While the earliest known Japanese 애니메이션 dates to 1917, and many original Japanese 만화 were produced in the ensuing decades, the characteristic 아니메 style developed in the 1960s—notably with the work of Osamu Tezuka—and became known outside 일본 in the 1980s.
Anime, like manga, has a large audience in 일본 and recognition throughout the world. Distributors can release 아니메 via 텔레비전 broadcasts, directly to video, 또는 theatrically, as well as online.
Both hand-drawn and computer-animated 아니메 exist. It is used in 텔레비전 series, films, video, video games, commercials, and internet-based releases, and represents most, if not all, genres of fiction. As the market for 아니메 increased in Japan, it also gained popularity in East and Southeast Asia. 아니메 is currently 인기 in many different regions around the world.
HISTORY:
아니메 began at the start of the 20th century, when Japanese filmmakers experimented with the 애니메이션 techniques also pioneered in France, Germany, the United States, and Russia.[3] The oldest known 아니메 in existence first screened in 1917 – a two-minute clip of a samurai trying to test a new sword on his target, only to suffer defeat.[4][5] Early pioneers included Shimokawa Oten, Jun'ichi Kouchi, and Seitarō Kitayama.[6]
의해 the 1930s 애니메이션 became an alternative format of storytelling to the live-action industry in Japan. But it suffered competition from foreign producers and many animators, such as Noburō Ōfuji and Yasuji Murata still worked in cheaper cutout not cel animation, although with masterful results.[7] Other creators, such as Kenzō Masaoka and Mitsuyo Seo, nonetheless made great strides in 애니메이션 technique, especially with increasing help from a government using 애니메이션 in education and propaganda.[8] The first talkie 아니메 was Chikara to Onna no Yo no Naka, produced 의해 Masaoka in 1933.[9][10] The first feature length animated film was Momotaro's Divine Sea Warriors directed 의해 Seo in 1945 with sponsorship 의해 the Imperial Japanese Navy.[11]
The success of The Walt 디즈니 Company's 1937 feature film Snow White and the Seven Dwarfs influenced Japanese animators.[12] In the 1960s, 망가 artist and animator Osamu Tezuka adapted and simplified many 디즈니 animation-techniques to reduce costs and to the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation-staff.
The 1970s saw a surge of growth in the popularity of 망가 – many of them later animated. The work of Osamu Tezuka drew particular attention: he has been called a "legend"[13] and the "god of manga".[14][15] His work – and that of other pioneers in the field – inspired characteristics and genres that remain fundamental elements of 아니메 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 의해 Yoshiyuki Tomino who developed the Real Robot genre. Robot 아니메 like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of 아니메 is still one of the most common in 일본 and worldwide today. In the 1980s, 아니메 became 더 많이 accepted in the mainstream in 일본 (although less than manga), and experienced a boom in production. Following a few successful adaptations of 아니메 in overseas markets in the 1980s, 아니메 gained increased acceptance in those markets in the 1990s and even 더 많이 at the turn of the 21st century.
TERMINOLOGY:
Japanese write the English term "animation" in katakana as アニメーション (animēshon, pronounced [animeːɕoɴ]), and the term アニメ (anime, pronounced [anime] ( listen) in Japanese) emerged in the 1970s as an abbreviation.[16] Others claim that the word derives from the French phrase dessin animé.[3] Japanese-speakers use both the original and abbreviated forms interchangeably, but the shorter form occurs 더 많이 commonly.
The pronunciation of 아니메 in Japanese, [anime], differs significantly from the Standard English /ˈænɪmeɪ/, which has 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, 영어 texts sometimes spell 아니메 as animé (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as English orthography might suggest.
Word usage:
In Japan, the term 아니메 does not specify an animation's nation of origin 또는 style; instead, it serves as a blanket term to refer to all forms of 애니메이션 from around the world.[17][18] 영어 dictionaries define 아니메 as "a Japanese style of motion-picture animation" 또는 as "a style of 애니메이션 developed in Japan".[19][20]
Non-Japanese works that borrow stylization from 아니메 are 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 result from 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 또는 Ōban Star-Racers; different viewers may 또는 may not consider these anime.
In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do 당신 watch anime?", "How much 아니메 have 당신 collected?"). However, in casual usage the word also appears as a count noun. 아니메 can also be used as a suppletive adjective 또는 classifier noun ("The 아니메 Guyver is different from the movie Guyver").
synonyms:
English-speakers occasionally refer to 아니메 as "Japanimation", but this term has fallen into disuse. "Japanimation" saw the most usage during the 1970s and 1980s, but the term "anime" supplanted it in the mid-1990s as the material became 더 많이 widely known in English-speaking countries. In general, the term now only appears in nostalgic contexts. 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.
In Japan, "manga" can refer to both 애니메이션 and comics. Among English speakers, "manga" has the stricter meaning of "Japanese comics", in parallel to the usage of "anime" in and outside of Japan. The term "ani-manga" is used to describe comics produced from 애니메이션 cels.
Visual characteristics:
Many commentators refer to 아니메 as an art form.[24] As a visual medium, it can emphasize visual styles. The styles can vary from artist to artist 또는 from studio to studio. Some titles make extensive use of common stylization: FLCL, for example, has a reputation for wild, exaggerated stylization. Other titles use different methods: Only Yesterday 또는 Jin-Roh take much 더 많이 realistic approaches, featuring few stylistic exaggerations; 포켓몬스터 uses drawings which specifically do not distinguish the nationality of characters.[25]
While different titles and different artists have their own artistic styles, many stylistic elements have become so common that describe them as definitive of 아니메 in general. However, this does not mean that all modern 아니메 share one strict, common art-style. Many 아니메 have a very different art style from what would commonly be called "anime style", yet 팬 still use the word "anime" to refer to these titles. Generally, the most common form of 아니메 drawings include "exaggerated physical features such as large eyes, big hair and elongated limbs... and dramatically shaped speech bubbles, speed lines and onomatopoeic, exclamatory typography."[26]
The influences of Japanese calligraphy and Japanese painting also characterize linear qualities of the 아니메 style. The round ink brush traditionally used for 글쓰기 kanji and for painting, produces a stroke of widely varying thickness.
아니메 also tends to borrow many elements from manga, including text in the background and panel layouts. For example, an opening may employ 망가 panels to tell the story, 또는 to dramatize a point for humorous effect. See for example the 아니메 Kare Kano.
