Nagahama]] || Tokyo Movie Shinsha || series || October 7, 1972
|-
| 1972 || マジンガーZ || ''[[Mazinger Z]]'' || || Toei Animation || series || December 3, 1972
|-
| 1973 || 哀しみのベラドンナ || ''[[Kanashimi no Belladonna]]'' || [[Eiichi Yamamoto]] || Mushi Production || film || June 27, 1973
|-
| 1973 || 新造人間キャシャーン || ''[[Casshan]]'' || [[Takao Koyama]] || Tatsunoko Productions || series || October 2, 1973
|-
| 1973 || エースをねらえ! || ''[[Aim for the Ace! ]]'' || Osamu Dezaki || Tokyo Movie Shinsha, [[Madhouse (company)|Studio Madhouse]] || series || October 5, 1973
|-
| 1973 || キューティーハニー || ''[[Cutie Honey]]'' || [[Tomoharu Katsumata]] || Toei Animation || series || October 13, 1973
|-
| 1974 || アルプスの少女ハイジ || ''[[Heidi, Girl of the Alps]]'' || [[Isao Takahata]] || [[Zuiyo Eizo]] || series || January 6, 1974
|-
| 1974 || 宇宙戦艦ヤマト || ''[[Space Battleship Yamato]]'' || [[Leiji Matsumoto]], [[Noburo Ishiguro]] || Academy Productions || series || October 6, 1974
|-
| 1975 || 勇者ライディーン || ''[[Brave Raideen]]'' || [[Yoshiyuki Tomino]], Tadao Nagahama || [[Sunrise (company)|Sunrise Studio]], [[Tohokushinsha Film]]  || series || April 6, 1975
|-
| 1975 || ガンバの冒険 || ''[[Ganba no Bōken|Adventures of Ganba]]'' || Osamu Dezaki || Tokyo Movie Shinsha || series || April 7, 1975
|-
| 1975 || タイムボカン || ''[[Time Bokan]]'' || [[Hiroshi Sasagawa]] || Tatsunoko Productions || series || October 4, 1975
|-
| 1976 || 母をたずねて三千里 || ''[[3000 Leagues in Search of Mother]]'' || Isao Takahata || [[Nippon Animation]] || series || January 4, 1976
|-
| 1976 || 超電磁ロボ コン・バトラーV || ''[[Chōdenji Robo Combattler V]]'' || Tadao Nagahama || Toei Company || series || April 17, 1976
|-
| 1976 || キャンディ・キャンディ || ''[[Candy Candy]]'' || Tetsuo Imazawa || Academy Productions || series || October 1, 1976
|-
| 1977 || ヤッターマン || ''[[Yatterman]]'' || Hiroshi Sasagawa || Tatsunoko Productions || series || January 1, 1977
|-
| 1977 || ルパン三世 TV第2シリーズ || ''[[Lupin III Part II]]'' || || Tokyo Movie Shinsha || series || October 3, 1977
|-
| 1978 || 宇宙海賊キャプテンハーロック || ''[[Space Pirate Captain Harlock]]'' || [[Rintaro]] || Toei Animation || series || March 14, 1978
|-
| 1978 || 未来少年コナン || ''[[Future Boy Conan]]'' || [[Hayao Miyazaki]] || Nippon Animation || series || April 4, 1978
|-
| 1978 || ルパン三世 ルパンVS複製人間 || ''[[Mystery of Mamo]]'' || [[Sōji Yoshikawa]] || [[TMS Entertainment]] || film || December 16, 1978
|-
| 1979 || ドラえもん || ''[[Doraemon (1979 anime)|Doraemon]]'' || Ryo Motohira, [[Tsutomu Shibayama]] || [[Shin-Ei Animation]] || series || April 2, 1979
|-
| 1979 || 機動戦士ガンダム || ''[[Mobile Suit Gundam]]'' || Yoshiyuki Tomino || [[Nippon Sunrise]] || series || April 7, 1979
|-
| 1979 || 銀河鉄道999 || ''[[Galaxy Express 999]]'' || Rintaro || Toei Animation || film || August 4, 1979
|-
| 1979 || ベルサイユのばら || ''[[The Rose of Versailles]]'' || Tadao Nagahama, Osamu Dezaki  || Tokyo Movie Shinsha || series || October 10, 1979
|-
| 1979 || ルパン三世 カリオストロの城 || ''[[The Castle of Cagliostro]]'' || Hayao Miyazaki  || Tokyo Movie Shinsha || film || December 15, 1979
|}

==1980s==
[[File:Yamato ani.jpg|right|thumb|The release of ''[[Space Battleship Yamato]]'' is often cited as the beginning of anime [[space opera]]s.]]

This shift towards [[space opera]]s became more pronounced with the commercial success of ''[[Star Wars Episode IV: A New Hope|Star Wars]]'' (1977).{{Citation needed|date=December 2009}} This allowed for the space opera ''[[Space Battleship Yamato]]'' (1974) to be revived as a theatrical film. ''[[Mobile Suit Gundam]]'' (1979), the first [[Real Robot]] anime, was also initially unsuccessful but was revived as a theatrical film in 1982. The success of the theatrical versions of ''Yamato'' and ''Gundam'' are seen as the beginning of the anime boom of the 1980s, which many consider the beginning of the "golden age of anime". This anime boom also marked the beginning of "[[Cinema of Japan|Japanese Cinema]]'s Second Golden Age", which would last until around the beginning of the 2000s.<ref>Dave Kehr, [http://query.nytimes.com/gst/fullpage.html?res=9507E5D71238F933A15752C0A9649C8B63 Anime, Japanese Cinema's Second Golden Age], ''[[The New York Times]]'', January 20, 2002.</ref>

While the [[Mecha]] genre shifted from superhero giant robots (the [[Super Robot]] genre of the 1970s) to elaborate space operas (the [[Real Robot]] genre of the 1980s), two other events happened at this time. A subculture in Japan, who later called themselves [[otaku]], began to develop around animation magazines such as ''[[Animage]]'' or later ''[[Newtype (magazine)|Newtype]]''. These magazines popped up in response to the overwhelming fandom that developed around shows such as ''Yamato'' and ''Gundam'' in the late 1970s and early 1980s.

''Yamato'' animator [[Yoshinori Kanada]] allowed individual key animators working under him to put their own style of movement as a means to save money. In many more "auteuristic" anime this formed the basis of an individualist animation style unique to Japanese commercial animation. In addition, Kanada's animation was inspiration for [[Takashi Murakami]] and his [[Superflat]] art movement.

In the United States the already mentioned popularity of ''[[Star Wars]]'' had a similar, but much smaller, effect on the development of anime.{{Citation needed|date=December 2009}} ''Gatchaman'' was reworked and edited into ''[[Battle of the Planets]]'' in 1978 and again as ''G-Force'' in 1986. ''Space Battleship Yamato'' was reworked and edited into ''[[Star Blazers]]'' in 1979. The ''[[Macross]]'' series began with ''[[The Super Dimension Fortress Macross]]'' (1982), which was adapted into English as the first arc of ''[[Robotech]]'' (1985), which was created from three separate anime titles: ''The Super Dimension Fortress Macross'', ''[[Super Dimension Cavalry Southern Cross]]'' and ''[[Genesis Climber Mospeada]]''. The sequel to ''Mobile Suit Gundam'', ''[[Mobile Suit Zeta Gundam]]'' (1985), became the most successful [[Real Robot]] space opera in Japan, where it managed an average [[Audience measurement|television rating]] of 6.6% and a peak of 11.7%.<ref name=ratings/> As well as adapted anime, many American companies utilised Japanese animation studios to animated their television series, examples include Sunbow Marvel/Toei animation's ''[[The Transformers (TV series)|The Transformers]]'' and ''[[G.I. Joe: A Real American Hero (1985 TV series)|G.I. Joe]]'' television series and Gaylord Entertainment/Tokyo Movie Shinsha's ''[[The Adventures of the Galaxy Rangers]]''.

The otaku culture became more pronounced with [[Mamoru Oshii]]'s adaptation of [[Rumiko Takahashi]]'s popular manga ''[[Urusei Yatsura]]'' (1981). ''Yatsura'' made Takahashi a household name and Oshii would break away from fan culture and take a more auteuristic approach with his 1984 film ''[[Urusei Yatsura movies#Beautiful Dreamer|Urusei Yatsura 2: Beautiful Dreamer]]''. This break with the otaku culture would allow Oshii to experiment further.

The otaku subculture had some effect on people who were entering the industry around this time. The most famous of these people were the amateur production group Daicon Films which would become [[Gainax]]. Gainax began by making films for the Daicon science fiction conventions and were so popular in the otaku community that they were given a chance to helm the biggest budgeted (to that point) anime film, ''[[Royal Space Force: The Wings of Honneamise]]'' (1987).

[[File:MEHVE - Nausicaa of the valley of the winds.jpg|right|thumb|The film ''[[Nausicaä of the Valley of the Wind (film)|Nausicaä of the Valley of the Wind]]'' helped jumpstart [[Studio Ghibli]].]]

One of the most influential anime of all time, ''[[Nausicaä of the Valley of the Wind (film)|Nausicaä of the Valley of the Wind]]'' (1984), was made during this time period. The film gave extra prestige to anime allowing for many experimental and ambitious projects to be funded shortly after its release. It also allowed director [[Hayao Miyazaki]] and his longtime colleague Isao Takahata to set up their own studio under the supervision of former ''Animage'' editor [[Toshio Suzuki (producer)|Toshio Suzuki]]. This studio would become known as [[Studio Ghibli]] and its first film was ''[[Laputa: Castle in the Sky]]'' (1986), one of Miyazaki's most ambitious films.

The success of ''[[Dragon Ball]]'' (1984) introduced the martial arts genre and became incredibly influential in the Japanese Animation industry. It influenced many more martial arts anime and manga series' including ''[[Yu Yu Hakusho]]'' (1990), ''[[One Piece]]'' (1997), and ''[[Naruto]]'' (1999).

The 1980s brought anime to the [[home video]] market in the form of [[Original Video Animation]] (OVA). The first OVA was [[Mamoru Oshii]]'s ''Moon Base Dallos'' (1983–1984). ''Dallos'' was a flop, but 1985's ''[[Megazone 23]]'' was a success. Shows such as ''[[Patlabor]]'' had their beginnings in this market and it proved to be a way to test less marketable animation against audiences. The OVA allowed for the release of [[hentai|pornographic anime]] such as ''[[Cream Lemon]]'' (1984). The first hentai OVA was actually the little-known Wonder Kids [[Lolita Anime]], also released in 1984.

Sports anime as now known made its debut in 1983 with an anime adaptation [[Yoichi Takahashi]]'s soccer manga [[Captain Tsubasa]], which became the first worldwide successful sports anime leading its way to create themes and stories that would create the formula that would later be used in many sports series that soon followed such as [[Slam Dunk]], [[Prince of Tennis]] and [[Eyeshield 21]].

The late 1980s, following the release of ''Nausicaä'', saw an increasing number of high budget and/or experimental films. In 1985 Toshio Suzuki helped put together funding for Oshii's experimental film ''[[Angel's Egg]]'' (1985). The OVA market allowed for short experimental pieces such as ''[[Take the X Train]]'', ''[[Neo Tokyo (film)|Neo Tokyo]]'', and ''[[Robot Carnival]]'' (all three 1987).

Theatrical releases became more ambitious, each film trying to outclass or outspend the other film, all taking cues from ''Nausicaä'''s popular and critical success. ''[[Night on the Galactic Railroad]]'' (1985), ''[[Tale of Genji]]'' (1986), and ''[[Grave of the Fireflies]]'' (1988) were all ambitious films based on important literary works in Japan. Films such as ''[[Char's Counterattack]]'' (1988) and ''[[Arion (manga)|Arion]]'' (1986) were lavishly budgeted spectacles. This period of lavish budgeting and experimentation would reach its zenith with two of the most expensive anime film productions ever: ''[[Royal Space Force: The Wings of Honneamise]]'' (1987) and ''[[Akira (film)|Akira]]'' (1988).

Most of these films did not make back the costs to produce them. Neither ''Akira'' nor ''Royal Space Force: The Wings of Honneamise'' were box office successes in Japan. As a result, large numbers of anime studios closed down, and many experimental productions began to be favored less over "tried and true" formulas. Only Studio Ghibli was to survive a winner of the many ambitious productions of the late 1980s with its film ''[[Kiki's Delivery Service]]'' (1989) being the top grossing film for that year earning over $40 million at the box office.

Despite the failure of ''Akira'' in Japan, it brought with it a much larger international fan base for anime. When shown overseas, the film became a cult hit and, eventually, a symbol of the medium for the West. The domestic failure and international success of ''Akira'', combined with the bursting of the bubble economy and [[Osamu Tezuka]]'s death in 1989, brought a close to the 1980s era of anime.

==1990s==
In 1995, [[Hideaki Anno]] wrote and directed the controversial [[anime]], ''[[Neon Genesis Evangelion (anime)|Neon Genesis Evangelion]]''. This show became popular in Japan among anime fans and became known to the general public through mainstream media attention. It is believed that Anno originally wanted the show to be the ultimate otaku anime designed to revive the declining [[anime industry]], but midway through production he also made it into a heavy critique of the culture eventually culminating in the controversial, but quite successful film ''[[The End of Evangelion]]'' (1997) which grossed over $10 million. Anno would eventually go on to produce live action films. Many scenes in ''Evangelion'' were so controversial that it forced [[TV Tokyo]] to clamp down with censorship of violence and sexuality in anime. As a result when ''[[Cowboy Bebop]]'' (1998) was first broadcast it was shown heavily edited and only half the episodes were aired. The censorship crackdown has relaxed a bit, but ''Evangelion'' had a major effect on the anime television industry as a whole.

In addition, ''Evangelion'' started up a series of so-called "post-Evangelion" shows. Most of these were giant robot shows with some kind of religious or difficult plot. These include ''[[RahXephon]]'', ''[[Brain Powerd]]'', and ''[[Gasaraki]]''. Another series of these are late night experimental TV shows. Starting with ''[[Serial Experiments Lain]]'' (1998) [[Late night anime|late night Japanese television]] became a forum for experimental anime with other shows following it such as ''[[Boogiepop Phantom]]'' (2000), ''[[Texhnolyze]]'' (2003) and ''[[Paranoia Agent]]'' (2004). Experimental anime films were also released in the 1990s, most notably ''[[Ghost in the Shell]]'' (1995), which alongside ''[[Megazone 23]]'' (1985),<ref>{{cite web|title=Megazone 23|publisher=[[A.D. Vision]]|url=http://www25.advfilms.com/titles/megazone|accessdate=2008-05-05}}</ref> had a strong influence on ''[[The Matrix]]''.<ref name="silver-anime-1">[[Joel Silver]], interviewed in "Scrolls to Screen: A Brief History of Anime" featurette on ''[[The Animatrix]]'' DVD.</ref><ref name="silver-anime-2">[[Joel Silver]], interviewed in "Making ''The Matrix''" featurette on ''The Matrix'' DVD.</ref><ref name="south bank show">Mitsuhisa Ishikawa, interviewed in ''[[The South Bank Show]]'', episode broadcast 19 February 2006 [http://www.itv.com/page.asp?partid=2701]</ref>

The late 1990s also saw a brief revival of the [[Super Robot]] genre that was once popular in the 1960s and 1970s but had become rare due to the popularity of [[Real Robot]] shows such as the ''[[Gundam]]'' and ''[[Macross]]'' series in the 1980s and psychological [[Mecha]] shows such as ''Neon Genesis Evangelion'' in the 1990s. The revival of the Super Robot genre began with the [[Brave series|Brave (Yuusha) Series]], starting with [[Brave Exkaiser]] in 1990, also there were many remakes and sequels of 70s super robot shows such as [[Getter Robo Go]] and [[Chō Dendō Robo Tetsujin 28-go FX|Tetsujin-28 go FX]] in response to "post-Evangelion" trends, but there were very few popular Super Robot shows produced after this, until ''[[Tengen Toppa Gurren Lagann]]'' in 2007.

Alongside its Super Robot counterpart, the [[Real Robot]] genre was also declining during the 1990s. Though several ''[[Gundam]]'' shows were produced during this decade, very few of them were successful. The only ''Gundam'' shows in the 1990s which managed an average [[Audience measurement|television rating]] over 4% in Japan were ''[[Mobile Fighter G Gundam]]'' (1994) and ''[[New Mobile Report Gundam Wing]]'' (1995). It wasn't until ''[[Mobile Suit Gundam SEED]]'' in 2002 that the Real Robot genre regained its popularity.<ref name=ratings>[http://aeug.blogspot.com/2004_11_01_aeug_archive.html#110060731014068978 All Gundam TV series ratings]</ref>

[[File:Mononoke hime cgi.png|thumb|right|[[3D rendering]] was used in this scene of ''[[Princess Mononoke]]'', the most expensive animated film at the time, costing $20 million]]

The 1990s also saw the popular video game series, ''[[Pokémon]]'', spawn an anime television show which is still running, several anime movies, a trading card game, toys, and much more. Other 1990s anime series which gained international success were ''[[Dragon Ball Z]],''  ''[[Sailor Moon]],'' and ''Digimon''; the success of these shows marked the beginning of the [[martial arts]] [[superhero]], the [[magical girl]] genre, and the action adventure genre respectively. In particular, ''Dragon Ball Z'' and "Sailor Moon" were dubbed into more than a dozen languages worldwide.

In 1997, [[Hayao Miyazaki]]'s ''[[Princess Mononoke]]'' became the most expensive animated film up until that time, costing $20 million to produce. Miyazaki personally checked each of the 144,000 [[cel]]s in the film,<ref>{{cite web|url=http://www.princess-mononoke.com/html/chats/dp_991104_transcript.html |title=Transcript on Miyazaki interview |publisher=Official film site}}</ref> and is estimated to have redrawn parts of 80,000 of them.<ref>{{cite web|url=http://disney.go.com/disneyvideos/animatedfilms/studioghibli/princessnews.html |title=Mononoke DVD Website |publisher=Disney}}</ref>

The late 1990s also saw anime crossing the borders into live action, starting with ''[[Gokusen]]'', ''[[Great Teacher Onizuka]]'' (1999).  It continued well into the 2000s, with ''[[Hana Yori Dango]]'' (2005), ''[[Jigoku Shōjo]]'' (2006) and ''[[Nodame Cantabile]]'' among them.

==2000s==
An art movement started by [[Takashi Murakami]] that combined Japanese pop-culture with [[postmodern art]] called [[Superflat]] began around this time. Murakami asserts that the movement is an analysis of post-war Japanese culture through the eyes of the otaku subculture. His desire is also to get rid of the categories of 'high' and 'low' art making a flat continuum, hence the term 'superflat'. His art exhibitions are very popular and have an influence on some anime creators particularly those from Studio 4°C. {{Citation needed|date=August 2011}}

The "Evangelion-era" trend continued into the 2000s with Evangelion-inspired mecha anime such as ''[[RahXephon]]'' (2002) and ''[[Zegapain]]'' (2006) - ''RahXephon'' was also intended to help revive 1970s-style mecha designs. The experimental [[late night anime]] trend popularized by ''[[Serial Experiments Lain]]'' also continued into the 2000s with experimental anime such as ''[[Boogiepop Phantom]]'' (2000), ''[[Texhnolyze]]'' (2003), ''[[Paranoia Agent]]'' (2004) and ''[[Gantz]]'' (2004).

One Of Popular Anime Are:Precure Series (2004/2006)

Manga Author Mia Ikumi made the [[Tokyo Mew Mew]] and [[Only One Wish]] books along with the Magical Girl genre.

The [[Real Robot]] genre (including the [[Gundam]] and [[Macross]] franchises), which had declined during the 1990s, was revived in 2002 with the success of shows such as ''[[Mobile Suit Gundam SEED]]'' (2002), ''[[Eureka Seven]]'' (2005), ''[[Code Geass|Code Geass: Lelouch of the Rebellion]]'' (2006), ''[[Mobile Suit Gundam 00]]'' (2007), ''[[Macross Frontier]]'' (2008) and ''[[Code Geass: Lelouch of the Rebellion R2]]'' (2008). The resurgence of Real Robot anime can be seen in a top 20 anime poll published in the April 2008 issue of [[Newtype (magazine)|''Newtype'' magazine]], where Japanese readers voted for ''Gundam 00'' as the #1 top anime, alongside ''Code Geass'' at #2 and ''Gundam SEED'' at #9.<ref>[http://reira.zuiken.net/?p=220 Newtype April 2008 Issue Poll]</ref>

The 1970s-style [[Super Robot]] genre revival started by ''[[GaoGaiGar]]'' (1997), continued into the 2000s, with several remakes of classic series such as ''[[Getter Robo]]'' and ''[[Dancougar]]'' as well as original properties created in the [[Super Robot]] mold like ''[[Godannar]]'' and ''[[Gurren Lagann]].'' In particular, ''Gurren Lagann'' combined the genre with elements from 1980s Real Robot shows as well as 1990s "post-Evangelion" shows. ''Gurren Lagann'' received both the "best television production" and "best character design" awards from the [[Tokyo International Anime Fair]] in 2008.<ref>{{cite web|url=http://www.animenewsnetwork.com/news/2008-02-26/eva-1.0-wins-tokyo-anime-fair-animation-of-the-year| title=''Eva 1.0'' Wins Tokyo Anime Fair's Animation of the Year|publisher=[[Anime News Network]]|date=February 26, 2008|accessdate= 2008-02-26}}</ref> This eventually culminated in the release of ''[[Shin Mazinger]]'' in 2009, a full-length revival of the first Super Robot series, ''[[Mazinger Z]]''.

In addition to these experimental trends, the 2000s has also been characterized by the increase of the [[Moe (slang)|moe]]-style art and the [[bishōjo]] and [[bishōnen]] character design. The presence and popularity of genres such as [[romance film|romance]], [[harem]] and [[slice of life story]] has risen.

Anime based on [[eroge]] and [[visual novel]]s increased in popularity in the 2000s, building on a trend started in the late 90s by such works as ''[[Sentimental Graffiti|Sentimental Journey]]'' (1998) and ''[[To Heart]]'' (1999). Examples of such works include ''[[Green Green (anime)|Green Green]]'' (2003), ''[[SHUFFLE!]]'' (2006), ''[[Kanon]]'' (2002 and 2006), ''[[Fate/Stay Night]]'' (2006), ''[[Higurashi no Naku Koro ni]]'' (2006), ''[[Ef: A Fairy Tale of the Two|Ef: A Tale of Memories]]'' (2007), ''[[True Tears (anime)|True Tears]]'' (2008), and ''[[Clannad (anime)|Clannad]]'' (2008 and 2009).

Many shows are being adapted from [[manga]] and [[light novels]] as well including popular titles such as ''[[Fullmetal Alchemist]]'' (2005), ''[[Rozen Maiden]]'' 2005, ''[[Aria the Animation]]'' (2005), ''[[Shakugan no Shana]]'' (2005), ''[[Pani Poni Dash!]]'' (2005), ''[[Death Note]]'' (2006), ''[[Mushishi]]'' (2006), ''[[Sola (manga)|Sola]]'' (2007), ''[[The Melancholy of Haruhi Suzumiya (anime)|The Melancholy of Haruhi Suzumiya]]'' (2006),  ''[[Lucky Star (manga)|Lucky Star]]'' (2007), ''[[Toradora!]]'' (2008–09), ''[[K-On!]]'' (2009) and ''[[Bakemonogatari]]'' (2009). Nevertheless, original anime titles are still being created which reach success.

The 2000s also mark a trend of emphasis of the [[otaku]] subculture. A notable critique of this otaku subculture is found in the 2006 anime ''[[Welcome to the N.H.K.]]'', which features a [[hikikomori]] protagonist and explores the effects and consequences of various [[Japanese popular culture|Japanese sub-cultures]], such as otaku, [[lolicon]], [[internet suicide]], [[massively multiplayer online game]]s and [[multi-level marketing]].

In contrast to the above mentioned phenomenon, there have been more productions of late night anime for a non-otaku audience as well. The first ''concentrated'' effort came from Fuji TV's [[Noitamina]] block. The 30 minute late Thursday timeframe was created to showcase productions for young women of college age, a demographic that watches very little anime. The first production '[[Honey and Clover]]' was a particular success, peaking at a 5% TV rating in Kantou, very strong for late night anime. The block has been running uninterrupted since April 2005 and has yielded many successful productions unique in the modern anime market.

There have been revivals of American cartoons such as ''[[Transformers]]'' which spawned four new series, ''[[Transformers: Car Robots]]'' in 2000, ''[[Transformers: Micron Legend]]'' in 2003, ''[[Transformers: Superlink]]'' in 2004, and ''[[Transformers: Galaxy Force]]'' in 2005. In addition, an anime adaptation of the G.I Joe series was produced titled '[[G.I. Joe: Sigma 6]]'.

The 2000s also saw the revival of earlier anime series in the forms of ''[[Fist of the North Star: The Legends of the True Savior]]'' (2006) and ''[[Dragon Ball Z Kai]]'' (2009). Later series also started receiving revivals in the late 2000s and early 2010s, such as with [[Studio Khara]]'s premier ''[[Rebuild of Evangelion]]'' [[tetralogy]], (2007-), and new adaptations of [[Masamune Shirow]]'s manga ''[[Appleseed XIII]]'' (2011) and ''[[Ghost in the Shell: Arise]]'' (2013-).

The 2000s also saw the revival of high-budget feature-length anime films, such as ''[[Millennium Actress]]'' (2001), ''[[Appleseed (film)|Appleseed]]'' (2001), ''[[Paprika (2006 film)|Paprika]]'' (2006), and the most expensive of all being ''[[Steamboy]]'' (2004) which cost $26 million to produce. [[Satoshi Kon]] established himself alongside [[Katsuhiro Otomo|Otomo]] and [[Mamoru Oshii|Oshii]] as one of the premier directors of anime film, before his premature death at the age of 46.
--->
== Lihat juga ==
{{portal|Anime and manga|Animation|Film|Japan}}
*[[Cyberpunk]]
{{-}}

== Nota ==
{{Reflist}}

== Rujukan ==
* {{Cite book|author=Clements, Jonathan and Helen McCarthy|year=2001|title=The Anime Encyclopedia: A Guide to Japanese Animation Since 1917 |edition=1st |publisher=Stone Bridge Press|isbn=1-880656-64-7}}
* Clements, Jonathan and Barry Ip (2012) "The Shadow Staff: Japanese Animators in the Toho Aviation Education Materials Production Office 1939–1945" in ''Animation: An Interdisciplinary Journal'' 7(2) 189-204.
* {{Cite book|author=Drazen, Patrick|year=2003|title=[[Anime Explosion!: The What? Why? & Wow! of Japanese Animation]]|publisher= Stone Bridge Press|isbn=1-880656-72-8}}
* [http://www.pelleas.net/animators/ Ettinger, Benjamin "Karisuma Animators"]
* [http://www.pelleas.net/aniTOP/index.php?p=66&more=1&c=1&tb=1&pb=1#comments Ettinger Benjamin "Toei Doga"] {{Webarchive|url=https://web.archive.org/web/20110716150423/http://www.pelleas.net/aniTOP/index.php?p=66&more=1&c=1&tb=1&pb=1#comments |date=2011-07-16 }} ([http://www.pelleas.net/aniTOP/index.php?p=67&more=1&c=1&tb=1&pb=1#comments Part 2] {{Webarchive|url=https://web.archive.org/web/20110716150629/http://www.pelleas.net/aniTOP/index.php?p=67&more=1&c=1&tb=1&pb=1#comments |date=2011-07-16 }}) ''Anipages Daily.'' 7/25/2004 and 7/26/2004.
* [http://www.nausicaa.net/miyazaki/interviews/aboutanime.html Miyazaki, Hayao trans. Ryoko Toyama "About Japanese Animation"]
* {{Cite book|author=Murakami, Takashi|year=2003|title=Super Flat| publisher=Last Gasp|isbn=4-944079-20-6}}
* Okada, Toshio et al. (2005), "Otaku Talk". ''Little Boy: The Arts of Japan's Exploding Subculture''. Ed. Takashi Murakami. Japan Society and Yale University Press. ISBN 0-913304-57-3.
* [http://www.midnighteye.com/features/pioneers-of-anime.shtml/ Sharp, Jasper "Pioneers of Japanese Animation at PIFan" ''Midnight Eye'' 9/25/2004]
* {{Cite book|author=Richie, Donald|year=2005|title=A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos|publisher=Kodansha America|isbn=4-7700-2995-0}}
* Kime, Chad. [http://www.ex.org/3.3/14-column_riap.html "American Anime: Blend or Bastardization?"] {{Webarchive|url=https://www.webcitation.org/67bWkT2BF?url=http://www.ex.org/3.3/14-column_riap.html |date=2012-05-12 }} EX Online Anime Magazine.

==Pautan luar==
* [http://www.tapanime.com/General-Info/historyanime.php HISTORY OF ANIME: Osamu Tezuka] {{Webarchive|url=https://web.archive.org/web/20080512151819/http://www.tapanime.com/General-Info/historyanime.php |date=2008-05-12 }}
* [http://www.awn.com/mag/issue1.5/articles/patten1.5.html A Capsule History of Anime]

{{Industri animasi di Jepun}}
{{Animasi}}

{{DEFAULTSORT:Sejarah anime}}
[[Category:Sejarah animasi]]
[[Category:Anime]]