Jap Animation: East Asian views makes on hand for the 1st time to English readership a range of viewpoints from media practitioners, designers, educators, and students operating within the East Asian Pacific. This assortment not just engages a multidisciplinary procedure in realizing the topic of eastern animation but additionally exhibits how one can examine, train, 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 serious, ancient, functional, and experimental methods. This style presents an artistic and interesting part for either expert and nonspecialist readers. Contributors' works proportion a standard relevance, curiosity, and involvement regardless of their nearby issues and the various modes of study verified. They shape a composite of educating and examine principles on eastern animation.

"A major choice of essays by way of Asian writers on Asian animation, this ebook sheds new gentle at the diversified 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 ebook balances essays from lecturers with the paintings of pro animation execs, and in so doing presents a wide-ranging and available evaluation of features of jap animation usually unexplored or overlooked within the West. Masao Yokota and Tze-yue G. Hu have taken an adventurous technique that embraces and celebrates instructing, examine, 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 advisor to eastern Animation considering 1917, Revised and elevated Edition

"Masao Yokota and Tze-yue G. Hu, either admired students within the box of jap and East Asian animation experiences, have prepare an exceptional anthology on eastern animation noticeable in East Asian views. the quantity provides an outline of jap animation historical past, the politics and ideologies of animation construction and intake, in addition to insights into the person pioneers inside of animation and their works. a couple of concerns are addressed in the course of the context of educating eastern animation, which makes the various texts wealthy in pedagogical mirrored image and educating technique by way of animation schooling. whereas many English-language books on jap animation concentrate on how Western cultures are inspired by means of eastern pop culture, this quantity offers an extraordinary yet a lot wanted point of view on how mutual affects of animation thrive between East Asian cultures and the categories of transnational trade they foster."

--Gunhild Borggreen, affiliate professor in visible tradition at college of Copenhagen

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6 By rigorously applying these principles to the production of his works, Tezuka managed to produce a TV animation series in the form of serialized broadcasts of one episode per week, thirty minutes per episode. 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.

When they were released, however, Snow White and other Disney animated features amazed and moved many of those who saw them, including animation producers. After this, Disney animated features became the benchmark for many creators of Japanese animation. In 1956, Toei Doga (Toei Animation Studio) was set up for the purpose of producing animated features inspired by the Disney musical and fantasy genres. This was Japan’s first large-scale studio devoted entirely to producing animated films. Its first animated feature was Hakujaden (White Snake Enchantress, 1958), which was followed by other feature films produced at the rate of one per year.

As an animation enthusiast, he devotes his time to collecting animation materials. His work has provided scholars with detailed facts of people who created animation as well as places where the works were produced and released. In this volume, his chapter gives us an account of an important animation father figure in Japanese animation history, Masaoka Kenzō and his contributions to the art of Japanese film and animation in general. The Second and Third Generations of Animation Researchers Ikeda Hiroshi was previously not only an animation director but also a researcher.

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