Jerome Mazandarani of Manga Entertainment and Andrew Partridge from Scotland Loves Anime made sure there was work for me on many below-the-line matters, which helped pay the bills. My tuition fees were paid by Skillset Screen Academy Wales (now Media Academy Wales), although the time to write would not have been possible had not my literary agent, Chelsey Fox, secured a book contract with Rebecca Barden at the British Film Institute. This book began life as a PhD dissertation at the Faculty of Applied Design and Engineering at what was then Swansea Metropolitan University – now part of the University of Wales. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library A catalog record for this book is available from the Library of Congress ISBN 978–1–84457–390–5 (pb)ĪCKNOWLEDGMENTS V INTRODUCTION 1 What do we talk about when we talk about anime?ġ KID DEKO’S NEW PICTURE BOOK 20 Early cartoons in Japan 1912–21Ģ THE FILM FACTORIES 35 Animation technique and technology 1921–37ģ THE SHADOW STAFF 53 Japanese animation at war 1931–48Ĥ THE SEEDS OF ANIME 74 Japanese animation industries 1946–62ĥ DREAMS OF EXPORT 93 To ¯ei Do ¯ga and MOM Production 1953–67Ħ WARRIOR BUSINESS 112 Tezuka’s anime revolution in context 1961–72ħ THE BROWN SCREEN 133 Trended change in Japanese animation 1966–83Ĩ THE THIRD MEDIUM 157 The transformation of ownership and access 1977–96ĩ THE POKÉMON SHOCK 177 Anime goes global 1984–97, 1997–2006ġ0 THE DIGITAL ENGINE 191 New technologies and animation 1983–2012ĮPILOGUE 213 The end of anime’s first century
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Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. Originally used at Scotland Loves Anime, 2013 Designed by couch Set by Cambrian Typesetters, Camberley, Surrey & couch Printed in China This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.
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Our world-renowned archive, cinemas, festivals, films, publications and learning resources are here to inspire you. First published in 2013 by PALGRAVE MACMILLAN on behalf of the BRITISH FILM INSTITUTE 21 Stephen Street, London W1T 1LN There’s more to discover about film and television through the BFI. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988.
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