History of anime
The history of anime begins at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques that were being explored in the West. Though filmmakers in Japan experimented with animation earlier, the first widely popular anime series was Osamu Tezuka's Astro Boy (1963). During the 1970s, anime developed further, separating itself from its Western roots, and developing unique genres such as mecha. Notable shows in this period include Lupin III and Mazinger Z. During this period several filmmakers became famous, especially Hayao Miyazaki and Mamoru Oshii.
Animation became popular in Japan as it provided an alternative format of storytelling compared to the underdeveloped live-action industry in Japan. Unlike America, where live-action shows and movies have generous budgets, the live-action industry in Japan is a small market and suffered from budgeting and location restrictions. The varied use of animation allowed artists to create settings that did not look Japanese at all.[1]
In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production. The start of the Gundam franchise and the beginnings of Rumiko Takahashi's career began in this decade. Akira set records in 1988 for the production costs of an anime.
The 1990s and 2000s saw an increased acceptance of anime in overseas markets. Akira and Ghost in the Shell (1995) became famous worldwide. The series Sailor Moon and Dragon Ball Z became worldwide successes. Other series like Neon Genesis Evangelion and Cowboy Bebop were popular in Japan and attracted attention from the West. Spirited Away shared the first prize at the 2002 Berlin Film Festival and won the Academy Award for Best Animated Feature in 2003, and Innocence: Ghost in the Shell was featured at the 2004 Cannes Film Festival.
First generation of Japanese animators
The earliest known Japanese animation (discovered in 2005) was produced circa 1907 and consists of fifty frames drawn directly onto a strip of celluloid.[2][3] The untitled short with a running length of about 3 seconds 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.
Sadly, very few complete animations made during the beginnings of Japanese animation have survived until now. The reasons vary, but many are of commercial nature. After the clips had their big time, reels (being property of the cinemas) were sold to smaller cinemas in the country and then disassembled and sold as strips or single frames.
Shimokawa Oten: A political caricaturist and cartoonist, who worked for the magazine Tokyo Puck. He was hired by Tenkatsu to do an animation for them. Due to medical reasons, he only was able to do five movies, including Imokawa Mukuzo Genkanban no Maki, before he returned to his previous work as a cartoonist.
Kouchi Jun'ichi: A caricaturist and painter, who also had studied watercolor painting. 1912 he also entered the cartoonist sector and was hired for an animation by Kobayashi Shokai later in 1916. He is viewed as the technically most advanced Japanese animator in the 1910s. His works include around 15 movies.
Kitayama Seitaro: Unlike the other pioneers of his era, Kitayama made animations on his own, not being commissioned by larger corporations. He even founded his own animation studio Kitayama Eiga Seisakujo (which was closed due to lack of commercial success). His animation technique was the chalkboard animation and, later, paper animation (with and without preprinted backgrounds).
Second generation of Japanese animators
Murato Yosuji, Kimura Hakuzan, Yamamoto Sanae and Ofuji Noboro were students of Kitayama Seitaro and worked at his film studio. Masaoka Kenzo, another important animator, worked at a smaller animation studio. In 1923, the Great Kantō earthquake destroyed most of Kitayama studio and the residing animators spread out and founded studios of their own, knowing that one could make money with the production of animations.
During this time, the first youth protection laws were adopted, which also lead to censorship of some early animations for children under the age of 15. On the other hand, films that offered educational value were supported and encouraged by the Monbusho (the Ministry of Education). Hundreds of thousands of yen were spent for this purpose. Animation had found a persistent place in scholastic, political and industrial use, which lead to high demand of new content.
During the 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. The movies were shown in NEWS-Cinemas as an opinion-forming limbering filler and were very famous, in fact (after Japan had its own support of movie material through the newly-founded Fujifilm) News-Cinemas boomed and together with it the animation industry reached a peak in officially shown movies. At that time many small studios were closed or fused to bigger studios until only three big studios remained on the broad market.
Disney had a strong influence on the animators at that time, but due to commercial issues Japanese animations at that time didn't have a high production standard, but were rather pale imitations of Disney productions (repeating scenes and gags, after recording of sound and so on). Disney also used sound film very early but that was too expensive for most Japanese studios until the mid 30s. Nevertheless, Disney's influence can be seen throughout Japanese animation by the 1950's.[citation needed]
Until the 30s the Japanese movie industry was dominated by the cinemas, who commissioned animations from small studios or single animators. Due to the fusing and enlarging of animation studios bigger projects were possible, but the necessary money didn't come from the Monbusho or a big cinema combine. Many animations were instead commissioned by the military, showing the sly, quick Japanese people (often depicted as monkeys) winning against enemy forces.
In 1941 Princess Iron Fan would become the first Asian animation of notable length ever made in China. Followed by Japan's Momotaro's Divine Sea Warriors in 1945. Due to economic factors, it would be Japan 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 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. Throughout the 1960s and into the early 1970s Toei continued to release these Disney-like films and eventually also produced two of the most well known anime series, Dragon Ball in 1986 and Sailor Moon in 1992.
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 "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 Ōtsuka began to experiment with this style and developed it further as he went into television.
Osamu Tezuka started a rival production company called Mushi Productions. The studio's first hit Mighty Atom became the first popular anime television series in 1963. Contrary to popular belief, Atom was not the first anime series broadcast in Japan; that honor falls to Otogi Manga Calendar, which began broadcasting in 1962. The first non-series anime broadcasted was Three Tales. However, Atom was the first series to feature regular characters in an ongoing plot. American television, which was still in its infancy and searching for new programming, rewrote and adapted Atom for the United States in 1964, retitled as Astro Boy. The success of Atom in Japan opened the doors for many more anime titles to be created, including Mitsuteru Yokoyama's Tetsujin 28-go (later released in the U.S. as Gigantor), Tezuka's Jungle Emperor (later released in the U.S. as Kimba the White Lion) and Tatsuo Yoshida's Mach Go Go Go (later released in the U.S. as Speed Racer), which was produced by Tatsunoko Production Co., Ltd.
Reaching the region
In the time line Chinese animations do have some overlaps in the Asian region. Though geographically speaking, neither country's animation was actually an influence to one another directly in that era. Over time, per the definition of "anime", most work outside of Japan are classified as "cartoon" or "animated series" unless they follow the distinct style.
| First | Native Language Name | English Name | Released | Type | Broadcast |
|---|---|---|---|---|---|
| First animation of notable length in Asia/China | 鐵扇公主 | Princess Iron Fan | January 1, 1941 | movie | no |
| First animation of notable length in Japan | 桃太郎 海の神兵 | Momotaro's Divine Sea Warriors | April 12, 1945 | movie | no |
| First animation in color in Asia/China | 乌鸦为什么是黑的 | Why is the Crow Black-Coated | 1956 | short | no |
| First animation of notable length in color in Japan | 白蛇伝 | The Tale of the White Serpent | October 22, 1958 | movie | no |
| First anime broadcasted | 新しい動画 3つのはなし | Three Tales | January 15, 1960 | movie | yes |
| First anime series | おとぎマンガカレンダー | Otogi Manga Calendar | May 1, 1961 | series | yes |
| First OVA | ダロス | Dallos | December 12, 1983 | OVA | no |
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 Production and 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.
An 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 Takahata to start up a series of literary based anime (World Masterpiece Theater). Miyazaki and Takahata left Nippon Animation in the late 1970s.
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 to somewhat more realistic space operas with increasingly complex plots and fuzzier definitions of right and wrong.
1980s
This shift towards space operas became more pronounced with the commercial success of Star Wars. This allowed for the early space opera Space Battleship Yamato to be revived in a theatrical version. This theatrical version of Yamato is seen as the basis of the anime boom of the 1980s, referred to as the "Golden Age of Anime".
Two events happened at the time of this shift from superhero Giant Robots to elaborate Space Operas. A subculture in Japan (who later called themselves otaku) began to develop around animation magazines such as Animage or later Newtype. These magazines popped up in response to the overwhelming fandom that developed around shows such as Yamato in the late 1970s.
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 popularity of Star Wars had a similar, but much smaller, effect on the development of anime. 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 and Robotech (1985) was created from three anime titles: The Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross and Genesis Climber Mospeada.
The otaku culture became more pronounced with Mamoru Oshii's adaptation of Rumiko Takahashi's popular manga Urusei Yatsura (1982). 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 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).
One of the most influential anime of all time, 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 long time colleague Isao Takahata to set up their own studio under the supervision of former Animage editor Toshio Suzuki. This studio would become known as Studio Ghibli and its first film was Laputa: Castle in the Sky (1986).
The 1980's 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 pornographic anime as Cream Lemon (1984).
The late 1980s, following the release of Nausicaa, 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, and Robot Carnival (all three 1987).
Theatrical releases became more ambitious each film trying to outclass or out spend the other film all taking cues from Nausicaa's popular and critical success. Night on the Galactic Railroad (1985), Tale of Genji (1986), and Grave of the Fireflies (1987) were all ambitious films based on important literary works in Japan. Films such as Char's Counterattack (1988) and 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 (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 of 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 was a cult hit that would eventually become 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 era.
1990s and 2000s
In 1995, Hideaki Anno wrote and directed the controversial 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 failing 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 (it grossed over $10 million) film The End of Evangelion (1997). Anno would eventually go on to produce live action films.
Many scenes in the Evangelion TV show were so controversial that it forced TV Tokyo to clamp down on 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 television anime 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 Japanese television became a forum for experimental anime with other shows following it such as Boogiepop Phantom (2000), Texhnolyze (2003) and Paranoia Agent (2004).
An art movement started by Takashi Murakami that combined Japanese pop-culture with postmodern art called Superflat came 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.
In contrast to these experimental trends the same time period has also been characterized by a trend towards extreme emphasis on otaku subculture. Many shows are currently being shown on late night television that are often based on h-games and are made solely for a die hard otaku audience. Examples of works in this genre of often fanservice heavy series includes Green Green (2003), Mahoromatic (2001), Hand Maid May (2000), and Lucky Star (2007).
The 1990s also saw the rise of Pokémon, which some could call one of the most successful anime ever created. The popular video game series spawned a television show lasting several seasons, a Broadway production, several movies, a trading card game, toys, and much more. Another 90's anime series often regarded as one of the most popular anime series of all-time was sailor moon.
Anime influence in western animation
As anime expands to non-Japanese markets such as the United States and Europe, the cycle of cultural influence inevitably extends into these markets. Thus, some Western animation companies have produced works of some anime resemblance. The Animatrix and the Nickelodeon series Avatar: The Last Airbender were influenced by anime. (Avatar was however made in South Korea) Other animated series such as Teen Titans have at least a few anime characteristics. While these animated series are not considered to be anime, they do show some characteristics found in typical anime. In addition, Cartoon Network co-produced anime, such as IGPX with Japanese directors. Even France and Canada have also started to produce anime-inspired shows such as Martin Mystery (Canada/France) Totally Spies! (France) and Team Galaxy (France).
Some series from Western Animation have turned to Japanese animation companies for productions. The second season of The Boondocks is produced by Studio Madhouse.
Notes and references
- ^ Sato, Kenji (2002). "Media in Asia". Retrieved 2006-11-19.
- ^ "Animania Blog: The oldest animation film in Japan discovered in Kyoto". Retrieved 2007-03-05.
- ^ "China People's Daily Online (Japanese Edition): 日本最古？明治時代のアニメフィルム、京都で発見". Retrieved 2007-03-05.
See also
External links
- Online course in history of anime
- A Brief HISTORY of ANIME Primer
- HISTORY OF ANIME: Osamu Tezuka
- A Capsule History of Anime
- A look at "The Four Revolutions of Anime"
- Right Stuf's Anime history resources
- IFC's Samurai 7 Page: Scroll down for link to "ANIME in the USA," a two-part documentary on the growth of anime's popularity in America.
- Database focused on 1960-70's anime