Jap Animation: East Asian views makes on hand for the 1st time to English readership a variety of viewpoints from media practitioners, designers, educators, and students operating within the East Asian Pacific. This assortment not just engages a multidisciplinary strategy in figuring out the topic of eastern animation but in addition indicates how you can learn, educate, and extra totally discover this multidimensional world.
Presented in six sections, the translated essays cross-reference one another. the gathering adopts quite a lot of severe, ancient, sensible, and experimental techniques. This type presents an inventive and interesting area for either expert and nonspecialist readers. Contributors' works proportion a typical relevance, curiosity, and involvement regardless of their local concerns and the several modes of research established. They shape a composite of training and examine principles on eastern animation.
"A major choice of essays by way of Asian writers on Asian animation, this publication sheds new mild at the different histories and impacts within the improvement of anime. it's a much-needed contribution to animation studies."
--Dan Torre, lecturer in animation and interactive media at RMIT college, Melbourne, Australia
"This attention-grabbing publication balances essays from lecturers with the paintings of professional animation execs, and in so doing presents a wide-ranging and available evaluation of elements of jap animation usually unexplored or overlooked within the West. Masao Yokota and Tze-yue G. Hu have taken an adventurous process that embraces and celebrates educating, study, and creativity in its widest feel. it will be a useful addition to any anime-lover's bookshelf."
--Helen McCarthy, writer The paintings of Osamu Tezuka: God of Manga and co-author (with Jonathan Clements) of The Anime Encyclopedia: A consultant to jap Animation seeing that 1917, Revised and multiplied Edition
"Masao Yokota and Tze-yue G. Hu, either favourite students within the box of eastern and East Asian animation experiences, have prepare a great anthology on eastern animation visible in East Asian views. the amount provides an summary of jap animation heritage, the politics and ideologies of animation creation and intake, in addition to insights into the person pioneers inside of animation and their works. a few matters are addressed during the context of training eastern animation, which makes some of the texts wealthy in pedagogical mirrored image and educating method by way of animation schooling. whereas many English-language books on eastern animation specialize in how Western cultures are motivated by way of jap pop culture, this quantity presents an extraordinary yet a lot wanted viewpoint on how mutual impacts of animation thrive between East Asian cultures and the kinds of transnational alternate they foster."
--Gunhild Borggreen, affiliate professor in visible tradition at college of Copenhagen
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Extra resources for Japanese Animation: East Asian Perspectives
7. See Takahata Isao, Eiga wo tsukuri nagara kangaetan koto 1955–91 I [What I was thinking, while making a film] (Tokyo: Tokuma Publishing, 1991), 144–54). Wan Brothers’ Letter to Japan: Making of Princess Iron Fan 47 8. The author expresses her appreciation to animation historian Watanabe Yasushi and animation studies scholar Dr. Sano Akiko for providing further reference materials about the popularity of the animated Princess Iron Fan during that period. 9. So far, the author has not conducted research into the Chinese articles about Princess Iron Fan written during the war years in order to ascertain the Chinese title description of the film during that period.
This had been considered impossible in Japan at the time, but the result was a major success. The on-air season for a single work was between six months and one year, and in some cases longer than that. As a result, the total number of episodes per work-project ran to as many as twenty-six or fifty-two in total. In other words, Tezuka’s system made it possible to produce long, complex, and diverse stories in animated form. Astro Boy also stood as proof that popular comics (manga) serialized in comic magazines could become big hits if converted to TV animation.
6. Yamamoto Eiichi, Mushi pro koboki [History of Mushi Production] (Tokyo: Shinchosha Publishing, 1989). 7. Editors’ note: Though Tsugata’s writing did not elaborate on the trend of “mania” which he brought up in his work, it is related to the phenomenon of otaku. Readers may refer to Azuma Hiroki’s Otaku: Japan’s Database Animals, translated by Jonathan E. Abel and Kono Shion (Minneapolis: University of Minnesota Press, 2009) for a critical analysis of this consumer subculture. References Bendazzi, Giannalberto.