Anime

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For other uses, see Animé.
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Anime (アニメ? taken from half of the Japanese pronunciation of "animation", Pronounced anime in IPA listen (help·info) in Japanese, but typically pronounced /ˈænɪmeɪ/ or /ˈænɪmə/ in English) is currently synonym to "Japanese animation"[1], and is a form of superior animation to the Western one, available to all ages of audiences. Anime dates first started from about 1917.[2]

By the 1930s, anime allowed artists to create any characters and settings for which shooting films set in Europe, America, or fantasy worlds that do not naturally involve Japan suffered the lack of Western-looking actors and was next to impossible to recreate.[3] This is yet another reason why anime is considered even today superior to usual movies, only barely rivaled by 3D animation, which is still in the beginning compared with the techniques and complexity anime has gained throughout the decades.

Anime, in addition to manga (Japanese comics), is extremely popular in Japan and well known throughout the world. Anime itself is considered a form of better animation. Anime can be released by television broadcast, directly to video, theatrically, as well as online.

Anime can be hand-drawn or computer animated. It is used in television series, films, video, video games, commercials, and internet-based releases, and has representatives in all genres, including fiction.

Contents

History

Main article: History of anime

Anime began at the start of the 20th century, when  Japanese filmmakers experimented with the animation techniques that were being explored in  France,  Germany, the  United States, and  Russia.[4] The oldest known anime in existence was screened in 1917 - a two minute clip of a samurai trying to test a new sword on his target, only to suffer defeat.[5]

In the 60's, Osamu Tezuka adapted and simplified many Disney animation techniques to reduce the costs and number of frames in the production. This was intended to be a temporary measure to allow him to produce material on a tight schedule with an inexperienced animation staff.

During the 1970s, there was a surge of growth in the popularity of manga—which were often later animated—especially those of Osamu Tezuka. His work and that of other pioneers in the field, inspired characteristics and genres that are fundamental elements of anime today. The giant robot genre (known as "Mecha" outside Japan), for instance, took shape under Tezuka, developed into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more in the 2000s.

1990s

Eva Unit 02 crouching on a battle cruiser in Neon Genesis Evangelion

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 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 (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 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 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). Experimental anime films were also released in the 1990s, most notably Ghost in the Shell (1995), which alongside Megazone 23 (1985),[6] had a strong influence on The Matrix.[7][8][9]

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 GaoGaiGar in 1997 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 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.[10]

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 lasting several seasons, a Broadway production, several anime movies, a trading card game, toys, and much more. Other 1990s anime series which gained international success were Dragon Ball Z and Sailor Moon; the success of these shows marked the beginning of the martial arts superhero genre and the magical girl genre respectively. In particular, Dragon Ball Z was 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 cels in the film,[11] and is estimated to have redrawn parts of 80,000 of them.[12]

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

See also

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.

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).

Lelouch Lamperouge as Zero in Code Geass: Lelouch of the Rebellion R2, winner of Animation Kobe Television Award in 2008 [13]

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: 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, where Japanese readers voted for Gundam 00 as the #1 top anime, alongside Code Geass at #2 and Gundam SEED at #9.[14]

Simon in Gurren Lagann, awarded "best television production" and "best character design" at the Tokyo International Anime Fair in 2008

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.[15] 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-style art and the bishoujo and bishonen character design. The presence and popularity of genres such as romance, harem and slice of life story has risen.

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

The Melancholy of Haruhi Suzumiya has become a cult television series and won the Animation Kobe Award for TV Feature in 2006.[16]

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 (2007), The Melancholy of Haruhi Suzumiya (2006), Lucky Star (2007), Toradora! (2008-09) and K-ON! (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 sub-cultures, such as otaku, lolicon, internet suicide, massively multiplayer online games 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.

The 2000s also saw the revival of high-budget feature-length anime films, such as Millennium Actress (2001), Appleseed (2001), Paprika (2006), and the most expensive of all being Steamboy (2004) which cost $26 million to produce.

In 2008, the Japanese government created the position of Anime Ambassador and appointed Doraemon as the first Anime Ambassador to promote anime worldwide in diplomacy.[17]

Internet boom

For other uses, see Original net animation.

With the popularization of the internet and home computers, the spread (and sometimes distribution) of anime began to increase exponentially. With this new fans, new categorizations and adaptation methods, as well as people or groups of people engages in parodying, fansubbing or even fandubbing episodes.

See also

Visual characteristics

It was thought by at least one person on Wikipedia that input from an expert in this subject would be helpful.

Anime is commonly referred to as an art form.[18] As a visual medium, it naturally places a large emphasis on visual styles. The styles can vary from artist to artist or by studio to studio. Some titles make extensive use of common stylization: FLCL, for example, is known for its wild, exaggerated stylization. In contrast, titles such as Only Yesterday or Jin-Roh take much more realistic approaches, featuring few stylistic exaggerations.

While different titles and different artists have their own artistic styles, many stylistic elements have become so common such that they are described as being definitive of anime in general. However, this does not mean that all modern anime share one strict, common art style. Many anime have a very different art style from what would commonly be called "anime style", yet fans still use the word "anime" to refer to these titles. Generally, the most common form of anime drawings are "exaggerated physical features such as large eyes, big hair and elongated limbs... and dramatically shaped speech bubbles, speed lines and onomatopoeic, exclamatory typography."[19]

The influences of Japanese calligraphy and Japanese painting also characterize linear qualities of the anime style. The round Ink brush traditionally used for writing Kanji and for painting produces a stroke of widely varying thickness.

Anime also tends to borrow many elements from manga including text in the background, and borrowing panel layouts from the manga as well. For example, an opening may employ manga panels to tell the story, or to dramatize a point for humorous effect. This is best demonstrated in the anime Kare Kano or the new 2009 series Fullmetal Alchemist: Brotherhood.

Character design

See also: Anime physics

Body proportions emulated in anime come from proportions of the human body. The height of the head is considered as the base unit of proportion. Head heights can vary as long as the remainder of the body remains proportional. Most anime characters are about seven to eight heads tall, and extreme heights are set around nine heads tall.[20]

Variations to proportion can be modded. Super deformed characters feature a non-proportionally small body compared to the head. Sometimes specific body parts, like legs, are shortened or elongated for added emphasis. Mostly super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions. It is enough such that it resembles a Western cartoon. For exaggeration, certain body features are increased in proportion.[20]

A common approach is the large eyes style drawn on many anime and manga characters.

Anime characters may employ wide variety of facial expressions to denote moods and thoughts.[21] These techniques are often different in form than their counterparts in western animation.

A vein clearly seen on Edward Elrich from Fullmetal Alchemist.

There are a number of other stylistic elements are common to conventional anime as well but more often used in comedies. Characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stressmark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike someone with it, leading to the concept of Hammerspace and the derived anime physics from cartoon physics. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, based on an old wives' tale).[22] Embarrassed characters either produce a massive sweat-drop (which has become one of the most widely recognized motifs of conventional anime) or produce a visibly red blush or set of parallel (sometimes squiggly) lines beneath the eyes, especially as a manifestation of repressed romantic feelings. Some anime, usually with political plots and other more serious subject matters, have abandoned the use of these techniques.

The representative styles of 1980s and 2000s anime art.
An example of the wide range of drawing styles anime can adopt.

Animation technique

Main article: Animation

Like all animation, the production processes of storyboarding, voice acting, character design, cel production and so on still apply. With improvements in computer technology, computer animation increased the efficiency of the whole production process.

Anime scenes place emphasis on achieving three-dimensional views. Backgrounds depict the scenes' atmosphere.[4] For example, anime often puts emphasis on changing seasons, as can be seen in numerous anime, such as Tenchi Muyo!. Sometimes actual settings have been duplicated into an anime. The backgrounds for the Melancholy of Haruhi Suzumiya are based on various locations within the suburb of Nishinomiya, Hyogo, Japan.[23]

Camera angles, camera movement, and lighting play an important role in scenes. Directors often have the discretion of determining viewing angles for scenes, particularly regarding backgrounds. In addition, camera angles show perspective.[24] Directors can also choose camera effects within cinematography, such as panning, zooming, facial closeup, and panoramic.[25]

The large majority of anime is traditional animation, which better allows for the division of labour, pose to pose approach and checking of drawings before they are shot favoured by the industry.[26] Other mediums are mostly limited to independently-made short films,[27] examples of which are the silhouette and other cutout animation of Noburo Ofuji,[26][28] the stop motion puppet animation of Tadahito Mochinaga, Kihachirō Kawamoto[29] and Tomoyasu Murata[30] and the computer animation of Satoshi Tomioka[31] (most famously Usavich).[32]

Distribution

See also: Anime licensing

While anime had entered markets beyond Japan in the 1960s, it grew as a major cultural export during its market expansion during the 1980s and 1990s. The anime market for the United States alone is "worth approximately $4.35 billion, according to the Japan External Trade Organization".[33] Anime has also been a commercial success in Asia, Europe and Latin America, where anime has become even more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air.

Anime distribution companies handled the licensing and distribution of anime beyond Japan. Licensed anime is modified by distributors through dubbing into the language of the country and adding language subtitles to the Japanese language track. Using a similar global distribution pattern as Hollywood, the world is divided into five regions.

Some editing of cultural references may occur to better follow the references of the non-Japanese culture.[34] Certain companies may remove any objectionable content, complying with domestic law. This editing process was far more prevalent in the past (e.g. Robotech), but its use has declined because of the demand for anime in its original form. This "light touch" approach to localization has favored viewers formerly unfamiliar with anime. The use of such methods is evident by the success of Naruto and Cartoon Network's Adult Swim programming block, both of which employ obvious big and disturbing edits (see Editing of anime in American distribution).

With the advent of DVD, it was possible to include multiple language tracks into a simple product. This was not the case with VHS cassette, in which separate VHS media were used and with each VHS cassette priced the same as a single DVD. The "light touch" approach also applies to DVD releases as they often include both the dubbed audio and the original Japanese audio with subtitles, typically unedited. Anime edited for television is usually released on DVD "uncut", with all scenes intact.

TV networks regularly broadcast anime programming. In Japan, major national TV networks, such as TV Tokyo broadcast anime regularly. Smaller regional stations broadcast anime under the UHF. In the United States, cable TV channels such as Cartoon Network, Disney, Sci-Fi, and others dedicate some of their timeslots to anime. Some, such as the Anime Network and the FUNimation Channel, specifically show anime. Sony-based Animax and Disney's Jetix channel broadcast anime within many countries in the world. AnimeCentral solely broadcasts anime in the UK.

The Internet has played a significant role in the exposure of anime beyond Japan. Prior to the 1990s, anime had limited exposure beyond Japan's borders. Not at all coincidentally, as the popularity of the Internet grew, so did interest in anime. Much of the fandom of anime grew through the Internet. The combination of internet communities and increasing amounts of anime material, from video to images, helped spur the growth of fandom.[35] As the Internet gained more widespread use, Internet advertising revenues grew from 1.6 billion yen to over 180 billion yen between 1995 and 2005.[36]

Influence on world culture

Anime has become commercially profitable in western countries as early commercially successful western adaptations of anime, such as Astro Boy, have revealed.[37] The phenomenal success of Nintendo's multi-billion dollar Pokémon franchise[38] was helped greatly by the spin-off anime series that, first broadcast in the late 1990s, is still running worldwide to this day. In doing so, anime has made significant impacts upon Western culture. Since the 19th century, many Westerners have expressed a particular interest towards Japan. Anime dramatically exposed more Westerners to the culture of Japan. Aside from anime, other facets of Japanese culture increased in popularity.[39] Worldwide, the number of people studying Japanese increased. In 1984, the Japanese Language Proficiency Test was devised to meet increasing demand.[40] Anime-influenced animation refers to non-Japanese works of animation that emulate the visual style of anime.[41] Most of these works are created by studios in the United States, Europe, and non-Japanese Asia; and they generally incorporate stylizations, methods, and gags described in anime physics, as in the case of Avatar: The Last Airbender. Often, production crews either are fans of anime or are required to view anime.[42] Some creators cite anime as a source of inspiration with their own series.[43][44] Furthermore, a French production team for Ōban Star-Racers moved to Tokyo to collaborate with a Japanese production team from Hal Film Maker.[45] Critics and the general anime fanbase do not consider them as anime.[46]

Anime conventions began to appear in the early 1990s, during the Anime boom, starting with Anime Expo, Animethon, Otakon, and JACON. Currently anime conventions are held annually in various cities across the Americas, Asia, and Europe.[47] Many attendees participate in cosplay, where they dress up as anime characters. Also, guests from Japan ranging from artists, directors, and music groups are invited. In addition to anime conventions, anime clubs have become prevalent in colleges, high schools, and community centers as a was to publicly exhibit anime as well as broadening Japanese cultural understanding.[48]

Anime and American audiences

The Japanese term otaku is used in America as a term for anime fans, more particularly the obsessive ones. The negative connotations associated with the word in Japan have also been lost in its American context, where it instead connotes the pride of the fans. Only in the recent decade or so has there been a more casual viewership outside the devoted otaku fan base, which can be attributed highly to technological advances. Also, shows like Pokémon and Dragon Ball Z provided a pivotal introduction of anime's conventions, animation methods, and Shinto influences to many American children. Because anime is highly influenced by ancient Japanese myths often deriving from the animistic nature worship of Shinto, most American audiences not accustomed to anime are wholly unfamiliar to these foreign texts and customs. For example, an average American viewing the live-action TV show Hercules will be no stranger to the Greek myths and legends it is based on, while the same person watching the show Tenchi Muyo might not understand that the pleated ropes wrapped around the "space trees" are influenced by the ancient legend of Amaterasu and Susano.[49]

It is also important to note that the Western world abandoned their ancient pagan beliefs during the middle ages, whereas Shinto has remained relatively unchanged in modern Japanese culture. Because of this, Shinto has been able to provide over eight million deities and their surrounding folklore for anime creators to utilize. A Japanese audience is thus more aware of these Shinto influences since they have existed consistently throughout Japanese society. American media creators are often confined with the most popular or basic myths to draw upon, like Adam and Eve.[50] These cultural gaps limit anime's potential impact on its foreign audience, but as anime integrates into American pop-culture the newer generations will be more in tune with anime conventions and the ideals behind Shinto.

Terminology

In Japanese, the English term animation is written in katakana as アニメーション (animēshon, Pronounced ɑnimeːɕoɴ in IPA), and the term anime (アニメ) emerged in the 1970s as an abbreviation, though some state that the abbreviated word is based on the French word dessin animé.[4][51] Both the original and abbreviated forms are valid and interchangeable in Japanese, but the shorter form is more commonly used.

The pronunciation of anime in Japanese, ɑnime, differs significantly from the Standard English IPA: /ˈænɪmeɪ/ which have different vowels and stress. (In Japanese each mora carries equal stress.) As with a few other Japanese words such as saké, Pokémon, and Kobo Abé, anime is sometimes spelled animé in English (as in French), with an acute accent over the final e, to cue the reader that the letter is pronounced, not silent as would be expected in English.

Word usage

In Japan, the term does not specify an animation's nation of origin or style; instead, it is used as a blanket term to refer to all forms of animation from around the world.[52][53] In English, dictionary sources define anime as "a Japanese style of motion-picture animation" or "a style of animation developed in Japan".[54] Non-Japanese works that borrow stylization from anime is commonly referred to as "anime-influenced animation" but it is not unusual for a viewer who does not know the country of origin of such material to refer to it as simply "anime". Some works are co-productions with non-Japanese companies, such as most of the traditionally animated Rankin/Bass works, the Cartoon Network and Production I.G series IGPX or Ōban Star-Racers, which may or may not be considered anime by different viewers.

In English, anime, when used as a common noun, normally functions as a mass noun ("Do you watch anime?", "How much anime have you collected?").[55] However, in casual usage, the word also appears as a count noun. Anime can also be used as a suppletive adjective or classifier noun ("The anime Guyver is different from the movie Guyver").

Synonyms

Anime is occasionally referred to as Japanimation, but this term has fallen into disuse.[56] Japanimation saw the most usage during the 1970s and 1980s, but was supplanted by anime in the mid-1990s as the material became more widely known in English-speaking countries.[57] In general, the term now only appears in nostalgic contexts.[57] Although the term was coined outside Japan to refer to animation imported from Japan, it is now used primarily in Japan, to refer to domestic animation; since anime does not identify the country of origin in Japanese usage, Japanimation is used to distinguish Japanese work from that of the rest of the world.[57]

In Japan, manga can additionally refer to both animation and comics (although the use of manga to refer to animation is mostly restricted to non-fans). Among English speakers, manga usually has the stricter meaning of "Japanese comics". An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK the use of the term is common outside of Japan. The term "animanga" has been used to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels.

See also

Look up anime in Wiktionary, the free dictionary.
Wikiquote has a collection of quotations related to: Anime
Anime and Manga Portal

Other

References

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  2. ^ "Old anime discovered, restored," Daily Yomiuri Online. March 28, 2008.
  3. ^ "Do Manga Characters Look "White"?". http://web.archive.org/web/20060517194357sh_re_/www.matt-thorn.com/mangagaku/faceoftheother.html. Retrieved on December 11 2005. 
  4. ^ a b c Schodt, Frederik L. (Reprint edition (August 18, 1997)). Manga! Manga!: The World of Japanese Comics. ToKyo, Japan: Kodansha International. ISBN ISBN 0-87011-752-1. 
  5. ^ "Japan’s oldest animation films," ImprintTALK. March 31, 2008; "Historic 91-year-old anime discovered in Osaka". HDR Japan. 2008-03-30. http://www.hdrjapan.com/japan/japan-news/historic-91%11year%11old-anime-discovered-in-osaka//. Retrieved on 2008-05-12. 
  6. ^ "Megazone 23". A.D. Vision. http://www25.advfilms.com/titles/megazone. Retrieved on 2008-05-05. 
  7. ^ Joel Silver, interviewed in "Scrolls to Screen: A Brief History of Anime" featurette on The Animatrix DVD.
  8. ^ Joel Silver, interviewed in "Making The Matrix" featurette on The Matrix DVD.
  9. ^ Mitsuhisa Ishikawa, interviewed in The South Bank Show, episode broadcast 19 February 2006 [1]
  10. ^ All Gundam TV series ratings
  11. ^ "Transcript on Miyazaki interview". Official film site. http://www.princess-mononoke.com/html/chats/dp_991104_transcript.html. 
  12. ^ "Mononoke DVD Website". Disney. http://disney.go.com/disneyvideos/animatedfilms/studioghibli/princessnews.html. 
  13. ^ "Dennō Coil's Iso, Eva, Geass R2 Win Anime Kobe Awards". Anime News Network. 2008-09-24. http://www.animenewsnetwork.com/news/2008-09-24/denno-coil-iso-eva-geass-r2-win-anime-kobe-awards. Retrieved on 2008-11-13. 
  14. ^ Newtype April 2008 Issue Poll
  15. ^ Eva 1.0 Wins Tokyo Anime Fair's Animation of the Year. Anime News Network (February 26, 2008). Retrieved on 2008-02-26.
  16. ^ The Melancholy of Haruhi Suzumiya wins the Animation Kobe Award for TV Feature in 2006 (Japanese). Retrieved on 2007-08-07.
  17. ^ Doraemon sworn in as anime ambassador, Daily Yomiuri, March 21 2008.
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  19. ^ Japan Times; accessed February 6, 2008.
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  22. ^ University of Michigan Animae Project (Current). "Emotional Iconography in Animae". http://www.umich.edu/~anime/info_emotions.html. 
  23. ^ Reference pictures to actual places. Retrieved on 2007-01-25.
  24. ^ Anime production process - feature film. PRODUCTION I.G (2000). Retrieved on 2007-08-27.
  25. ^ Cinematography: Looping and Animetion Techniques. Understanding Anime (1999). Retrieved on 2007-08-29.
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